Though most of the current denizens of the Perry-Castañeda Library (PCL) are too young to appreciate it, the campus’s flagship library turns 40 this year, which is significant in the life of a modern library given the change that the institution has experienced in the last couple of decades.
When PCL was conceived, it was believed that the new building would accommodate the growth in physical collections for the foreseeable future; little did our 20th century forebears imagine the impact digital technologies and a global information network would have on the preservation, storage and distribution of knowledge.
Biochemist Lorene Rogers is president of The University of Texas at Austin, and Harold Billings is director of the university’s General Libraries, and enrollment at UT is 41,660.
Dolph Briscoe is the governor of Texas, Austin has a population of 321,900 (now 947,890), and Texas has 13.19 million (now 27.86 million).
Median income: $13,572. Average cost of: a house — $54,200; a car — ~$4,300; a gallon of gas — $0.62; annual tuition, room & board — $2,411.
Apple Computer is incorporated, and later in the year, the first Apple II series computers go on sale.
The Thorn Birds by Colleen McCullough is the best-selling fiction of the year.
Laverne & Shirley is the top rated TV show.
The critically-acclaimed television miniseries adaption of Alex Haley’s Roots airs.
The punk band The Clash’s debut album The Clash is released on CBS Records.
Optical fiber is first used to carry live telephone traffic.
The first Chuck E. Cheese’s Pizza Time Theatre opens in San Jose, California.
George Lucas’s Star Wars opens in cinemas and becomes the highest-grossing film of its time. Woody Allen’s Annie Hall wins the Oscar for Best Picture. Also released: Close Encounters of the Third Kind, Eraserhead, and Smokey and the Bandit.
Rod Stewart’s “Tonight’s the Night,” is Billboard’s Top Hot 100 single for the year, and Fleetwood Mac’s Rumors is the top-selling album.
Elvis Presley, the “king of rock and roll”, dies in his home in Graceland at age 42.
Jimmy Carter signs legislation creating the United States Department of Energy.
NASA launches the Voyager 1 spacecraft.
British punk band Sex Pistols release Never Mind the Bollocks, Here’s the Sex Pistols on the Virgin Records label.
San Francisco elects City Supervisor Harvey Milk, the first openly gay elected official of any large city in the U.S.
Saturday Night Fever is released, launching the careers of John Travolta and resulting in multiple hits for the Bee Gees.
Atari, Inc. releases the Atari 2600 game console in North America.
The first children’s cable channel The Pinwheel Network (later known as Nickelodeon), is launched.
The first ever event is hosted at the newly opened Frank Erwin Center on November 29 when the Longhorn men’s basketball team defeats Oklahoma, 83-76.
The Longhorn football team finishes the regular season with an 11–0 record, and running back Earl Campbell wins the Heisman Trophy, leading the nation in rushing with 1,744 yards.
Once again the summer break has provided enough clearance for us to undertake a major renovation project, and mirroring last summer, that effort is occurring at the Fine Arts Library.
Dovetailing with last year’s completion of the Foundry — a creative maker space loaded with technology and production tools — the fourth floor of FAL has been cleared of physical resources in an effort to create space that blurs the line between classroom and library.
The reimagining of previous stack space will result in new classrooms and collaborative spaces to accommodate the Center for Integrated Design (CID), an interdisciplinary program administered in the College of Fine Arts that connects design, engineering, information, business, computer science and architecture programs from across the university to bring solution-focused design thinking to university curricula in a comprehensive way. The center seeks to provide all UT students the opportunity to study design methodology and apply it in creative and entrepreneurial scenarios.
Recent expansions of CoFA curricula into areas emphasizing innovation skills and design thinking are meant to better prepare students for a professional landscape that is ever-evolving in the face of technological development. But these programs have strained the college’s existing facilities, and partnerships with the Libraries — like the CID space and the Foundry — are helping to address the needs of current and future undergrads and graduates.
The 4th floor renovation includes the creation of two large classrooms — one of which will be equipped with active learning and creative technologies — a large seminar room, a medium seminar rooms that seats 12 and two small seminar rooms. The changes will also provide new office space for the faculty and staff in CID, as well as for faculty in the Center for Arts and Entertainment Technologies (CAET), a primary partner with the Libraries in the development of the Foundry.
Libraries staff moved more than 100,000 books, bound journals and scores to offsite storage facilities to accommodate the new construction, and moved the remaining 195,000 items to the stacks on the fifth floor of the building. Thanks to a robust delivery system developed over the last decade, the Libraries can provide campus access to any remote materials within 48-72 hours.
The renovation is on schedule and expected to be complete in time for the opening of classes this fall.
Lorraine Haricombe says states need to follow New York’s lead and advance OER initiatives.
Tucked away in New York Gov. Andrew Cuomo’s announcement to make tuition free to eligible students at two state university systems was additional important news – a budget of $8 million had been earmarked to promote and distribute open educational resources, or online education materials that are free to access and customize for students. The two university systems have been urged to use this money to focus on high-enrollment courses, with the goal of minimizing or eliminating textbook costs for those courses. This is a very positive step toward college affordability and is exactly what we need in more states and on a national scale.
It’s no secret that the high cost of textbooks places an enormous burden on students. Textbook costs increased by an astonishing 82 percent from 2002 to 2012, a pace that is triple the rate of inflation. Open educational resources are a promising way to address issues related to both costs and education.
Advancing the use of open educational resources means upending a decades-old system, and it has the potential for pushback from institutions, bookstores, publishers and even faculty members, as there isn’t much of an incentive to transition to open educational resources versus traditional textbooks.
But it’s worth it because it is a viable solution to increasing student success. And it starts with open textbooks, which are a collection of open educational resources aggregated in a manner that resembles a traditional textbook.
As a longtime advocate of “open access,” I know that open textbooks are not the only solution to the higher education affordability problem. However, they can save students significant money not only individually, but collectively in high-enrollment classes where the combined savings are potentially large. Take, for example, OpenStax at Rice University, which offers free peer-reviewed open textbooks. It has saved students $155 million since 2012 by offering textbooks for the highest-enrollment college courses across the country. Simply stated, the advantages of using open educational resources offer students greater potential for broader access to information and education in New York, Texas or any state in between.
Open materials can also empower faculty members to change the way they teach and give them the academic freedom to tailor their course content to their students’ needs. What that exactly means for student learning and the motivations that encourage faculty to use open educational resources in their work as researchers and instructors offers an important opportunity to positively impact higher education as a whole.
Luckily some states are getting the message. In Texas, Gov. Greg Abbott recently signed Senate Bill 810 into law supporting the adoption of open educational resources similar to the Affordable Learning Georgia program out of the University System of Georgia, which has saved students more than $16 million through expanding the use of free and open course materials. Other states such as Florida, California, Minnesota, North Dakota, Oregon and Washington have enacted legislation that has expanded or stabilized open educational resources.
The momentum is also gaining traction in non-legislative initiatives. Seven of Rhode Island’s state colleges started using open-license textbooks this year in hopes of saving students at least $5 million in the next five years. And open educational resources libraries have been created at the system and/or institutional levels in Arizona, Minnesota, NewYork and Virginia without legislation. Some publishers are even trying to get into the mix.
But we need more. Moving forward, we need to convince more lawmakers in more states – and ultimately taxpayers – of the savings accrued to students and improved academic success rates for students using open educational resources versus traditional textbooks. And we need recurring appropriations to provide sustainable support for promoting and growing open educational resources in teaching and learning. With New York and several large university systems and legislative initiatives setting the example, it’s up to the rest of us to catch up and build on it.
About the Conference conferences.lib.utexas.edu/rethinkit2018/ January 8-10, 2018, the UT Libraries, Austin Public Library, and Austin Community College Libraries will co-host Re-think it: Libraries for a New Age, inaugurated at Grand Valley State University in 2015. The conference will be held at the University of Texas and other locations in Austin and Central Texas.
Re-think it: Libraries for a New Age will bring together academic and public librarians, administrators, technologists, architects, designers, furniture manufacturers, library users, and educators from across the country to discuss, share, learn and collectively re-think the increasingly important role libraries play in the communities that they serve.
Libraries have long been “third places” for community groups, students (both young and old), immigrants, national and international visitors, and members of the local the community. At their best, libraries provide patrons with safe spaces to engage with the written word, new technologies, new ideas, and new ways of thinking. Libraries expand the horizon of possibility in ways that are both emerging, and traditional. Library spaces are being transformed to include tinkering labs, community kitchens, makerspaces, and virtual reality rooms, all of which exist alongside books, newspapers, computers, and reference desks. These new ecosystems are ripe with the potential to connect people and create new communities.
As library administrators and staff consider what the new horizon will look like for patrons, it is important that we make that horizon accessible. When considering what an accessible horizon looks like in the context of emerging technologies, we should be mindful of our role as intermediaries and translators. Much like learning a new language, engaging with emerging technologies can be daunting. Without a framework for how to utilize or engage with new technologies in productive and enriching ways, our patrons could easily be discouraged, or worse, feel isolated in their learning endeavors. We can encourage and support patrons in their exploration by providing thoughtful programming, workshops and tours of our spaces, and by emphasizing jargon-free explanations of new technologies and their application in the real world. By providing an accessible framework for how to think about oneself in the context of emerging, technology-rich environments, we can empower patrons to move toward new horizons with confidence.
Libraries are the go-to place for knowledge-seekers looking to sharpen their intellectual capacity and understanding of everything from boolean logic to gardening in Texas soil. They provide books on the arts, and on creative practices like knitting, cooking, and photography, so why not provide a larger technical infrastructure that will enable patrons to integrate traditional creative practices with technology? Why not provide patrons with the tools and skills they need to move into new realms of possibility via the practice of making, and making alongside others? While creativity may come naturally for a large portion of the population, it isn’t necessarily a skill that is mastered overnight. Like many skills, creativity takes patience, practice, and a good support community. With many communities losing access to arts funding it is an opportune time for libraries to consider playing a role in the creative lives of citizens, and makerspaces are just one example of how libraries are rethinking their role.
A Brief History of The Foundry
The University of Texas Libraries’ exploration of makerspaces began in 2013 under the oversight of the former head of the Fine Arts Library, Laura Schwartz. During this time, a Special Interest Group (SIG) was charged with researching makerspace technologies within the scope of academic libraries. The group’s findings provided insight into what services are typically made available through these spaces. Following this period of exploration, the Libraries began to pursue funding from outside sources in order to renovate existing library spaces to accommodate new technologies.
In 2014, the Libraries applied for a Longhorn Innovation Fund for Technology (LIFT) Grant and an Institute of Museum & Library Services (IMLS) grant. Neither of these applications was successful.
However, even before funding was secured for the makerspace, the Libraries decided to move forward with a project to build a recording studio in the Fine Arts Library. In spring of 2015, the Libraries participated in the second round of the university’s project fundraising tool Hornraiser — a new crowdfunding operation launched by the university development office — which netted over $15,000 for the studio, and served as a kind of proof of intention to create a larger creative space.
In 2015, the university’s College of Fine Arts (COFA) launched a new program, the Center for Arts and Entertainment Technologies (CAET) which provided additional purpose and created a partnership for the development of the space. The Libraries coordinated fundraising efforts with COFA and the Provost’s office with the expressed purpose of collaborating with CAET to build tools and services in support of the program. A proposal to the Hearst Foundations was rewarded with $200,000 in grant monies to create a makerspace that would be available to anyone on campus, regardless of major or departmental affiliation.
To supplement the Hearst Foundations grant award, COFA and the provost provided additional funding to support the Fine Arts Library renovation, the purchase of makerspace technologies, and staffing for the new space. Two key positions were established to support the program and new functionality in the library. The Arts & Creative Technologies Librarian is responsible for day to day operations and provides support to faculty across campus in order to integrate The Foundry into the curriculum, and the Media Support Technician provides support for the equipment and facilities.
With staffing and funding largely secured, the Libraries worked with designer Harmony Edwards (Edwards + Mulhausen) to seek input from campus stakeholders; faculty, staff and students were invited to provide feedback during design charrettes and focus groups. These discussions allowed the Libraries to better understand how faculty and students envisioned a makerspace, how they might engage with the technology in that space, and if they were currently using makerspace technology in their personal or professional work.
By early 2016, Libraries staff purchased multiple 3D printers, technology for a video wall, top-of-the-line Mac Pros, Bernina sewing machines, a 3D scanner, a large format printer/cutter, two mills, a laser cutter, and an array of additional tools based on feedback from earlier stakeholder conversations. This technology, combined with the high-end audio equipment that would reside in the recording studio, formed the foundation of what was to be known as “The Foundry.”
Construction took place at a fevered pace over the summer of 2016. In early September, The Foundry’s impressive grand opening was celebrated with overflow crowds from the campus community and beyond in attendance.
After the initial success of the launch and praise for the exceptional results had subsided, the difficult work of developing processes and a structure for use of The Foundry began in earnest. The following months were considered a rollout period and involved developing an assessment plan, workflows for equipment certification and use, bringing equipment online, and developing learning materials that would support student and faculty engagement with the space.
As of May 2017, The Foundry is almost fully operational.
There is always a learning process involved in doing something for the first time, and it was no different building a creative space full of machines in the middle of a library originally designed for quiet reflection and housing books. Here are a few bits of practical advice to keep in mind.
When bringing a makerspace online, it is important to develop effective and productive working relationships with campus departments. At The University of Texas at Austin, the Office of Environmental Health & Safety is responsible for oversight of campus facilities. This group is charged with developing safety training procedures for labs and shops across campus. New technology-rich spaces like The Foundry present a challenge when developing safety protocols. Makerspaces aren’t necessarily as dangerous as a wood shop with a large table saw, but the spaces do present safety challenges, and therefore need to have sufficient safety training procedures in place. Negotiating the terms of these procedures with institutional partners is a key component of a successful launch, and the time involved in this should not be underestimated. When considering a makerspace for a school, college, or university, relevant campus safety services should participate in planning conversations from the project’s initiation. Experts can advise on compliance requirements, and may even work directly with principals to develop safety procedures that are customized to the proposed space.
Aside from ensuring that patrons are safe, administrative procedures and workflows need to be addressed. Depending upon campus size, seemingly small workflows could potentially take longer than expected to develop. Will patrons be paying for their 3D prints? Which pieces of equipment warrant safety certification, and which can be made freely available without training? Who should be teaching the certification classes? How long should a patron be able to use a piece of equipment? All of these questions help inform the workflow development, and will help inform the character and value of the makerspace.
Prioritizing the development of an assessment plan, or, at a minimum, a mission statement, will present the vision for a makerspace, and allow progress towards that vision to be monitored in measurable increments. Makerspace technology can be intimidating to many students and faculty. Foundry staff are addressing this concern through the assessment plan, and by closely monitoring how welcome patrons feel in the space. Surveys are a great tool to better understand how patrons are engaging with spaces, services, and technical resources, and, in the case of The Foundry, assist in monitoring progress towards creating a welcoming space. Survey data can and should inform planning discussions, and can assist administrators in demonstrating an operational commitment to the mission.
Looking ahead to the next year, The Foundry will cross-reference data from multiple sources in order to refine existing workflows, and accommodate growing interest from faculty across campus. Increasing the number of strategic partnerships will hopefully open the door to interdisciplinary use of the space, with faculty from multiple departments partnering to teach workshops or courses that use Foundry resources. Additional funding and staffing will inevitably need to be pursued in order to accommodate these demands.
Even though The Foundry is in its infancy, it has generated enormous excitement across campus. Potential partners are continuously connecting with Foundry staff to discuss their ideas for collaborative use of the space. Faculty, staff, and students are demonstrating a vested interest in the space by submitting requests for new technology and services, and by sending positive words of encouragement, along with articles about makerspace projects that are inspiring to them. This type of excitement and willingness to stay engaged with a space can be difficult to find on large research university campuses, where competition for internal and external funding can be fierce. If the excitement, enthusiasm, and generosity of the campus community aren’t evidence of the value of a makerspace, then what is? When thinking about creating new communities, the final product may be less important than the process used to get there. Breaking down departmental and organizational barriers is not for the faint of heart, but with a willingness to collaborate and tackle challenges alongside one another, it can be done.
Amber Welch is Head of Technology Enhanced Learning at the University of Texas Libraries.