Digital Preservation and the Alexander Architectural Archives

Vea abajo para versión en español / Veja em baixo para versão em português

In honor of World Digital Preservation Day, members of the University of Texas Libraries’ Digital Preservation team have written a series of blog posts to highlight preservation activities at UT Austin, and to explain why the stakes are so high in our ever-changing digital and technological landscape. This post is part two in a series of five. Read part one.

By KATIE PIERCE MEYER, PhD, Head of Architectural Collections, Alexander Architectural Archives | @kpiercemeyer @UT_APL

Architectural archives are confronting challenges associated with collecting born-digital records, as computer-aided design and building information modeling has become standard in architecture, design, planning, and historic preservation. The resulting digital design records complicate long-term preservation in archival repositories, as many of these are created using a variety of (often proprietary) software programs.

A sample CD from the Volz & Associates, Inc. collection. Born-digital archiving requires preservation two ways: retention of the original media and capture of the data for long-term storage.

Over the past few years, the Alexander Architectural Archives took its first steps toward processing born-digital media from a collection donated by a historic preservation architecture firm. The Alexander Archives has approached this effort as a learning opportunity – for students and staff – to develop digital preservation knowledge. Graduate research assistants have learned about digital archives and preservation at the UT School of Information and apply their new skills, working with staff at the Alexander Architectural Archives and UT Libraries’ Digital Stewardship unit to develop preservation plans, recover data from legacy media, create preservation images to be vaulted to tape, and draft public access workflows.

Abbie Norris, digital archives Graduate Research Assistant at the Alexander Architectural Archives, processes 813 floppy disks, CDs, zip disks, and flash drives, imaging the disks, capturing metadata like disk size and file types, and recording everything for documentation in the finding aid.

Read more about these efforts and the learning process from the perspective of one of the GRAs at the Alexander Architectural Archives.

Archivos de Arquitectura Alexander

Traducido por Jennifer Isasi

Para el Día Mundial de la Preservación Digital, los miembros del equipo de Preservación Digital de las Bibliotecas de la Universidad de Texas han escrito una serie de entradas de blog que hacen destacar las actividades de preservación en la universidad, y para enfatizar la importancia de la preservación en un presente de cambio tecnológico constante. Este texto es el segundo en una serie de cinco. Lea el primer texto.

Los nuevos registros digitales están representan un desafío para su recopilación por parte de los archivos de arquitectura al haberse convertido el diseño y modelado de construcción por computadora en el estándar en arquitectura, diseño, planificación y preservación histórica. Los registros de diseño digital complican la preservación a largo plazo en los repositorios del archivo puesto que son creados con diferentes programas informáticos, muchas veces patentado.

Disquetes 3.5” de la colección Volz & Associates, Inc.

En los últimos años, los Archivos de Arquitectura Alexander (Alexander Architectural Archives) dieron sus primeros pasos hacia el procesamiento de medios de origen digital de una colección donada por una firma de arquitectura de conservación del patrimonio histórico. Los Archivos Alexander han abordado este esfuerzo como una oportunidad de aprendizaje para el desarrollo de conocimiento de preservación digital, tanto para estudiantes como para su personal. Los asistentes de investigación graduados que han aprendido sobre archivos digitales y preservación en la Escuela de Información de UT aplican sus nuevas habilidades trabajando con el personal de la unidad de Administración Digital de Archivos de Arquitectura Alexander y las Bibliotecas de UT para desarrollar planes de preservación, recuperar datos de medios analógicos y crear imágenes de preservación para ser guardadas en cinta.

Lea más (en inglés) sobre estos esfuerzos y el proceso de aprendizaje desde la perspectiva de uno de los estudiantes graduados de los Archivos de Arquitectura Alexander.

Arquivos Arquitectônicos Alexander

Traduzido por Tereza Braga

Para o Dia Mundial da Preservação Digital, os membros do equipe de Preservação Digital das Bibliotecas da Universidade de Texas escreveram uma serie de entradas de blog que enfatizam as atividades de preservação na nossa universidad, para explicar a importancia da preservação no contexto de um presente de tecnología em fluxo constante. Este texto é o primeiro numa série de cinco. Ler o primer texto.

A área de arquivística arquitetônica vem enfrentando diversos desafios ao congregar registros criados em mídia digital (“born-digital records”) nesta era em que o design por computador e a modelagem de dados para construção já se tornaram padrões nos setores de arquitetura, projeto, planejamento e preservação histórica. Os registros digitais resultantes desses processos complicam a preservação a longo prazo em repositórios arquivísticos, pois muitos desses registros são criados por programas de software diferenciados que frequentemente são proprietários. 

Battle Hall é o sede da Escola de Arquitectura e dos Arquivos Alexander. Foi desenhado por Cass Gilbert no estilo Beaux Arts.

Há alguns anos, o Alexander Architectural Archives tomou os primeiros passos para o processamento de mídias criadas digitalmente, utilizando uma coleção doada por uma firma de arquitetura de preservação histórica. A abordagem escolhida foi encarar esse trabalho como uma oportunidade valiosa, oferecida não só a alunos mas também a equipes profissionais, de desenvolver conhecimentos sobre preservação digital. Foi criada uma equipe de GRAs (assistentes de pesquisa de pós-graduação), que aprenderam tudo sobre arquivística e preservação digital na Escola de Informação da UT e agora aplicam suas novas competências trabalhando com os profissionais do Alexander Architectural Archives e da unidade de Gestão Digital da UT Libraries para criar planos de preservação, recuperar dados contidos em mídias antigas, criar imagens de preservação para depósito eletrônico em fita, e elaborar fluxogramas para o acesso pelo público.

Aprenda mais (em inglês) sobre esse trabalho e veja como foi o processo de aprendizado da equipe, ouvindo a perspectiva de um dos GRAs atuando no Alexander Architectural Archives. 

On the Zine

“Illuminating Explorations” – This series of digital exhibits is designed to promote and celebrate UT Libraries collections in small-scale form. The exhibits will highlight unique materials to elevate awareness of a broad range of content. “Illuminating Explorations” will be created and released over time, with the intent of encouraging use of featured and related items, both digital and analog, in support of new inquiries, discoveries, enjoyment and further exploration.

Zines, those do-it-yourself publications that have found renewed popularity in the last decade, provide a medium for different groups to cultivate their own forms of expression. And this expression can vary depending on the zine creator. Broadly speaking, recurring themes tend to interrogate identity (gender, sexuality, race), place (home, gentrification, nation), and time (childhood, adolescence, adulthood). For their part, audiences continue to flock to this form of cultural production because zines are affordable, rare, and allow unfettered access to the creator’s perspectives. Such access is significant as many zinesters come from historically marginalized groups that publishing companies have traditionally overlooked. Their perspectives tend to subvert or resist mainstream American ideas.   

A new exhibit, “You Are What You (Do Not) Eat: Decolonial Resistance in U.S. Latinx Zines,” aims to underscore this resistance by examining Latinx zines that interrogate food and its impact in shaping cultural identity. Zinesters draw on memoirs and artwork to promote plant-based diets and condemn colonial impositions regarding food, “healthy” bodies, and medicine. As an offshoot of food, the exhibit also highlights zines that discuss traditional healing, speciesism, and body positivity.

Viewers will find a nice array of zines, with contributors from as nearby as San Antonio and as far as Washington D.C. Some examples will be more text heavy while others will use mixed media to articulate their points.  

This collection will be of interest to anyone who is interested in zine culture, food studies, decolonial studies, and Latinx cultural production. My hope is that scholars will develop similar projects using zines. The print versions of these zines and others are available in the Rare Books and Manuscripts Room at the Nettie Lee Benson Latin American Collection.  

Daniel Arbino is the Librarian for U.S. Latina/o Studies.

CMAS at 50: A Legacy of Scholarship, Teaching, and Service

Curated by Carla Alvarez, US Latina/o Archivist, Benson Latin American Collection

On Thursday, February 13, the Benson Latin American Collection and Latino Studies celebrated the opening of the archive of the Center for Mexican American Studies (CMAS) with a reception, exhibition, and a staged reading of some of the archive’s contents. The reading told the emotional and powerful story of the Center’s birth, in the voices of those who fought—sometimes at their own professional peril—for an institutional commitment to Mexican American Studies by the University of Texas.

The room was full, and emotions were palpable and visible. Audience and participants ranged from students to faculty to individuals whose history with CMAS extends back decades. Read an account of the event in the Daily Texan.


Portrait of Dr. Américo Paredes, beloved professor, folklorist, and CMAS director

Founded in 1970, the Center for Mexican American Studies (CMAS) at The University of Texas at Austin benefited from Chicano student activism of the 1960s. Members of the Mexican American Student Organization (MASO) and later the Mexican American Youth Organization (MAYO) demanded equitable representation and resources be devoted to Mexican American studies on the UT campus. After years of activism, the Center was established. It stands as an institutional recognition of the importance of Mexican Americans and Latinos in the history, culture, and the politics of the United States.

Information about Dr. Américo Paredes from the CMAS 35th anniversary publication. “35 Years: The Center for Mexican American Studies” was compiled in 2005 by a group of J349T Oral History as Journalism students.

Since its founding, the Center has fostered Mexican American studies and Latino studies on campus and nationally through partnerships. A founding member of the Inter-UniversityProgram for Latino Research (IUPLR), CMAS has worked toward shaping Latino scholarship and to support the next generation of Latino studies scholars.

Entrance to the Center during the time when it was housed in the Gebauer Building, then known as the Speech Building. This is one of the earliest photographs of the Center, from the late 1970s.

For nearly thirty years, the Center operated an in-house publishing unit, CMAS Books, which began as a publisher of academic monographs, providing a means for affiliated faculty to share their research with other scholars, but blossomed into an imprint with a broader cultural and scholarly reach. CMAS Books published a series of monographs and several periodicals including journals and newsletters for the Center and sponsored entities like IUPLR.

“Noticias de CMAS” publicized the Center’s special events.

In addition to supporting Mexican American studies on campus and nationally, CMAS had another goal from the beginning—to establish a presence and engage with the larger community. This community engagement has evolved over the years and included partnerships with the Américo Paredes Middle School;La Peña, a community-based arts organization, the Serie Project and Sam Coronado Studio; and a Latino radio project, proudly launched in the early 1990s. That initial radio project eventually developed into the nationally syndicatedLatino USA. The Center has thus firmly established a legacy of expanding and enhancing knowledge of Mexican Americans’ and Latinos’ contributions to the history and culture of the United States.

Flyer promoting the CMAS 35th anniversary exhibit in the Office of the President.

The Center for Mexican American Studies will celebrate its 50th anniversary during the 2020–2021 academic year.The Center now exists as one of three units under Latino Studies at UT, a powerhouse of Latino thought and advocacy that also includes the Department of Mexican American and Latina/o Studies and the Latino Research Institute. Visit liberalarts.utexas.edu/latinostudies for updates on all anniversary festivities, including special events, public conversations, digital retrospectives, and interactive campus installations.

The Survival Guide for new African American and Mexican American students, published in 1993, was a collaboration between CMAS and the Center for African and African American Studies (CAAS), now the John L. Warfield Center for African and African American Studies. The Guide was distributed on the UT campus and included articles by students, faculty profiles, information about CAAS and CMAS, a list of Mexican American/Latino and Black student organizations, as well as a directory of minority faculty and staff. Cover art by California artist Malaquías Montoya.

CMAS at 50 is on view through July 2, 2020, in the second-floor gallery of the Benson Latin American Collection, SRH Unit 1. To view the list of archival materials online, visit the Texas Archival Resources Online (TARO) CMAS.

Reflections from World Digital Preservation Day: Introduction

Vea abajo para versión en español / Veja em baixo para versão em português

In honor of World Digital Preservation Day, members of the University of Texas Libraries’ Digital Preservation team have written a series of blog posts to highlight preservation activities at UT Austin, and to explain why the stakes are so high in our ever-changing digital and technological landscape. This post is part one in a series of five.

Introduction to Digital Preservation

BY DAVID BLISS, Digital Processing Archivist, LLILAS Benson Latin American Studies and Collections; ASHLEY ADAIR, Head of Preservation and Digital Stewardship University of Texas Libraries

In recent decades, the archival field has been transformed by the rise of digital historical records. As computers of all kinds have worked their way into many areas of our professional and personal lives, collections of documents donated to archives in order to preserve individual and institutional histories have come to comprise both traditional paper records and those created using these computers. Digital records can be scans of paper or other objects, born-digital files comparable to paper records, such as Word or text documents, or entirely new kinds of objects, such as video games. Archivists are committed to preserving digital records, just like physical ones, for future generations to use and study. Digital preservation refers to the full range of work involved in ensuring digital files remain accessible and readable in the face of changing hardware and software.

A box of floppy disks, part of an archival collection held by UT Libraries

Unlike traditional physical media like paper, which can typically be kept readable for decades or centuries with proper housing and ambient conditions, digital files can be lost without periodic, active intervention on the part of archivists: legacy file formats can become unreadable on modern computers; hard drives and optical media can break or degrade over time; and power outages can cause network storage to fail. Digital archivists take steps to prevent and prepare for these contingencies.

There is no one perfect or even correct solution to the challenge of preserving digital files, so each institution may use different tools, standards, and hardware to carry out the work. Typically, however, digital preservation involves choosing suitable file formats, maintaining storage media and infrastructure, and organizing and describing digital objects in a standardized way that ensures future archivists and users can understand and access what has been preserved.

Cassette tapes to be digitized, containing recordings relevant to indigenous languages

Digital preservation represents a significant effort that cannot be carried out by a single person or group. At the University of Texas Libraries, dissemination of digital preservation knowledge and skills is a crucial part of digital preservation practice. Training and pedagogy spread digital preservation expertise within the organization and out to researchers and partners, allowing the Libraries to preserve an ever-growing amount of valuable data.

Introducción a la preservación digital

Para el Día Mundial de la Preservación Digital, los miembros del equipo de Preservación Digital de las Bibliotecas de la Universidad de Texas han escrito una serie de entradas de blog que hacen destacar las actividades de preservación en la universidad, y para enfatizar la importancia de la preservación en un presente de cambio tecnológico constante. Este texto es el primero en una serie de cinco.

Traducido por Jennifer Isasi, Postdoctoral Fellow in Data Curation in Latin American and Latina/o Studies

En décadas recientes, el ámbito de los archivo se ha visto transformado con el aumento de los registros históricos digitales. A medida que las computadoras de todo tipo han pasado a formar parte de muchas áreas de nuestra vida profesional y personal, las colecciones de documentos donados a los archivos para preservar historias individuales e institucionales ahora presentan tanto los registros en papel tradicionales como los creados con computadoras. Los registros digitales pueden ser copias escaneadas de papel u otros objetos, archivos digitales nativos similares a los registros en papel, como documentos de Word o texto, o tipos de objetos completamente nuevos, como los videojuegos. Los archivistas están comprometidos a preservar los registros digitales, al igual que los físicos, para que las generaciones futuras los utilicen y estudien. Así, la preservación digital se refiere a la gama completa de trabajo involucrado en garantizar que los archivos digitales permanezcan accesibles y legibles ante el cambio de hardware y software.


Una caja de disquetes, parte de una colección de archivos de las bibliotecas de la Universidad de Texas

A diferencia de los medios físicos tradicionales como el papel, que por lo general pueden ser preservados por décadas o siglos en condiciones de guardado adecuadas, los archivos digitales pueden perderse sin la intervención periódica y activa por parte de los archivistas: las computadoras modernas no pueden leer algunos de los formatos de archivo más antiguos, los discos duros o los medios ópticos se pueden romper o degradar con el tiempo y los cortes de luz pueden causar fallos en el almacenamiento en la red. Los archivistas digitales toman medidas para prevenir o prepararse para este tipo de imprevistos.

No hay una solución perfecta ni correcta para el desafío de preservar archivos digitales, por lo que cada institución puede utilizar diferentes herramientas, estándares y equipos para este trabajo. Por lo general, no obstante, la preservación digital implica elegir formatos de archivo adecuados, mantener medios de almacenaje y su infraestructura así como asegurar la organización y la descripción de los objetos digitales de una manera estandarizada que garantice que los futuros archivistas y usuarios puedan comprender y acceder al material preservado.

Fitas cassette que contienen grabaciones relacionadas con los lenguajes indígenas, y que serán digitalizadas

El trabajo y esfuerzo necesarios para la preservación digital no puede ser realizado por una sola persona o grupo. En el conjunto de bibliotecas de la Universidad de Texas, la difusión del conocimiento sobre preservación digital es una parte crucial de la práctica de preservación. Mediante esfuerzos de capacitación y pedagógicos tanto dentro de la organización como entre investigadores y colaboradores, estas bibliotecas están logrando preservar una cantidad cada vez mayor de datos relevantes.

Introdução à preservação digital

Traduzido por Tereza Braga

Para o Dia Mundial da Preservação Digital, os membros do equipe de Preservação Digital das Bibliotecas da Universidade de Texas escreveram uma serie de entradas de blog que enfatizam as atividades de preservação na nossa universidad, para explicar a importancia da preservação no contexto de um presente de tecnología em fluxo constante. Este texto é o primeiro numa série de cinco.

O advento dos registros históricos digitais causou uma completa transformação do setor arquivístico nas últimas décadas. Computadores de todos os tipos estão cada vez mais presentes em cada vez mais aspectos da vida profissional e pessoal. Essa mudança também afeta as coleções de documentos que são doadas a instituições arquivísticas com o intuito de preservar histórias individuais e institucionais. Hoje em dia, uma coleção pode reunir tanto registros tradicionais em papel quanto registros criados por esses diversos computadores. O que chamamos de registro digital pode ser uma simples página ou objeto que tenha sido escaneado ou qualquer arquivo que já tenha nascido em forma digital e que seja comparável com um registro em papel como, por exemplo, um texto regidido em Word. Registro digital pode também significar uma coisa inteiramente nova como um videogame, por exemplo. Arquivistas são profissionais que se dedicam a preservar registros digitais para utilização e estudo por futuras gerações, como já é feito com os registros físicos. A preservação digital pode incluir  uma ampla variedade de tarefas, todas com o objetivo comum de fazer com que um arquivo digital se mantenha acessível e legível mesmo com as frequentes mudanças na área de hardware e software.


Uma caixa de disquetes, parte de uma coleção de arquivos mantida pelas bibliotecas da Universidade de Texas

Um arquivo digital é diferente do arquivo em papel ou outros meios físicos tradicionais, que geralmente pode ser mantido legível por muitas décadas ou mesmo séculos, se armazenado em invólucro adequado e sob as devidas condições ambientais. Um arquivo digital pode se perder para sempre se não houver uma intervenção periódica e ativa por parte de um arquivista. Certos arquivos em formatos mais antigos podem se tornar ilegíveis em computadores modernos. Discos rígidos e mídia ótica podem quebrar ou estragar com o tempo. Cortes de energia podem causar panes em sistemas de armazenagem em rede. O arquivista digital é o profissional que sabe tomar medidas tanto de prevenção quanto de preparação para essas e outras contingências.

Não existe solução perfeita, ou sequer correta, para o desafio que é preservar um arquivo digital. Diferentes instituições utilizam diferentes ferramentas, normas e hardware. De maneira geral, no entanto, as seguintes tarefas devem ser realizadas: escolher o formato de arquivo adequado; providenciar e manter uma mídia e infra-estrutura de armazenagem; e organizar e descrever os objetos digitais de uma maneira que seja padronizada e que permita a futuros arquivistas e usuários entender e acessar o que foi preservado.

Fitas cassette com conteúdo relacionado às idiomas indígenas, que serão digitalizadas

A preservação digital é um empreendimento importante que não pode ser executado por apenas um indivíduo ou grupo. Na UT Libraries, a disseminação de conhecimentos e competências de preservação digital é uma parte essencial dessa prática. Temos cursos de capacitação e pedagogia para disseminar essa especialização em preservação digital para toda a organização e também para pesquisadores e parceiros externos. É esse trabalho que capacita a Libraries a preservar um grande volume de dados valiosos que não pára de crescer.

Quantitative Criticism Lab, or What Happens When a Classicist and a Computational Biologist Walk into a Bar

Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from the Libraries’ Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship to encourage and inspire critical reflection of and future creative contributions to the growing fields of digital scholarship.

The Quantitative Criticism Lab (QCL) was formed in 2014 as a collaboration between humanists, computer scientists and computational biologists. The project’s unique combination of expertise informs its innovative approach to the computational analysis of Latin literature. And I’m not just saying that as a research assistant for the project!

The lab is led by Pramit Chaudhuri, an Associate Professor of Classics at the University of Texas at Austin, and Joseph Dexter, a computational biologist and Neukom Fellow at Dartmouth. They recruited me before I knew what digital humanities was, though I was certain that I wanted to do something more with my Classics undergraduate degree other than teaching fifth graders “Heads, Shoulders, Knees and Toes” in Latin (“Caput, umeri, genua and pedes”, if you were wondering). 

This digital Classics project uses machine learning, natural language processing and systems biology to study Latin literature and its influence. QCL uses a computational approach to explore the traditional study of “philology”, or the development and history of language in text. The lab’s first development was its tool, Fīlum (Latin for the thread of a web), an apt name given the tool’s purpose to reveal relationships amongst Latin texts by identifying intertextual references in Latin literature. 

For an example of intertextuality, in the epic poem the Aeneid, Vergil uses the phrase “immane nefas”, meaning “huge wrongdoing” to refer to the unspeakable horrors of the underworld. Years later, the author Lucan, in his epic, the Pharsalia, references and adapts that phrase to “commune nefas”, or “collective wrongdoing”, to blame an entire community for the horrors of civil war. Fīlum aids scholars in discovering, tracking, and discussing such connections. 

So, what makes Fīlum better than a ctrl+f approach? In the example above, a scholar would have to search many texts to even possibly discover Lucan’s reference; with Fīlum, they can search many texts simultaneously. Furthermore, Fīlum can even detect phrasing similar to the search query. 

QCL’s computational approach tabulates similarity, using the concept of “edit distance”, or the number of character changes through additions, deletions or substitutions in two words or phrases. For example, the edit distance of “kitten” and “sitting” has an edit distance of 3. You substitute “k” with “s”, “e” with “i”, and add a “g” – three changes in total. 

What if you have a feeling the phrase you want to use in Fīlum, might be in a different word order? With “Order-Free” searching, the tool searches for any arrangement of the words in a phrase. This is an especially valuable feature since Latin often refuses to follow a regulated pattern of word order.

With its search phrase, edit distance and order free option, Fīlum searches through a selected text or a user-selected corpora of Latin literature from the site. With a free account, users can create a search corpus from a library of texts or upload their own. 

The output cleanly displays results distinguished by each text’s author, work, and highlights the relevant words in each result. For added context, when selected, each result displays the previous and following lines from the text for context.

I have enjoyed both working on Fīlum and using the tool for my research. As QCL continues to improve the tool, I hope other classicists will appreciate not only its value but the interdisciplinary method that built it. 

If you are interested in the project and its study, please stay tuned to information about an upcoming QCL sponsored conference in April, here on the UT Austin Campus:

Digital Humanities Beyond Modern English: Computational Analysis of Premodern and Non-Western Literature https://qcrit.github.io/DHBME/

For further reading on topics like digital classics and text analysis, please see below:

Digital classics outside the echo-chamber teaching, knowledge exchange & public engagement / edited by Gabriel Bodard and Matteo Romanello.

Text Analysis with R for Students of Literature by Matthew L. Jockers.

Critics, compilers, and commentators : an introduction to Roman philology, 200 BCE-800 CE / James E. G. Zetzel.

Philology : the forgotten origins of the modern humanities / James Turner.

UT Library Libguide on Text Analysis by European Studies Librarian, Ian Goodale

Art Zines from the Russell Etchen Collection

“Illuminating Explorations” – This series of digital exhibits is designed to promote and celebrate UT Libraries collections in small-scale form. The exhibits will highlight unique materials to elevate awareness of a broad range of content. “Illuminating Explorations” will be created and released over time, with the intent of encouraging use of featured and related items, both digital and analog, in support of new inquiries, discoveries, enjoyment and further exploration.


Zines are do-it-yourself publications used by different cultural groups to share ideas and information. The zine name and format emerged in the 1930s from fanzines for the science fiction community. This same zine format – small circulation, handmade, often photocopied– was used by activists to disseminate social and political views in the 1960s. From the 1970s-1990s punk rockers and feminist groups often adopted the zine format as a way to express their views within their communities. During subsequent decades the appeal of zines has only grown for makers and viewers alike.  These light-to-hold pages of images and text are cheap to produce and to purchase, even fun to trade.  They have never been more popular.

The Fine Arts Library began collecting zines in earnest in 2010 under the stewardship of former Fine Arts Head Librarian Laura Schwartz. The reasonable cost of zines made collecting possible and the FAL emphasis was given to zines that related to art and music, as well as to local and regional zines. Schwartz also cultivated relationships with local zine dealers, including Russell Etchen, the owner of the former Austin bookstore Domy Books. When he moved from Austin, Etchen generously gave a collection of 302 zines to the FAL.  

zine cover, man in glasses with blue tint, title "cederteg Nº2, Nicholas Haggard, 1,3,4,5,6,7,8,9,11,12,15,16,17,18,19,20,21,22,23,24,25,26,27,28,29,30,31,32,36."

Among the zines in the Russell Etchen Collection are many created by artists. These zine artists were looking for a method to share work outside of traditional art world channels. Their artwork expresses every stage of the artistic process from preliminary sketches to carefully completed works of art. Although there are many themes that could be explored in the diverse, still-to-be cataloged, Etchen Collection, the exhibit, Art Zines From the Russell Etchen Collection, focuses on the contrasting ways in which six of these zine artists use the compositional devices of page layout, collage, and color to create and communicate. The exhibit will be of interest to any zine enthusiasts interested in do-it-yourself culture, as well as to scholars, artists, designers and art historians who can resource this distinctive zine collection for teaching and creative inquiry.

This is the first of three Omeka exhibits to focus on zines held in UT Collections. The zines for this exhibit were chosen by former Humanities Liaison Librarian for Fine Arts, Rebecca Pad. Print versions of these art zines from the Russell Etchen Collection are house in the Fine Arts Library.  Digitized copies of pages from these art zines, as well as more of the Etchen art zines, are to be found on Artstor under University of Texas – Art and Art History Visual Resources Collection

Sydney Kilgore is Media Coordinator for the Visual Resources Collection, Fine Arts Library.

Distinctive, Collaborative Collections Work in the Subcontinent

Regular travel “to the field” is an indispensable tool in the area studies librarian’s toolkit.  Firsthand knowledge of the cultural, political and intellectual context for the production and distribution of information resources is essential to maintaining both our expertise and currency in support of the global literacy being nurtured and developed here at UT.  I was fortunate to travel to India again this January due to the generosity of UT’s South Asia Institute and the many donors to UTL’s 2019 Hornraiser funding campaign.  I am immensely grateful to both for supporting this mission-critical acquisitions-, networking-, and professional development work! 

This year, I was able to visit 3 north Indian cities (Delhi, Lucknow and Varanasi) and I was able to achieve 3 major goals:

  • Acquire distinctive materials for UT’s collections, including materials specifically requested by UT faculty to advance their teaching and research but also books in Hindi and Urdu that will deepen our ever-growing South Asian Popular and Pulp Fiction Collection
woman in sales transaction with man in black coat and hat, in a book stall
Buying pulp fiction titles in Lucknow.
twelve people (from the english department at the university of lucknow and librarian mary rader) standing, smiling for the camera.
With the English Department at the University of Lucknow
  • Advance post-custodial open access efforts on South Asian Studies, including recently completed and collaboratively funded digitization projects, for example the newly available journals (Viplav, Viplavi Tract and Baagi), while simultaneously advocating the use of open access initiatives such as the South Asia Open Archive

One project I have been working on for the past 5 years exemplifies the type of work we UT global studies liaisons try to do while traveling abroad: the Sajjad Zaheer Digital Archive.  The opportunity to digitize the papers of the 20th century Progressive Writer, Mr. Sajjad Zaheer, was brought to me back in 2014 by 3 UT professors—Kamran Ali (Anthropology), Akbar Hyder (Asian Studies) and Snehal Shingavi (English)—as all 3 used Sajjad Zaheer’s work in their scholarship.  As the Zaheer family had made an MoU with Ambedkar University Delhi (AUD) to be the physical home of the collection, over multiple trips to Delhi and via countless email messages over the years, I worked with both the family members and with representatives of AUD’s Centre for Community Knowledge to inventory the collection, to get permissions to digitize the material, and to put the resulting files online in an open access repository.  Successful appeals to UT’s South Asia Institute and the South Asia Materials Project (SAMP) at the Center for Research Libraries for funding and eventual hosting of the archive enabled the work.  I used connections I had made on previous trips to facilitate the careful scanning work with digitization partners in India (the Roja Muthiah Research Library).  At our meeting this year in Delhi, we celebrated the completion of our initial objectives—digitally preserved and openly accessible copies of the collection

archival photo of three people (Sajjad Zaheer, Jawaharlal Nehru and Nehru's daughter) on a stone pathway in a garden
Photo from the Online Archive of Zaheer with his daughter and India’s 1st Prime Minister, Jawaharlal Nehru.

Digital collections are never done, however, so we also used this year’s meeting to put our heads together to explore ways to improve access and discovery of the archive (a digital humanities project currently underway at UTL, again generously funded by UT’s South Asia Institute) and to think of other authors’ work we would like to present in similar ways.  The project may have taken 5 years but they were productive, cooperative, and mutually beneficial years.  I can only hope for such success in future projects!

On the Road to Korea

Thanks to generous funding from donors to a 2019 Hornraiser crowdfunding effort and support from UT Libraries, I was able to visit Korea and Taiwan in October.  In this blog post, I highlight the Korea portion of my trip—if you’d like to learn more about Taiwan, just ask!  I’m happy to share my experience with all interested!  While in Korea, I was able to do much of my usual liaison librarian work but with considerably increased efficiency and depth because I was “in context.”  For example, I was able to (re)connect with vendors, to attend scholarly and cultural events, and to participate in conferences, all related to and in support of the Korean Studies programs here at UT.

The primary focus of my trip was to attend the “2019 Overseas Korean Studies Librarian Workshop”  sponsored by and held at the National Library of Korea (NLK) in Seoul on from October 14-17.I arrived in Korea a week before the workshop so that my colleague Julie Wang of SUNY Binghamton Libraries and I could attend the 24th Busan International Film Festival, one of the most significant film festivals in Asia, to visit vendors, and to meet with the Korea Foundation. At the film festival, we were lucky to have the opportunity to listen to a group of rising documentary Asian directors about their films—films in all languages not just Korean.

Meeting the directors of Asian Short Film Competition.

We also visited our database vendors KSI and Nurimedia to learn of their current programs and future plans. We were delighted to learn that KSI is working on an English interface for its database KISS  and that they expected to launch it in the summer 2020. (Nurimedia’s database DBpia & KRpia already have English interfaces.)  Along the way, we were joined by Wen-ling Liu of Indiana University and the three of us U.S.-based librarians to visit the Korea Foundation (KF). The Korea Foundation has been partially supporting our subscription of KSI and Nurimedia’s e-resources and providing the Library with print materials, both through annual grant applications. The Foundation headquarters is in Jeju Island (a 70-minute-flight away from Seoul) and so we were particularly grateful that three of the Foundation staff flew in to Seoul to meet with us, explain their programs, and listen to our concerns.

The following week, we were all participants in the “Overseas Korean Studies Librarian Workshop,” a workshop generously funded by the National Library of Korea.  This workshop is designed for overseas librarians who are non-Korean-native and whose job responsibilities include Korean subject areas. Participants came from ten countries (in three continents!), including 17 librarians from academic, national, public and theological seminary libraries and one art historian from a university. None of the participants is solely a Korean studies librarian; in fact, a lot of us are East Asian or Asian studies librarians whose responsibilities also cover Korean studies. Only a few participants have “adequate” Korean language skills, most of us have very limited or not any Korean language skills.

In front of National Library of Korea.
In the classroom.

At the workshop, the National Library of Korea (NLK) introduced us to its digitization projects and services. Since 1982, it has been working with oversea libraries (China and Japan as well as western countries), local organizations, and private collections to digitize Korean rare books and to provide metadata and services through KORCIS: Korean Old and Rare Collection Information System. Currently, there are over 50,000 titles in KORCIS.

NLK also offers various international exchange & cooperation programs, the most notable is its “Window on Korea” (WOK). As of October 2019, NLK has signed MOUs with 25 overseas libraries for this program. To each WOK library, NLK provides funding for equipment (computers, chairs and desks, signboard etc.) in addition to 1500-4000 volumes of Korean books over a five year period. The mission of the WOK project is to introduce foreign researchers and ordinary library users to the history, tradition, culture, language and literature of Korea as well as Korea’s new achievements in the field of information technology.  I’m hopeful that UT Libraries might pursue an MOU with the Window on Korea program one day!   

 All workshop participants—including me!– gave presentations about Korean studies and Korean library resources at their home institutes or countries. This was one of the most interesting and valuable parts of the workshop for me. I regularly meet with our US colleagues at conferences but I rarely have opportunity to learn of Korean studies and Korean library resources in other part of the world.  For example, I heard about Korean Studies programs in Uzbekistan, France, Russia, Germany and beyond!

The memorable farewell dinner party was held at a traditional Korean building where we all changed to hanbok (traditional Korean dress). As you can see, people were having fun and wanted to take lots of photos in hanbok!

All participants in hanbok.
Having fun!

The cultural tours took us to National Hangeul (or Hangul) Museum and National Museum of Korea. At the Hangeul Museum, we used hammers to punch letters into leather to inscribe our hangul names. We also made a book from block printing and in traditional Korean binding. This kind of hands-on project reminded me of our own maker-spaces here at UT such as the Foundry.

Punching your hangul (Korean alphabet) name onto leather penholder.
Making block printing.
Demonstrating traditional Korean book binding.
In front of National Museum of Korea. Participants are holding the book he/she just made.

All eighteen participants stayed in the same hotel and had every meal together. The workshop provided a rare opportunity for participants to really get to know our fellow Korean librarians from across the world. We have learned from one another not only from the formal presentations, but also from chatting and discussions at each meal and on bus trips. At the end of the workshop, we all had become old friends. We have created a mailing list and have since begun to communicate with one another. Because of this unique experience, I now know whom to turn to especially when there are difficult questions involving Korea/Korean and the countries where my fellow participants come from.

My trip was made possible by funding from Hornraiser donors. Thanks to their generosity, I was able to fly to and from Seoul (and Taiwan for another workshop) and to extend my trip in Korea to attend the Busan Film Festival and to visit our vendors and sponsor.

WHIT’S PICKS: TAKE 7 – GEMS FROM THE HMRC

Resident poet and rock and roll star Harold Whit Williams is in the midst of a project to catalog the KUT Collection, obtained a few years ago and inhabiting a sizable portion of the Historical Music Recordings Collection (HMRC).

Being that he has a refined sense of both words and music, Whit seems like a good candidate for exploring and discovering some overlooked gems in the trove, and so in this occasional series, he’ll be presenting some of his noteworthy finds.

Earlier installments: Take 1Take 2Take 3Take 4Take 5, Take 6


Laika & the Cosmonauts / Local Warming

Available at Fine Arts Library On Site Storage

The genius of this Finnish group (1987-2008) was not only that they imported masterful instrumental takes on American surf garage rock back into our record stores, but that they also delivered blistering live shows to prove their point. Local Warming keeps it in cruise control with Sci-Fi guitars, greasy organ hooks, and a punkabilly rhythm section. The vibe veers off into prog and post rock at times, but thankfully never strays too far off the futuristic retro path. Crank up the old hovercraft and blast these instant classics!


Greg Trooper / Floating

Available at Fine Arts Library On Site Storage

Heart on its sleeve country-rock from a troubadour lifer, the late Greg Trooper. Having penned songs for Vince Gill, Steve Earle (who provides a true fan’s liner notes), Billy Bragg and others, Trooper showcases his beefy baritone on these tough and touching jukebox-worthy originals. Forthright yet dreamily reflective lyrics reveal river-deep themes swirling around love and loss. Masterfully recorded and produced by Americana heavyweight Phil Madeira.


13Ghosts / Cicada

Available at Fine Arts Library On Site Storage

This Birmingham, Alabama duo flew low enough under the music biz radar to miss out on fame, but high enough to attract critical accolades. On this stylistically sprawling 21 track album, Brad Armstrong and Buzz Russell share songwriting duties, and while both are lyrically rooted in southern gothic, the music swerves back and forth – sometimes abruptly – between lo-fi avant pop rock and brooding folk. Think Mark Linkous and Elliot Smith (both ghosts themselves) fussing over fuzz pedals and tape loops in some creaky pineywoods cabin. Or better yet, don’t think. Just tune in and tag along on this richly rewarding backroads trip.


Mal Waldron / Soul Eyes : The Mal Waldron Memorial Album

Available at Fine Arts Library On Site Storage

Not quite the jazz household name as Monk, Bud, or Duke, Waldron was most certainly that special musician’s musician, as well as an accomplished composer and sideman to the likes of John Coltrane, Charles Mingus, and Billie Holliday. This compilation spotlights Mal as both solo artist and house pianist for Prestige Records by showcasing various tracks from the Prestige All-Stars, hard-bopping alongside Coltrane and Webster Young, Steve Lacy and Eric Dolphy. Elegant, melodic, classic bop. Essential listening for even the most casual of jazz fans.


Nina Nastasia / Dogs

Available at Fine Arts Library On Site Storage

Minimalist chamber folk from Los Angeles singer-songwriter Nastasia. On this, her first album, the musical moodiness is captured clean and bright by Steve Albini’s bone-dry and in your face production. Hints of dissonant strings and the occasional dark drums/goth guitar combo (“Roadkill,” “Nobody Knew Her,” “Jimmy’s Rose Tattoo”) help to cut the treacle of Nastasia’s almost too-sugary sweet vocals. Legendary BBC DJ Jon Peel declared the album “astonishing.”


[Harold Whit Williams is a Content Management Specialist in Music & Multimedia Resources. He writes poetry, is guitarist for the critically acclaimed rock band Cotton Mather, and releases lo-fi guitar-heavy indie pop as DAILY WORKER.]

Illuminating Explorations: French Communism and Global Revolution

“Illuminating Explorations” – This series of digital exhibits is designed to promote and celebrate UT Libraries collections in small-scale form. The exhibits will highlight unique materials to elevate awareness of a broad range of content. “Illuminating Explorations” will be created and released over time, with the intent of encouraging use of featured and related items, both digital and analog, in support of new inquiries, discoveries, enjoyment and further exploration.


Radical politics in Europe experienced a pronounced growth in strength and popularity in the early 20th century, both before and following the communist revolution in Russia in October 1917. France possessed a unique position in the continent-wide growth of leftist and labor-focused–and specifically communist and anarcho-syndicalist–parties and movements. The Paris Commune and its politics played an important role in the development of Marxism, which would later become the most prominent political position in politically successful leftist parties and revolutionaries from Russia to Western Europe. While very influential and popular throughout France in the early twentieth century, there were also significant forces opposed to the rise of left-wing sentiment both in France and across Europe. This exhibit curates a number of significant holdings of the UT Libraries surrounding communism in France, and is organized into sections containing pro-communist, anti-communist, and leftist but not explicitly pro-communist materials.

The exhibit aims to shed light on the varied political attitudes and interests active in Francophone literature at this time. These perspectives include explicitly pro-Leninist ideas, firmly in line with the Soviet-led Third International, or Comintern, to outwardly monarchist tracts opposed to the Bolshevik seizure of power. Also included are dissenting leftist opinions that, while decidedly pro-labor and in the leftist camp politically, are nevertheless not truly in line with the Soviet model of democratic centralism as propagated and put into practice by Lenin. In addition to French authors, the exhibit also represents a few pamphlets that are French translations of Russian texts, highlighting the truly international character of European socialism during this period.

The pamphlets presented here have been selected for this exhibit not only because of their importance to the UT Libraries’ distinctive collections, but because of their relevance to the political and socio-cultural history of Europe, both Western and Eastern, which continues to influence contemporary politics in France and beyond. Many of the publications also feature graphics and designs that will be of interest to anyone interested in the history of monographic design and publishing in the early to mid-twentieth century.

This collection will be of interest to anyone who would like to learn more about French-language history and propaganda, or who is interested in the development of socialist (specifically communist) and anti-socialist ideologies in Europe. The print versions of the pamphlets are available at the Perry-Castañeda Library and their digitized versions are available through the UT Libraries’ Collections Portal.

Ian Goodale is the European Studies Librarian for UT Libraries.

UT Libraries