Category Archives: Area Studies

Seminar Commemorates Collaboration with Guatemala on Archives and Human Rights

Documents at the Archivo Histórico de la Policía Nacional (AHPN, Guatemalan National Police Historic Archive). Photo: AHPN.
Documents at the Archivo Histórico de la Policía Nacional (AHPN, Guatemalan National Police Historic Archive). Photo: AHPN.

BY HANNAH ALPERT-ABRAMS

Lea en español.

Editor’s note: From the National Security Archive at George Washington University: “Guatemala’s renowned Historical Archive of the National Police (AHPN) is in crisis after its director, Gustavo Meoño Brenner, was abruptly removed in one of a series of recent actions orchestrated by the Guatemalan government and a United Nations office. The actions also placed the AHPN’s remaining staff of more than fifty people on temporary contract, and transferred oversight for the repository from the country’s national archives, where it had functioned since 2009, to the Ministry of Culture and Sports.” (See Guatemala Police Archive Under Threat.)

These actions took place on August 3, a week after LLILAS Benson Latin American Studies and Collections joined UT’s Rapoport Center for Human Rights and Justice in Guatemala City to host “Archives and Human Rights: A History of Collaboration between the University of Texas and the Historic Archive of the National Police.” The one-day seminar was an opportunity to reflect on seven years of partnership between the University of Texas and the AHPN, which preserves records documenting over one hundred years of police activity in Guatemala.

Given the recent alarming developments at AHPN, Virginia Garrard, director of LLILAS Benson Latin American Studies and Collections at The University of Texas at Austin, stated, “LLILAS Benson affirms its commitment to supporting the preservation of this historic collection, which is so fundamental to the pursuit of justice, the recovery of historical memory in Guatemala, and to the preservation of Guatemala’s national history dating back all the way to the nineteenth century.”

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Representatives from LLILAS Benson Latin American Studies and Collections and the Bernard and Audre Rapoport Center for Human Rights and Justice visited Guatemala City on July 27 for a seminar on archival partnerships between the University of Texas and Guatemalan institutions.

The event, “Archives and Human Rights: A History of Collaboration between the AHPN and the University of Texas” was held at the Archivo Histórico de la Policía Nacional (Guatemala National Police Archive, or AHPN). The AHPN is located in the unfinished hospital building where over 80 million pages of archival materials were found, in various states of preservation, in 2005. For over ten years, Guatemalan archivists have been working to preserve, organize, and provide access to this vulnerable collection.

Gustavo Meoño, director of the AHPN, addresses the seminar. Seated (l-r) are Virginia Garrard, Daniel Brinks, and Theresa Polk. Photo: Hannah Alpert-Abrams.
Gustavo Meoño, director of the AHPN, addresses the seminar. Seated (l-r) are Virginia Garrard, Daniel Brinks, and Theresa Polk. Photo: Hannah Alpert-Abrams.

During the seminar, speakers reflected on the seven-year partnership between the AHPN and the University of Texas, which has featured scholarly, pedagogical, and digital collaborations, including the 2011 launch of the UT-hosted digital portal to the AHPN.

The one-day event was hosted by the director of the AHPN, Gustavo Meoño, and by Anna Carla Ericastilla, the director of the Archivo General de Centroamérica. Virginia Garrard, director of LLILAS Benson; Dan Brinks, co-director of the Rapoport Center; and Theresa Polk, director of digital initiatives for LLILAS Benson, spoke about the history of the partnership and its importance for reconstructing historical memory and the pursuit of democracy and transitional justice in Central America.

Daniel Brinks (l), co-director of the Rapoport Center; Virginia Garrard, director of LLILAS Benson; and Gustavo Meoño, director of AHPN. Photo: Hannah Alpert-Abrams.
Daniel Brinks (l), co-director of the Rapoport Center; Virginia Garrard, director of LLILAS Benson; and Gustavo Meoño, director of AHPN. Photo: Hannah Alpert-Abrams.

LLILAS Benson alumni Giovanni Batz, Brenda Xum, María Aguilar, and Hannah Alpert-Abrams discussed the impact of teaching and learning with the archive on their professional careers and their personal understanding of Guatemalan history. Especially moving were personal stories from former UT students whose understanding of their cultural heritage was shaped by studying the AHPN. As Brenda Xum remarked: “los archivos cuentan una historia humana” (“the archives tell a human story”).

LLILAS alumna Brenda Xum. Photo: Hannah Alpert-Abrams.
LLILAS alumna Brenda Xum. Photo: Hannah Alpert-Abrams.

Longtime AHPN affiliates Enmy Morán and Tamy Guberek offered visions of the future of research with the AHPN, including new approaches to archival practice and new quantitative methods for uncovering archival histories.

About seventy-five scholars, archivists, students, and community members attended the conference, which was open to the public. Among the topics addressed in audience questions were the challenges of digital preservation, the difficulties of accessing archival information, and the ethics of publishing sensitive information online.

Throughout the very warm afternoon, participants commented on the ways that the conference had reinvigorated their interest in archival research and Guatemalan history. At the end of the day, one audience member stood to congratulate the panelists on a successful event. “Before this event I didn’t really know about this archive,” she said, “and I didn’t know about its importance to my country’s history.”

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The seminar “Archivos y derechos humanos: experiencia de colaboración entre AHPN y UT Austin” was co-sponsored by Archivo Histórico de la Policía Nacional (AHPN), LLILAS Benson Latin American Studies and Collections, and the Bernard and Audre Rapoport Center for Human Rights and Justice.

Hannah Alpert-Abrams, PhD, is the CLIR postdoctoral fellow in data curation at LLILAS Benson Latin American Studies and Collections.

Whit’s Picks: Take 1 — Gems from the HMRC

Resident poet and rock and roll star Harold Whit Williams has recently taken on 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 on occasion, he’ll be presenting some of his finds here on the blog.


Recently added (and highly-recommended) Music from the KUT Collection at the HMRC

Angela Faye Martin / Pictures From Home

North Carolina singer/songwriter turns Appalachian music on its head with odd synth and fuzz burbling background. Quietly brooding and beautiful. Produced by Sparklehorse’s Mark Linkous.

Ruxpin / Where Do We Float From Here?

IDM electronic musician Jónas Thor Guðmundsson hails from Iceland and creates blips and bleeps as Ruxpin. Less frenetic than Autechre, not as dark as Aphex Twin, Where Do We Float From Here shines with bright and melodic northern lights.

Olivier Messiaen / Visions de l’Amen

French avant garde composer’s challenging suite of seven pieces for two pianos. Marilyn Nonken (piano I) and Sarah Rothenberg (piano II) in a brilliant performance captured at Stude Hall, Shepherd School of Music, Rice University.  

Jews and Catholics / Who Are? We Think We Are!

 Following in that grand Southeastern tradition of rock duos (House of Freaks, Flat Duo Jets), Winston-Salem’s Jews and Catholics bring their amped-up indie pop to spike the punch at your summer backyard party. Audacious, nervy, overdriven. Produced by the legendary Mitch Easter of Let’s Active.

Georgia Anne Muldrow (as Jyoti) / Ocotea

 Muldrow takes a break from her breathtaking vocals and rhymes on Ocotea, as she deftly experiments with avant jazz swirled around inside chill electronica.

Harold Whit Williams is a Library Specialist in Music & Multimedia Resources Cataloging for Content Management. He also writes poetry, is guitarist for Cotton Mather, and records ambient electronic music under the solo name The French Riot.

Other installments: Take 2

 

AILLA Awarded Grant from the National Endowment for the Humanities

The National Endowment for the Humanities (NEH) has awarded a Documenting Endangered Languages Preservation Grant of $227,365 to Patience Epps and Susan Smythe Kung of the Archive of the Indigenous Languages of Latin America (AILLA) for support of their upcoming project entitled “Archiving Significant Collections of Endangered Languages: Two Multilingual Regions of Northwestern South America.”

The AILLA grant is one among 199 grants, totaling $18.6 million, announced by the NEH on April 9, 2018.

This is a three-year project that will gather together, curate, and digitize a set of eight significant collections of South American indigenous languages, the results of decades of research by senior scholars. The collections will be archived at AILLA, a digital repository dedicated to the long-term preservation of multimedia in indigenous languages. These materials constitute an important resource for further linguistic, ethnographic, and ethnomusicological research, and are of high value to community members and scholars. They include six legacy collections from the Upper Rio Negro region of the northwest Amazon (Brazil and Colombia), and two collections focused on Ecuadorian Kichwa, most notably the Cañar variety.

Women spinning wool, Juncal, Cañar, Ecuador; photo: Niels Fock/Eva Krener, 1973
Women spinning wool, Juncal, Cañar, Ecuador; photo: Niels Fock/Eva Krener, 1973

All of the languages concerned are endangered or vulnerable to varying degrees, and the collections are heavily focused on threatened forms of discourse, such as ritual speech and song. Of the Upper Rio Negro set, the collections of Elsa Gomez-Imbert, Stephen Hugh-Jones, and Arthur P. Sorensen, Jr., include the East Tukanoan languages Bará, Barasana, Eduria, Karapana, Tatuyo, Makuna, and Tukano. The collections of Howard Reid and Renato Athias are focused on Hup, while Reid’s collection also contains a few materials from two languages of the wider region, Nukak and Hotï (yua, isolate). Robin Wright’s collection involves Baniwa. Of the Ecuadorian Kichwa set, Judy Blankenship’s and Allison Adrian’s collections are both focused on Cañar Highland Kichwa, while Adrian’s also includes some material from Loja Highland Kichwa (qvj, Quechua).

The two regions targeted by these collections are highly significant for our understanding of language contact and diversity in indigenous South America. The multilingual Upper Rio Negro region, famous for the linguistic exogamy practiced by some of its peoples, has much to tell us about language contact and maintenance, while Ecuadorian Kichwa varieties can shed light on the dynamics of pre-Colombian language shift. These collections will be made accessible in AILLA in standard formats, and will provide a foundation for further study of these fascinating regions and multilingual dynamics.

NEH Logo MASTER_082010

The National Endowment for the Humanities, created in 1965 as an independent federal agency, supports research and learning in history, literature, philosophy, and other areas of the humanities by funding selected, peer-reviewed proposals from around the nation. Additional information about the National Endowment for the Humanities and its grant programs is available at www.neh.gov.

Excessive Noise Turns Six with “Green Paw”

Excessive Noise is an occasional concert series hosted by the Fine Arts Library.  Organized by Russell Podgorsek — who earned his doctorate at the Butler School of Music and is an employee of the Fine Arts Library — the series provides students with an opportunity to perform chamber and solo works beyond those required by their degree programs.  It also provides an opportunity for the premier of original works beyond the classroom.  While generally in the classical vein, Excessive Noise features work from a variety of traditions and perspectives.

The newest installment of “Excessive Noise: Not Just the Notes” takes place this Friday, March 8 in the Fine Arts Library, just in time to warm up for SXSW. The show is free and starts at 6 p.m.

Podgorsek and his co-curator for the concert, Jessy Eubanks, took a moment to answer a few questions about the series and Not Just the Notes.

So, how did you come up with the concept for Excessive Noise, and what were your goals for the program?

Russell Podgorsek.
Russell Podgorsek.

Russell Podgorsek: I started Excessive Noise back when I was a doctoral student in music and a GRA at the Fine Arts Library (FAL). Recently retired music librarian David Hunter mentioned that they’d previously had a concert series there and strongly suggested I start it up again. At first, it was just a nice vehicle to have some other performance opportunities for student performers and composers, and capitalize on the surprisingly good acoustic in the FAL, but as the semesters went on we had more alumni, Austin music community members, and even a few guests from out of town perform. We’ve had programs with speakers from Asian Studies, a feature with the Maps Collection, and more recently featured ensembles like invoke and Hear No Evil, allowing them to program the entire event. In other words, I think it’s come to be more a celebration of the library as a community hub, as a place where you come to share and explore ideas. I should add that UT Libraries has been consistently supportive of the series and not only do we appreciate it, but patrons also tell me after every concert what a nice tradition it’s become for them.

Musicians from NationalAcademy of PerformingArts, Karachi.
Musicians from National Academy of Performing Arts, Karachi.

You’ve really engaged the community with the series by presenting programming that might otherwise be familiar almost exclusively to people associated with the Butler School or the College of Fine Arts. Can you explain how you settle on themes for the individual events? Is that your own conceptualization, or are you co-curating with the performers?

RP: At first there were no themes really; I was just asking whoever was around and interested in playing to play, and of course I programmed one of my own pieces on each concert. But once the series was had been around for a year or two and the old reference stacks were replaced with shorter, newer ones, the place attracted more interested performers. In some cases, like with the collaboration with the Maps Collection back in 2014, the materials we wanted to showcase dictated the “theme”. For that concert we even had five pieces newly written based on maps of Chicago from the collection. The Orient-Occident performance was a more generalized “East meets West” theme that came out of my own interaction with Japanese culture. We had a DMA composer at that point from China and several grad students from Pakistan at BSOM so the pieces just fell into place. More recently, I’ve had ensembles provide their own programs, although the last concert was a joint programming venture with Hear No Evil (we did two of my pieces with them and they supplied the rest). So, I guess the short answer is we’ve done it almost every way one could. This time around I’ve handed the programming off to the not just the notes collective. The director is one of my students and the co-directors former students of mine, so I’m more of an advisor for the time being.

 

What’s the story with Not Just the Notes? This seems like an extension of the ensemble programming, but perhaps in a new way.

Jessy Eubanks.
Jessy Eubanks.

Jessy Eubanks: Not Just The Notes is more of a concert series than an ensemble. We program new music written by UT composers, and focus on non-musical themes and collaboration. For example, this concert program consists of pieces about how humans interact with the environment, and current environmental issues. We needed a venue for our first concert, and Russell was very kind in letting us use the Excessive Noise series as a host.

 

One of the great things about the Excessive Noise series is that it gives campus composers the chance to share new material and to experiment in a performance space. Not Just the Notes seems to be a great fit for the series because of that. Can you talk a little about the nature of collaboration in the program, and maybe offer a peak into what folks can expect from the performances? 

JE: Our first collaboration will include the Campus Environmental Center. We’ve worked with by inviting them to our event, and they’ll have a table set up at the concert to answer questions and share some about the work they do around UT. It’s been really cool to make that connection. As for the performances themselves, each piece deals with a different aspect of how people are interacting with nature and the environment, things like that, and some send very strong messages about current issues such as deforestation or over-consumption.

Shih-Wen Fan.
Shih-Wen Fan.

The program is titled “Green Paw.” Can you talk about that and who will be performing?

JE: All of the performers are UT students, but a number of pieces have no performers at all- they are solely electronic or fixed media. Other pieces are a combination and feature live players with electronics.

The title Green Paw is a reference to the environmental theme of the concert, we thought it sounded cool and wanted a way to differentiate between this concert and (hopefully) future concerts.

ChadIbison.
Chad Ibison.

What are you planning for the future programming of Not Just the Notes? And what can we expect in the future from the Excessive Noise series?

JE: For Not Just the Notes, one area we’re hoping to explore is working with other students in the arts, such as dance or visual arts. There’s already so much potential in the College of Fine Arts alone, but we don’t want to limit ourselves. For example, there are also many music students involved in computer science, and it’d be very interesting to work creatively with them. There’s tons of options, and we’re also open to anyone coming to us with ideas for collaboration!

RP: I’ve got a couple of potential programs in mind for the future of Excessive Noise: a revival of a really successful project called “Sehr Flash” that we mounted back in 2016 at BSOM and the Texas Book Festival in conjunction with lit-mag NANOFiction, and a “new common practice” concert for which we’ll have several new pieces written all with the same stylistic constraints (the OULIPO groups does this kind of thing in the world of literature). Also, depending on how things shape up in terms of scheduling soloists, we may have a steel drum feature sometime soon.

Event Poster

 

 

 

21 Years of Peace, 21 Million Documents: Revisiting the Digital Portal to the Archivo Histórico de la Policía Nacional

Working with documents at the AHPN. Photo courtesy Archivo Histórico de la Policía Nacional, Guatemala.
Working with documents at the AHPN. Photo courtesy Archivo Histórico de la Policía Nacional, Guatemala.

BY HANNAH ALPERT-ABRAMS

How can we process 80 million pages of historical documents?

The question is a philosophical one, about the ability of our minds to conceive of such a large number of documents. The Archivo Histórico de la Policía Nacional (Guatemalan National Police Historical Archive, AHPN) in Guatemala City contains about eighty million documents, or about 135 years of records from the National Police of Guatemala.

According to one estimate, that means the collection requires about three-quarters of a mile worth of shelf space. In comparison, the Gabriel García Márquez collection at the Harry Ransom Center takes up about 33.18 feet of shelf space. The Gloria Evangelina Anzaldúa Papers at the Benson Latin American Collection take up about 125 feet.

The question is also a technical one, about the difficulty of gathering, organizing, and providing access to an inconceivably large collection. For over a decade, archivists at the AHPN have been racing to clean, organize, and catalogue these historical records. In 2010, the University of Texas at Austin partnered with the AHPN to build an online portal to a digital version of the archive.

Photo courtesy Archivo Histórico de la Policía Nacional, Guatemala.
Photo courtesy Archivo Histórico de la Policía Nacional, Guatemala.

As the CLIR Postdoctoral Fellow in data curation and Latin American studies at LLILAS Benson, I have been tasked with the challenge of figuring out how best to support this ongoing partnership.

I visited the AHPN last November, just before Guatemala celebrated the twenty-first anniversary of the signing of the peace accords that ended the country’s decades-long armed conflict (1960–1996). Together with Theresa Polk, the post-custodial archivist at LLILAS Benson, I went to Guatemala to learn about the digitization efforts at the AHPN, and to celebrate a major milestone: when we arrived, the archive had just finished digitizing 21 million documents.

Many of the documents in the archive are in fragile condition. Photo courtesy Archivo Histórico de la Policía Nacional, Guatemala.
Many of the documents in the archive are in fragile condition. Photo courtesy Archivo Histórico de la Policía Nacional, Guatemala.

Digital Access to Historical Memory

The AHPN hard drives may fit in a carry-on, but hosting and providing access to the 21 million digital documents they contain is not a trivial task. When the University of Texas launched the digital portal to the archive in 2011, it was a bare-bones service with minimal browsing or search capabilities. Since then, the collection has doubled in size and grown exponentially in complexity. Our challenge—and the reason we were in Guatemala City—is to figure out how to represent that complexity online.

According to the web analytics, the majority of visitors to the website are based in Guatemala. These users are largely looking for two kinds of information. Some are members of human rights organizations conducting research related to police violence spanning over three decades of internal conflict in Guatemala. The rest are people trying to find out what happened to their loved ones, victims of violence during that same period. That’s why the anniversary of the peace accords matters to the collection. Organizing these records and making them available to the public has been one of the many ways that Guatemalans are reckoning with their country’s past.

There is an urgency to serving these research communities, and our top priority is to provide easy access to information. Easy searching of the archive, however, remains elusive. The archival documents are organized according to the baroque structure of the police bureaucracy. To find documents requires an intimate knowledge of that organizational structure.

Searching would be easier with richer descriptive metadata. If we could extract names, locations, and dates from the archival materials, it would make it easier for a person to search for their loved one, or a researcher to learn about specific neighborhoods or historical events. But extracting information from 21 million documents is a resource-intensive task, and the technologies for automating those processes remain imperfect.

Photo courtesy Archivo Histórico de la Policía Nacional, Guatemala.
Photo courtesy Archivo Histórico de la Policía Nacional, Guatemala.

Search is not our only priority, however. As I learned firsthand, to visit the AHPN is to be immersed in the context of its construction and its size. The dark, narrow corridors, concrete walls, and grated windows are a testament to the building’s history as a police prison. The violence of the archive is always close at hand, despite the hope it represents. One of our challenges is to recreate that experience for users of the digital archive.

Furthermore, as I learned from talking to the head of the Access to Information unit, the process of searching for information at the AHPN has been designed in a way that allows the archivists to bear witness to the memories of the researchers. Each visit begins with a question: Tell us what happened to your loved one.

The question has a practical purpose. It allows the archivists to glean the information that will make it possible to locate the necessary records from among the millions of files. But in answering this question, families are also sharing an intimate story with an archivist, an act of strength and also, often, of courage. Can a digital archive create similar opportunities for those who are unable to make the visit in person?

Imagining Digital Futures

The partnership between the University of Texas and the AHPN is an extraordinary opportunity for our institution to create new paths to historical research, and to support the international preservation of historical records. It allows us to honor and support the vital work of the archivists at the AHPN, while working at the forefront of digital collecting.

A scanned document appears on the screen as part of the digitization process. Photo courtesy Archivo Histórico de la Policía Nacional, Guatemala.
A scanned document appears on the screen as part of the digitization process. Photo courtesy Archivo Histórico de la Policía Nacional, Guatemala.

This partnership has also encouraged us to rethink our assumptions about digital archives. We often imagine a digital archive as a simple reflection of a material collection. But 21 million digital pages have very different infrastructure and support requirements than their material counterparts. The needs and expectations of online users are different, too.

In many ways, in imagining the future of the AHPN portal, we are imagining the future for digital collections at the University of Texas more broadly. The size and complexity of collections like the AHPN push the limits of our understanding of the role of libraries, and librarianship, in the digital age. They draw us into a future where scholarship, community-building, and access to information are inextricably linked.

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Hannah Alpert-Abrams is a CLIR postdoctoral fellow in data curation at LLILAS Benson Latin American Studies and Collections at The University of Texas at Austin.

Indigenous Language Archive Unveils New Tool

The staff of the Archive of the Indigenous Languages of Latin America unveiled its new self-deposit tool at the first AILLA Archive-a-thon, a two-part event that was held on Friday, October 27, and Sunday, October 29, in conjunction with the eighth Conference on Indigenous Languages of Latin America (CILLA VIII).* The Archive-a-thon was led by Susan Kung and Ryan Sullivant, AILLA’s manager and curator, respectively, and it was attended by a group of language documentation researchers made up of 25 professors and graduate students from the US, Canada, Mexico, Guatemala, Venezuela, Argentina, Switzerland, and France.

AILLA

These researchers work to document some of the 800 or so indigenous languages spoken in Latin America, from the US–Mexico borderlands to Tierra del Fuego in the southern tip of South America. Language documentation and conservation is a field that has emerged in the last 25 years in response to the worldwide language endangerment crisis that began in the late 19th century and became evident in the later part of the 20th century.

AILLA Archive-a-thon

Language documentation researchers work alone or in teams to collect and preserve audio, video, textual, and photographic records about endangered, understudied, and under-resourced languages and their related cultures. Most language documentation projects seek to record as many different speech genres as possible (e.g., conversation, oral history, myths and traditional stories, prayers, recipes, jokes and riddles, speeches and other oratory events, etc.), while other projects target very specific aspects of language (e.g., how location and direction are expressed in a language). Some language documentation projects include a language revitalization component, in which the data that are collected are used to further support the transmission of the language from one generation to the next through language learning programs for both children and adults; these programs might include classroom education, summer camps, mentor-mentee partnerships, or language nests. Language documentation work is often done under critical time constraints as many of these languages are highly endangered, having only a few elderly speakers left (and in some cases only one or two), and children are no longer learning them in either the home, community, or school environments.

Continue reading Indigenous Language Archive Unveils New Tool

Discovering the Texas Small Press

Ask A Librarian GRA Mitch Cota curated an exciting exhibit for the PCL Scholars Commons and Poetry Center called “Lone Star ImPRESSions: A History of Small Press in Texas.” This exhibit is the fruit of many months’ labor and the culmination of Mitch’s iSchool Capstone project, and features books published by small presses in Austin, Houston and San Antonio.

When I began my degree in information studies, one of the many reasons that drove my decision was the tension between libraries and the corporate publishing and copyright model. I do not believe that anyone really enjoys having materials chosen for them or having materials withheld from them while pursuing research and education. While literature has its own unique set of complications between authors rights and non-traditional content, it too is affected by this tension. My project to examine small press was an exploration into the individuals who are fighting for the right to publish content they view as valuable and different. Texas small press is born out of a denial by large publishing houses to acknowledge underrepresented voices and content that defies easy categorization.

Lone Star imPRESSions: A History of Small Press in Texas

We are getting ahead of ourselves though. Small press is a term that often inspires a multitude of definitions in everyone’s mind. For the exhibit, small press was defined as a press that is truly home grown. Some of these presses began in Texas, while others started somewhere else and now call Texas home. There are presses in the exhibit with a more historical presence and others that have begun in the last five years. They all share one core goal, to publish content that is different and voices they believe deserve to be heard.

Group discussion at Slough Press.

Historically, presses like Wings, Thorp Springs, and Slough were created in an effort to publish content that each saw as pushing against the large publishing house model. Many of the materials utilized in the research of the exhibit are located right here on campus. The Dolph Briscoe Center for American History has a portion of the archival collection of Joanne Whitebird, the original owner of Wings press. The Harry Ransom Center has the entire archival collection of Thorp Springs press. While Slough and Wings are still currently publishing work, Thorp Springs has now gone defunct with the loss of their original creator and editor John Paul Foreman. Each of these presses were created in order to publish specific work, whether that be female authors, Southwest/Texas authors, or authors of color. The small presses of today have broadened their approach to include voices from queer and trans authors. Without someone focusing on producing this type of content, there would be far less work to represent these different communities.

Wings press books.

The PCL collections serve to preserve these materials for generations to come. One of the largest hurdles small publishing faces are financial constraints. In conducting interviews and combing through archives, I found that many of the papers and materials from different presses were never preserved. Work was lost in time. The University of Texas Poetry Center and the general collection here at the PCL now serve as a medium to protect these small presses from fading into history. Not only do these materials represent unique voices, they also serve our students in critical theory research in literature. Whether they are looking through a historic, feminist, racial, or queer lens, these collections here at the PCL serve to not only preserve the presses, but provide examples for beliefs and ideologies of the times in which they are situated.

The exhibit — Lone Star imPRESSions: A History of Small Press in Texas — also examines different authors situated throughout the history of small press. One of these authors, a poet actually, worked right here at the PCL and has work that speaks to his time while employed here. Some voices like Jim Trainer and Andrew Hilbert represent fresh voices from today who refuse to play by the rules. A few of these authors own their own small presses while publishing their work through other small presses. The content produced by authors and presses alike includes multiple different genres, mediums, and formats. Many of the items are handcrafted with hand sewn bindings. When you purchase an item from a small press, you are getting an item that is one of a kind.

Lone Star imPRESSions: A History of Small Press in Texas

So, come visit! The exhibit has been extended into January, and we have items in both the Scholars Commons and University of Texas Poetry Center.

Besides what is on display, there are items in the PCL collection to read and check out. I have also taken the liberty of producing an exhibit catalog that has a more extensive examination of each press and author. One of the other great services this exhibit provides is a link in the catalog to each small press that is accepting open submissions. Students and faculty looking to publish work can review each press and see which one would best suit the content they have to offer.

Texas small press is home grown from the sweat and tears of the hard-working editors that believed in the content they were producing. Come visit the PCL and see the fruits of their hard work, support small press but furthermore support the idea that large publishing houses do not have the right to choose content for everyone.

 

 

 

Deep in the Start-Up of Texas

Texas Business Foundations Program.

One of the more gratifying aspects of being a subject librarian is witnessing students actually using the resources you introduced to them during an instruction session. Back in February of this year, Regina Hughes, the director Texas Business Foundations Program (Texas BFP) offered the opportunity to conduct an information resources session for her class. With no hesitation, I accepted the invitation and with Gina Watts, the business GRA prepped for the session.

The Texas BFP, which is designed to give undergraduate students of any discipline a fundamental background in business, is one of the largest and widely recognized certificate and minor programs at The University of Texas. The session covered all the business resources offered through the UT Libraries, with an emphasis upon how and when to use specific databases.

At the end of the semester the students get a chance to show off their entrepreneurial knowledge and skills to a panel of judges who will determine, theoretically, if their projects are worthy of funding. This semester Gina and I sat as judges for the first time and were handed the responsibility of reviewing the projects of half a dozen teams. Joining the panel of judges was fantastic. The students were all well prepared for their presentations, and had clearly been using (and correctly citing) the business resources. Since we generally never see the final product after a consultation for an assignment, it was great to see their success. It was also nice for Gina be more involved with the business school, because many GRA positions do not allow for much faculty interaction.

The presentations were brief, each group had only five minutes to describe the product or service; the target market, how they would make a profit, estimate the return-on-investment, as well as ask for a definitive amount of funding to launch the venture.

The ideas ranged from providing dental care to low-income families by acting as mediators and facilitating contact with dental professionals willing to provide care, pro bono. Another group developed a service that would provide fresh ingredients for preparing desserts delivered to your door.  The standout was the proposal to develop a software application, which would allow students to develop budgets and manage their finances throughout their college career. It included an option for allowing parents monitor the process, which was very interesting.

The pace was fast and exciting. The highlight of the session was seeing the amount of business resources students had incorporated into their work. Moreover, how having access to real world databases, such as Mintel, Marketline and SimplyMap helped to prepare them for similar challenges beyond their university experience.

Meet the Talents: Carolyn Cunningham

Carolyn Cunngham, Social Sciences Liaison Librarian for Psychology & Sociology.
Carolyn Cunningham, Social Sciences Liaison Librarian for Psychology & Sociology.

Carolyn is a Texan, born and raised, and earned her Bachelor of Arts in Psychology and Master of Science in Information Studies from UT Austin. After graduation, she served stints at St. Edward’s University, and UT San Antonio, before returning to UT Austin to work as the Social Sciences Liaison Librarian for Human Development & Family Sciences, Kinesiology & Health Education, Psychology, Social Work, and Sociology.

Research topics are driven not only by access to resources, but quality resources, walk us through how you develop new and curate existing resources for the social sciences.

Carolyn Cunningham: Social scientists use a little bit of everything in their research, from statistical data gathered from research articles and government agencies, books, to qualitative interviews. Some of this information is freely available, but a large portion is only available through our library subscriptions. We try to stay on top of developments in the field so our researchers will have access to the latest journal articles. With publication prices going up and budgets staying the same or shrinking, we have to prioritize carefully to serve the many different types of experts in our fields.

Many social science students go on to work outside of academia after graduation, so they lose access to the library resources they had while they were in school. It is just as important for them to have access to the latest research while working as practitioners as when they are students. Social work students are a great example. The agencies and organizations they work for after graduation sometimes have affiliations that allow research access, but often they are on their own. I try to squeeze in lessons about how to find open access material, how to request material through the public library, and other access points while they are still on campus.

How many patrons do you service on the Forty Acres?

CC: In my role as subject liaison, I serve folks in the following departments, across multiple colleges: Human Development & Family Sciences, Kinesiology & Health Education, Psychology, Social Work, and Sociology. I serve over 4,000 patrons, which includes 316 faculty and instructors, 700 masters and doctoral students, and 3,000 undergraduate students.

I also work unofficially with programs that don’t fit within one department, and I serve the campus at large when I answer questions through the Ask a Librarian chat and at the PCL Research Help desk.

Day to day, we see you in front of classrooms alongside professors teaching students how to access research information or with individuals who have an idea for research but are not sure how to get started. What happens in those sessions?

CC: Teaching in the classroom and meeting with folks one-on-one are some of the best parts of my job. When a faculty member invites me to talk about the art of doing research and exposing the students to the available tools, it can be tough to narrow down the talking points to fit the time allotted. It’s easy for me to go on and on, knowing all the tools we offer. Usually my classroom sessions happen when the students are writing research papers and they need to cite scholarly sources. With undergraduates, I show them how to pick a database and choose keywords in order to find research articles. We spend time during the class thinking about who is writing about their topics, whose expertise is considered authoritative, and what things are appropriate to cite (for example, scholarly articles versus news articles, or cutting edge research versus well-established theory). With graduate students, their projects often require deep interaction with the research in their areas, so we talk about finding works by major authors, methodology, and the process of publishing research articles. I recently worked with a class in which several students wanted to design surveys and questionnaires to measure social behaviors and attitudes about gender bias in the workplace. I showed them how to use the databases to find examples of previous studies that utilize surveys and questionnaires to use as models.

Carolyn assists at the desk.
Carolyn assists at the desk.

In one-on-one consultations, the meeting is molded by the where the researcher is in their project, and by their comfort level doing research. Undergraduates in the social sciences are often learning about their topics for the first time, and are shaping personal interests into something they can tackle in their coursework. Immigration, access to healthcare, LBGTQ issues; if there is a news story about it, we can usually find scholarly literature to lay the foundation for a research project. In these cases, I spend a good amount of the meeting introducing them to tools beyond Google or Google Scholar, and showing them how to produce a good pool of results. Graduate students and researchers are typically more experienced with the main tools in their fields, so we talk through the best keywords to search, the kinds of things published on their topic, and how to make sure they are not missing any key research in their fields. But this is just the beginning. It can go off in all kinds of crazy directions, sending us deep into the stacks, or deep down an Internet rabbit hole. This is a nerdy example, but I once helped a student dig through pages from the Wayback Machine in the Internet Archive to find a research abstract that was written in Italian. The original website had been taken down, but we had a partial citation. He had Italian language skills, so while I navigated and searched, he translated what we were seeing. It was the epitome of a wild goose chase, but we eventually found the full citation and were able to request the article through our interlibrary loan service.

What is the most satisfying aspect of your job?

CC: Talking to researchers one-on-one in consultations is incredibly gratifying. I learn something new almost every time. There are many great parts about these meetings, but learning about the issues researchers are interested in is so cool. UT has many movers and shakers on campus, and our faculty often get interviewed by NPR and other media outlets. It’s cool to hear a faculty member on the radio who just invited me to work with their classes.

I had no idea about that part of the job when I went to library school. I toyed with the thought of going into museum studies or preservation, and those specialties remain interests of mine. But I knew academic librarianship was for me early in my time as a student worker in the Geology library, and later as an intern at PCL. Dissecting people’s research questions and connecting them to information somehow works really well with my curiosity and people-orientation. I also love the cross-section of folks on campus: undergrads who are grinding through the college experience so they can go out and do other things in the world, and folks who stay in academia and build expertise in their areas (among many others, of course).

Is there a particularly rewarding or transformational interaction you had during a consultation with a patron?

CC: Transformation is one of the highest goals of pedagogy, and those moments are awesome. Sometimes, I see small transformations of people’s understandings of their topic. I have been working with a graduate student for the past few months who is investigating how college athletes identify as students. Just to give a very specific example of something I consult on regularly, we were searching for articles about college athletes and their student identity, but were not getting good results. I did a little playing around with our search, and we found that the research more commonly refers to “learner identity” or “academic identity.” Once we tweaked the search terms, the databases cracked open and gave us much better results. This student will use what she learns to make recommendations about how to advise and support student athletes in their academic achievement. It’s a great project with very tangible applications.

Other times, the transformation is more apparent in the classroom. I’ve gotten thank you notes from instructors saying their students’ papers are higher quality after a library session. Or they will redesign assignments after having me visit their classes.

Once, a patron high-fived me at the reference desk for finding a book they needed. That was awesome.

Anything you can teach us that will help us in our personal life?

CC: Sure, I can show you a few tips so you can Google like a librarian. Searching within a website can be really useful. If you know certain information lives on a site, but you can’t remember how to get there, you can search that whole site for the page you want. For instance, to find the UT calendar, enter this into the Google search bar:

calendar site:utexas.edu

Or you can easily limit your results to certain website domains. This may be helpful if you want to learn about a topic, but not see every type of result related to it. Let’s say you want find research about coconut oil. If you do a regular Google search for “coconut oil,” you get a lot of varied results, including news, social media, and products for sale. But if you scope to .edu websites, you get useful stuff right up front. Enter this into the search bar:

Coconut oil site:edu

Check out other Google shortcuts and tricks here.

 

Read Like A Librarian: Staff Poetry Recommendations

Sarah Brandt, Librarian for First-Year Programs, shows off her selection (including the creepy illustrations), The Complete Works of Edgar Allan Poe from 1945.
Sarah Brandt, Librarian for First-Year Programs, shows off her selection (including the creepy illustrations), The Complete Works of Edgar Allan Poe from 1945.

Poetry can be intimidating – it can be vague, filled with too many metaphors, caught up in form. We’ve tried to de-mystify poetry with our latest display at the UT Poetry Center, Read Like A Librarian: Staff Poetry Recommendations. Library staff found a great range of selections, including 19th century classics by Edgar Allan Poe and Elizabeth Barrett Browning and recently published volumes by poets like Alexis Pauline Gumbs and Peter Macuck.

Here’s a selection of staff recommendations and what they had to say about these books:

Fat Girl Finishing School by Rachel Wiley
Selected by Stephanie Lopez, Weekend & Evening Desk Supervisor

“Fat Girl Finishing School pulled me in with its cheeky cover, and once I started reading I was hooked! Wiley’s words are so powerful and thought-provoking that I found myself looking around to see if anyone else felt the earth shift under them. Before long, I was chasing down everyone I saw so that they, too, could read the words that caused such a visceral reaction in me. Do yourself and favor and read this. Your heart will thank you.”

Aurora Leigh by Elizabeth Barrett Browning
Selected by Sarah Morris, Learning & Assessment Librarian

“Barrett Browning is best known for two things: Marrying Robert Browning and writing Sonnets from the Portuguese. But she’s also the author of Aurora Leigh, a feminist epic that explores issues of class, gender, art, and the challenges women face in finding opportunities for work, and respect for their work, in a restrictive society. Groundbreaking at the time, it’s still a great read today.”

Come visit the UT Poetry Center in PCL 2.500 to see more staff picks and read the books in person!