Transforming Text: A Year of the Scan Tech Studio

The Scan Tech Studio (STS), located in the new PCL Scholars Lab, is a self-service facility designed to empower scholars and researchers in digitization, image processing, and text analysis projects. Equipped with advanced scanning equipment and software, the STS allows the UT community to independently digitize materials, apply optical character recognition (OCR) and handwritten text recognition (HTR), and engage in digital text analysis. From helping patrons scan historical documents to applying machine-readable techniques to modern texts, the STS has had an exciting first year guiding users in elevating their research.

The team behind this effort is the Scan Tech Studio Working Group, composed of seven librarians and digitization experts dedicated to helping scholars maximize the studio’s resources. We’re also grateful for the support of UT Libraries IT and the Scholars Lab Graduate Research Assistants, who keep everything running smoothly behind the scenes. The working group develops workshops, creates research guides, and promotes the use of digital scholarship tools related to OCR, HTR, and text analysis. Additionally, we offer guidance on copyright considerations and assist users in navigating the complexities of text recognition and analysis. Over the past year, the STS Working Group has been instrumental in fostering a dynamic learning environment within the Scholars Lab and building campus-wide connections to unlock the studio’s potential.

The working group has been dedicated to developing services that meet the evolving needs of the campus community. So far, our primary focus has been providing consultations and instruction related to digitization, OCR/HTR, and text analysis. With the diverse expertise of our team, we’ve been able to offer tailored, one-on-one consultations and small group sessions that help users think through the various stages of their digital projects, from planning to execution. Scheduling time with STS experts is simple through our user-friendly request form, ensuring patrons have easy access to specialized support.

Overall, we received 18 reservation requests, which meant that users had a consultation with one of the STS Working Group members, needed the space for digitization, and/or used our digital tool to OCR their materials. Many of these requests came from graduate students, specifically from the Department of History and the School of Information.

In addition to consultations, we’ve developed instructional tools such as a comprehensive research guide on research data management and the use of the studio’s equipment and software. The STS has also become a valuable teaching space, regularly hosting classes that integrate the studio’s technology into their curriculum, allowing students hands-on experience with advanced digitization tools and methods.

Reflecting on the past year, the STS has hosted several workshops inside and outside the studio to showcase its tools and demonstrate the possibilities to the campus community. For example, STS team members led workshops at this past summer’s Digital Scholarship Pedagogy Institute, focusing on digitization, OCR, and text analysis. Additionally, we contributed to the Digital Humanities Workshop Series, providing training in these specialized areas. 

It’s also worth noting that the working group dedicates time to internal development by hosting workshops for ourselves, allowing us to learn from one another and build up our collective skillset. As the saying goes, the best way to learn is to teach—and we’ve embraced this approach to better serve our users!

Due to the Scan Tech Studio being a new service, we wanted to partner with existing programs and reach out to various centers. We invited and provided an overview of our services to different centers around campus, such as JapanLab and the Center for Middle Eastern Studies. This gave us great insight into the needs around campus regarding digitization and OCR.

Additionally, we provided training in using specialized OCR tools such as Abbyy FineReader, a paid program under Adobe that is exclusively available at STS. It works exceptionally well for accurately OCRing text and training. We had about 36 uses in just our first year in the space.

As we continue to see the success of our space, we are planning to expand our services and tools. We aim to create additional resources covering various OCR tools and processes. We also plan to continue to collaborate with the Digital Humanities Workshop series to present different OCR and text analysis tools. Additionally, we intend to develop workshops tailored to researchers, including pre-research and post-research workshops. These workshops will help researchers understand what they need to do when conducting their research to ensure a successful OCR experience and facilitate the beginning of text analysis upon their return. We look forward to seeing how the groundwork we laid during the first year will impact our service in the upcoming year.

As you can see, we have a lot of promising plans to build off the Scan Tech Studio’s successful first year. We look forward to continuing to grow the space as a new hub for digitization and text analysis on campus. Scan you feel the excitement? 

Illuminating Explorations: Music and Childhood Culture

Hannah Neuhauser, 2025 PhD in Musicology, Butler School of Music


“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.

Music is a portal and can unlock a door to a fantastical sonic landscape, brimmed with mystic, melodic magic. We turn a page and open ourselves to discovering an entirely different realm, full of magic and mystery. Dangers may lurk around each corner, giants may want to gobble us up for lunch, and at times, the path may be so utterly twisted that we almost lose ourselves. Suddenly, the darkness becomes light, and in silence, we find ourselves back in the safety of our childhood bedrooms. The lion’s roar – a radiator. The pitter pattering of tiny Wild Things – the rain outside. Yet within a small, singular space, we traveled to another world and returned on the other side changed. In Throw the Book Away (2013), Anne Doughty remarks that regardless of how much a child reads, it is the experience of self-reliance and youthful agency that will ensure a protagonist’s survival in an unknown labyrinth. They must hear the warnings, read the signs, and act on their own. 

Cover image of the score book Songs and a Sea Interlude by Oliver Knussen and Maurice Sendak, from the opera Where the Wild Things Are.

This exhibit recreates these aural portals. However, instead of reading a book, we invite you to immerse yourself in the experience of children’s music. The Music and Childhood Culture Spotlight Exhibit seeks to inform scholars of the rich history of children’s music by highlighting hidden gems from the UT Austin library collections. Did you know A.A. Milne commissioned his own songbook for Winnie the Pooh in 1929? Or that Carole King wrote a children’s television special called Really Rosie in 1975? It was a huge hit and we have the score, which you can check out to sing to your younger friends! Selections also range from audio recordings like Danny Kaye’s narration of Tubby the Tuba (1947) to Oliver Knussen’s operatic score of Where the Wild Things Are (1982) and a wealth of interdisciplinary scholarship from Mozart’s influence on childhood labor (Mueller) to the rise of Young People’s Records (Bonner). 

Cover image of the score book Really Rosie by Carole King

Music is a psychological tool to study emotional regulation “without rules or limitations, it is pure assimilation” and media can stimulate fantasy for children to pretend “as if” they are something else (Gotz et, all, 2005 p.13). Numerous scholars discuss the sentimentality and destruction of child development due to media dependency, but children will always make their own ideas of media to understand, transgress, rebel, and connect with their surroundings (Parry, 2013). Here, in this exhibit, we seek to highlight the positive attributes of musical media that allow children (and our inner child) to enact their own creative cultures through their imaginations and identify the “traces” of media that we value. 

Cover image of the book Mozart and the Mediation of Childhood by Adeline Mueller

I hope you enjoy these discoveries as much as I did. 


Works Cited 

  • Doughty, Amie A. Throw the Book Away: Reading versus Experience in Children’s Fantasy. Jefferson, North Carolina: McFarland & Company, Inc., Publishers, 2013. 
  • Gotz, Maya, Dafna Lemish, Hyesung Moon, and Amy Aidman. Media and the Make-Believe Worlds of Children. Routledge, 2005. 
  • Parry, Becky. Children, Film, and Literacy. London: Palgave Macmillan, 2013.

Haricombe Establishes Distinguished Lecture Fund

The University of Texas Libraries is happy to announce the establishment of the Lorraine J. Haricombe Distinguished Lecture Fund, adding to the transformative legacy of Vice Provost and Director Lorraine J. Haricombe, who will retire later this year.  This parting generosity is emblematic of a leader who has exemplified the values of curiosity, diversity, and community engagement throughout her extraordinary tenure.

The Distinguished Lecture Fund will support an annual speaker series, bringing renowned experts to campus to inspire critical thinking, enrich dialogue, and showcase the breadth of UT Libraries’ resources. Funds distributed from the endowment will provide programming support, including speaker stipends, travel expenses, event logistics, and other related costs.

This initiative reflects Lorraine Haricombe’s vision for fostering intellectual exploration and building connections across disciplines. Her commitment to innovation and education will continue through this fund to uplift students, faculty, and the broader Austin community for years to come.

A contribution to the Lorraine J. Haricombe Distinguished Lecture Fund ensures that her legacy of inspiration lives on, creating opportunities for impactful conversations and the exchange of ideas well into the future.


If you are interested in supporting this fund, visit the UT Libraries Giving Page to make your contribution today.

Ernesto Cardenal’s Centennial

The papers of Nicaragua’s beloved poet-priest-politician reside at UT’s Benson Latin American Collection; January 20, 2025, is the centennial of his birth


Admired and controversial, Ernesto Cardenal was a towering figure in Central American culture and politics. As Nicaragua’s minister of culture under the Sandinista government, which took power in 1979, he oversaw a national program that taught poetry to Nicaraguans of all ages and all walks of life. 

A black-and-white photo shows many children in the background, facing the camera under a grassy roof open-air structure. In the foreground, several men are seated on a wooden floor. A microphone is being held above them to the left. The man on the left at the front of the photo is Ernesto Cardenal, wearing a black beret, wire-rimmed glasses and a simple collarless white shirt. He has shoulder-length white hair, and a full white beard and mustache. Another man to the right of him is speaking to an interviewer whose face is not visible.
Ernesto Cardenal (left of center) as Minister of Culture in Nicaragua. Undated photo, Benson Latin American Collection.

His relationship with the Sandinista government would eventually sour. As a result, the safety of his literary archive was in peril, leading to its eventual acquisition by the Benson in 2016.

In honor of Cardenal’s centennial, we link to previously published writings by UT Austin faculty and staff that examine various aspects of his life.


Ernesto Cardenal Papers


Ernesto Cardenal stands in profile in a black-and-white photo, on the left, at the stern of a small boat. He wears a simple white shirt and light-colored pants, a band around his forehead, glasses. He is holding a white net in his hand. He has shoulder-length white hair, beard, and mustache. The boat has the words San Juan de la Cruz painted on it, with the word Cruz symbolized by a cross.
Ernesto Cardenal, photo by Sandra Eleta

“The archive features rare editions of Cardenal’s writings, translations of his poetry, interviews, photographs, videos, newspaper clippings, documentaries about his life and work, and hundreds of letters to and from key protagonists of Nicaraguan culture and politics.”

Read more: Papers of Nicaraguan Luminary Find a Home at the Benson Latin American Collection

Ernesto Cardenal Papers on Texas Archival Resources Online


Cardenal at LLILAS Benson


Color photo of Ernesto Cardenal at age 91, reading his poetry at the Benson. He is wearing his black beret, a dark jacket, wire-rimmed glasses, and his hair is white, covering his ears. He holds a piece of paper in one hand and gestures with the other.
Cardenal reads his poetry to a packed house at the Benson. Photo: Travis Willmann.

The opening of the Ernesto Cardenal Papers is celebrated at a roundtable and bilingual poetry reading at the Benson. At the event, Cardenal reads his own poetry, which is passionately interpreted into English by poet Celeste Mendoza.

Watch video (poetry reading starts at one-hour mark): “Ernesto Cardenal in Word and Action” Reading and Roundtable

Cardenal in Hard Times


LP cover for Cardenal's libro-disco recording of Oración por Marilyn Monroe and other poems. The cover features Andy Warhol's alterations of Monroe's photo (or a copy thereof), in color, four in a square.
Warhol-inspired libro-disco cover. Caracas, 1972. Benson Latin American Collection.

“[T]he voice of Ernesto Cardenal broke with our routine of studying a limited range of literary texts, mostly focused on intimate, politically inoffensive themes,” writes Professor Luis Cárcamo-Huechante. “In the midst of times of censorship and coercion, it was Cardenal’s verses that awoke me to an unexpectedly revelatory linkage between poetry and social issues, literary writing and collective history.”

Read Cárcamo-Huechante’s essay in English or Spanish

Interview in Managua and Digital Exhibition


Ernesto Cardenal, his arms aloft and outstretched, is saying mass in this black-and-white photo. He wears a poncho. One the table in front of him is a metal wine cup. He has shoulder-length whitish hair, beard, and mustache, and dark-rimmed glasses. Behind him hangs a white sheet illustrated with drawings.
Saying mass. Ernesto Cardenal Papers, Benson Latin American Collection

In spring 2016, José Montelongo, former Benson librarian, visited Cardenal in Managua. The occasion was the Benson’s recent acquisition of Father Cardenal’s personal papers. In these excerpts from their conversation, Cardenal talks about poetry, science, and religion, about the famous poetry workshops he helped create, about the successes and failures of the Nicaraguan Revolution, and more.

Watch the video (in Spanish with English subtitles)

The digital exhibition “Remembering Ernesto Cardenal: Selections from His Archive,” organized by Latin American Archivist Dylan Joy, traces key moments in the life of the poet, priest, revolutionary, liberation theologist, sculptor, and activist.

Visit the digital exhibition

Hasta siempre . . .


Black-and-white close-up of an older Ernesto Cardenal, who is looking directly into the camera. His black beret is visible. He wears wire-rimmed glasses. His white hair is in bright relief with a black background.
Ernesto Cardenal, undated photo. Benson Latin American Collection.

“Ernesto Cardenal was a fighter: for justice, against dictatorship, for equality, for his faith, and for the power of art and beauty to shine light in a dark world. He was tireless in this lifelong struggle, striving until his final days for a better Nicaragua and true justice for all people. LLILAS Benson is proud to help to carry on his legacy.”

Virginia Garrard, Professor Emerita of History; former director, LLILAS Benson

Read the Obituary: “Ernesto Cardenal Is Dead at 95: The Nicaraguan Poet, Priest, and Revolutionary Chose the Benson Collection for His Archive”