Category Archives: Read Hot and Digitized

Read, Hot and Digitized: The Open Siddur Project: A Gateway to Open-Source Judaism

Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from UTL’s Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship.  Our hope is that these monthly reviews will inspire critical reflection of and future creative contributions to the growing fields of digital scholarship.

A siddur (pl. Siddurim) is a Jewish prayer book containing the order of daily, Shabbat (the Sabbath), and holiday services. The word siddur means ‘arrangement,’ or ‘putting things in order’ in Hebrew, and the siddur provides a structured liturgy that includes prayers, blessings, and scriptural verses. These books are used in both synagogues and private homes and vary among different Jewish communities and denominations. They are often available both in Hebrew and in translation to the language of the local community where they are being used.

The Open Siddur Project is a “volunteer-driven, non-profit, non-commercial, non-denominational, non-prescriptive, gratis (without cost) and libré (without restriction) Open Access archive of contemplative praxes, liturgical readings, and Jewish prayer literature (historic and contemporary, familiar and obscure) composed in every era, region, and language Jews have ever prayed.”[1] It provides a platform for sharing open-source resources, tools, and content for individuals and communities crafting their own prayerbook with content that pertains to their own life cycle.

Aharon Varady, a community planner and Jewish educator who founded the project in 2002 and directs it to this day, is a key figure in open-source Judaism, an initiative that uses open-source principles to create and share Jewish cultural and liturgical works. He believes that “the commodification of prayer texts, historical or contemporary, is anathema to Jewish spiritual practice.” Asserting that “the underlying unformatted text of a liturgical reading or prayer … must remain accessible for redistribution and adaptive reuse,” the project’s values are aligned with the definition of open content and open data maintained by the Open Knowledge Foundation, the definition of open-source maintained by the Open Source Initiative, and the four values of libre/free culture.[2]

Image 1: view of main categories and upcoming festivals, feast & fasts

The Open Siddur Project’s main page includes six sections, through which various prayers and related content could be discovered. The Project’s activity ‘heatmap’ displays a calendrical grid of resources published by the project over the course of each year since inauguration, alongside a display of recent contributors. The next section includes recently added prayers and related content (e.g., “Thanksgiving to the Almighty for the Diamond Jubilee of Her Majesty the Empress Victoria, by Joseph Ezekiel Rajpurkar at Gates of Mercy Synagogue, Bombay (20 June 1897)). Additional sections on the main page present selected sub-categories and calendars.

The database itself is organized around four main categories: Prayers & Praxes; Liturgical Readings, Sources, and Cantillation; Compiled Prayer Books; and Miscellanea — each of which has its own sub-categories. For example, under Prayers & Praxes, one can find prayers for after “Earthquakes & Tsunamis,” or prayers “composed for, or relevant to, conflicts over sovereignty and dispossession.” Additional sub-categories include “Commemorative Festivals & Fasts” (e.g., Hannukah), as well as “civil days on civil calendars;” e.g., Transgender Day of Remembrance (November 20th), Human Rights Day (December 10th), and even one prayer for May the Fourth, “marking the success of the Rebel Alliance in defeating the Galactic Empire.”

Image 2: The Jewish Prayer of the Dead, adapted for commemorating victims of lethal hate-crimes against Transgender people. This version was originally written for Queer Jews at Brandeis’s Transgender Day of Remembrance Services on 20 November 2024.

Additional points of discovery and access are available by clicking on the top right search button. There are indices of languages & scripts, and authors & contributors, as well as categories index and various how-to guides. 

The whole project is backed up and downloadable on GitHub. Unsurprisingly for an open access project, the default license under which all content is shared online is the Creative Commons Attribution/ShareAlike (CC BY-SA) 4.0 International license. A such, content could be shared through email and a few social media platforms.

The Open Siddur Project is used by students studying private and communal Jewish prayer in its literary and historical context, educators preparing curricular resources, authors of new prayers and liturgies, translators of prayers new and old, transcribers of digital text from printed and handwritten works, and ultimately, living practitioners actively producing new prayerbooks for their communities.

Let us end this post with a Prayer for Librarians!

Siddurim and Jewish liturgy in UTL collections:

Katz, Ariana. 2024. For Times Such as These : A Radical’s Guide to the Jewish Year / Rabbi Ariana Katz & Rabbi Jessica Rosenberg. Detroit, Michigan: Wayne State University Press. E-Book.

Langer, Ruth. 2015. Jewish Liturgy : A Guide to Research / Ruth Langer. Lanham, Maryland: Rowman & Littlefield. E-Book.

Salmon, Howard, and Benjamin Sharff. 2008. Comic Book Siddur : For Shabbat Morning Services / Howard Salmon, Artist & Interpreter ; Benjamin Sharff, Editor. Tucson, AZ: Howard Salmon.

[Siddur] Rabbinical Council of America. 2018. Sidur ʻAvodat Ha-Lev / Rabbi Basil Herring, Editor-in-Chief. New York, N.Y. : Rabbinical Council of America.

Siddur (Reform, Israel Movement for Reform and Progressive Judaism). 2020. Tefilat ha-Adam [Prayer of Humankind] : An Israeli Reform Siddur. Jerusalem : Israel Movement for Reform and Progressive Judaism.

Non-UT resources:

Open-Source Judaism (with Aharon Varady, founding director of The Open Siddur Project) [podcast, including full-text transcript] – The Light Lab, episode 60 (72 min.).


[1] https://opensiddur.org/

[2] The four values are: the freedom to use the work, the freedom to study the work and apply knowledge acquired from it, the freedom to make and redistribute copies of the information or expression, and the freedom to make changes and improvements, and to distribute derivative works. See https://freedomdefined.org/Definition.

Read, Hot and Digitized: The Clothes We Wear and the Stories Behind Them

Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from UTL’s Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship.  Our hope is that these monthly reviews will inspire critical reflection of and future creative contributions to the growing fields of digital scholarship.


We Wear Culture was started in 2017 as a global initiative that brings together the stories of fashion evolution in one place. This digital project is a global initiative that brings thousands of stories together, delving into apparel that we wear now and how it relates to costume history, culture, and trends. It was produced by Google Arts & Culture in collaboration with existing digital and physical collections worldwide. “We Wear Culture” partners with more than 180 museums and similar institutions including prestigious names like The Kyoto Costume Institute and The MET. The research ranges from iconic pieces that have grown to wardrobe staples, such as Coco Chanel’s little black dress, or broad fashion movements, like the evolution of shoemaking as a craft.

A map depicting the locations of global collections in collaboration with “We Wear Culture”.

The digitized research contents of “We Wear Culture” are separated into four different themes:

  • The icons – The famous faces and designers that changed the way we dress
  • The movements – From the court at Versailles to the streets of Tokyo
  • The making of – The craft and stories behind what you wear
  • The arts (my personal favorite) – Fashion’s long-term relationship with the arts

The platform allows me to explore curated themes through a vibrant interface. Each theme acts as a gateway to a variety of resources—articles, videos, digital exhibits, and archival images—organized into subcategories that encourage engagement. The layout is designed to foster curiosity, with visuals and clear text that make navigation easy and discovery accessible.

For example, within the Fashion + Arts theme, the story “Journeys into Textile and Identity” offers a compelling look at South African contemporary artists (example demonstrated in the image above) who conceptualize works that marry their heritage with fashion materials. Their work draws on South African textiles and techniques, reinterpreting them in ways that portray a visual historical narrative, drawing on personal and collective experiences of the present and past.

At the very bottom of the main homepage is a section that has pre-made lesson plans, targeted towards teachers and parents of future fashionistas who may want to learn more information about the fashion industry, its history, and related heritage. These plans serve as open education resources and each individual lesson encourages students to immerse themselves in the subject and view design from different perspectives.

Whether you’re browsing for inspiration or conducting focused research, “We Wear Culture” makes it effortless to connect with stories that span creative visual disciplines, geographies, and generations.

Want to learn more about fashion in relation to art history or global studies? Check out these resources from the UT Libraries:


Bellet, A. (2024). New approaches to decolonizing fashion history and period styles : Re-fashioning pedagogies. (1st Ed.). Routledge.

Geczy, A. & Karaminas, V. (2021). Fashion and art. (1st Ed.). Berg.

Hill, C. (2021). Reinvention & restlessness : fashion in the nineties. Rizzoli Electa

Steele, V. (2023). Shoes A-Z : The collection of the museum at FIT. Taschen.

Way, E. (2024). Africa’s fashion diaspora. Yale University Press.

Read, Hot and Digitized: Forms & Function – The Splendors of Global Book Making

Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from UTL’s Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship.  Our hope is that these monthly reviews will inspire critical reflection of and future creative contributions to the growing fields of digital scholarship.


On September 10, Princeton University Library unveiled a new digital and physical exhibition, titled “Forms and Function: The Splendors of Global Book Making.” The exhibition is a feast to anyone interested in book history, and especially those who want to learn about how the formats of a “book” varied through time and space. It is also a rare opportunity for the public to view some of the least known hidden gems in Princeton’s collections.

The exhibition includes manuscripts and printed books from Western, Islamic, East, South and Southeast Asian, and Mesoamerican cultures. There are seventy-four items on digital display, and they represent many materials for book making that may not be familiar to a contemporary and Western audience, including bark, textiles, shell, lacquer, and copper. The earliest produced book on display is an Egyptian clay cylinder from the 6th century BCE, while the latest is an Indian artistic book made with copper plates from 2020.

Three “traditions” of book formats are featured in the exhibition: the codex tradition, the East Asian tradition, and the pothī tradition.

The codices, defined in the exhibition as “single- or multi-gatherings of sheets folded inside each other, with texts on both sides, sewn together, and usually attached onto covers,” gradually replaced scrolls, and became the preferred format for early Christianity but later spread to Central and South Asia and was also adopted by Islamic and Hindu traditions. The exhibit includes an extremely rare early Coptic manuscript of Gospel of St. Matthew, and a palimpsest parchment on which the text was once erased to allow reuse.

Figure 1: Georgian palimpsest

Also included is a Chinese edition of  Missale Romanvm  produced by the Jesuits in 1670 which was printed with woodblock but bound in a European codex format.

The East Asian tradition, which included the Chinese, Japanese, and Korean cultures, demonstrates a wide range of mediums and materials to produce reading materials and extensive influence into other Eurasia regions. Among the bamboo slips and Dunhuang scrolls is an inner garment with over 700 “eight-legged” exemplary exam essays written on it, totaling more than half a million miniature characters.  

Figure 2. Pulinsidun daxue baguwen sichou chenyi

Another rare item on display is a reproduction of ink rubbings that the late-Qing statesman, Duanfang (端方, 1861–1911), made from Egyptian and Greek objects during his diplomatic missions in the early 1900s.  

Figure 3. Aiji wuqiannian guke

The pothī tradition, heavily influenced by the palm leaf, one of the earliest materials in the region used for writing texts, is no less diverse in terms of materials and formats that supported the texts. The exhibition features an earliest example of paper making from Nepal (1140), on which the popular Pañcarakṣā sūtra (Sūtra of the five protectresses) is written.  

Figure 4. Pañcarakșā sutra (Sutra of the five protectresses)

Coming after the palm leaves, later materials, such as birch bark, gold, and paper, mimicked its progenitor’s shape. The loose pages were usually stacked to make a bundle. With Brahmanism and Buddhism, the format spread across South and Southeast Asia and reached the Mongols and Manchus through Tibet.  

Figure 5. Coqbbertv (The emergence and migration of humankind)

Here is an example of a relatively understudied Dongba manuscript from the Naxi people, an ethnic minority living in China’s Yunnan province.

Beyond the main three themes, the exhibition also showcases some formats that different traditions share: single-sheet, scrolls, and accordion style. One of the highlights from this section is one of the earliest printed texts in the world, the Hyakumantō darani  from Nara-era Japan. 

Figure 6. Hyakumantō darani (A dhāraņī from inside a one-million-pagoda)

The work was commissioned by the court in 764. Printed Buddhist spells were inserted into mini pagodas. These short texts, also known as “mantras,” are verbal formulas and chants for various spiritual purposes. Currently, “tens of thousands of the pagodas and several thousand printed spells still exist.”

Last but not least, the exhibit shines light on even more materials that were used to serve as the media for texts. The hard surfaces of stone, metal, and bones were widely used across the globe. For example, a conch shell with Maya glyphs is on display in this section.

Figure 7. 1 Ajaw 3 Chakat (17 March, 761 CE)

The exhibition was curated by Dr. Martin Heijidra, Director of the East Asian Library at Princeton. The online version includes an interactive timeline and map, where viewers can click on the numbered titles of the items to go to their catalogue records, which has a brief but detailed description of the item and additional readings about the research on each of the items

Figure 8. A section of the interactive map

Online viewers can also download the PDF files of the accompanied catalogue and exhibition brochure. The digital exhibition not only provides an alternative for those who cannot see it in person, but it also gives it another form of life that will extend after the exhibition hall welcomes another array of objects.


Reference:

Martin Heijidra, curator (2025), Forms & Function: The Splendors of Global Book Making https://dpul.princeton.edu/global-book-forms

Tian, Tian. “Duanfang’s Egyptian Rubbings: The First Egyptian Collection in Late Imperial China.” Antiquity 99, no. 406 (2025): 1129–42. https://doi.org/10.15184/aqy.2025.10098.

Galambos, Imre. “The Chinese Pothi: A Missing Link in the History of the Chinese Book.” The Medieval History Journal 27, no. 1 (2024): 152–72. https://doi.org/10.1177/09719458241231669.

McDermott, Joseph Peter. A Social History of the Chinese Book: Books and Literati Culture in Late Imperial China. Hong Kong University Press, 2006.

Kornicki, Peter F. The Book in Japan: A Cultural History from the Beginnings to the Nineteenth Century. Brill, 1998.

Roper, Geoffrey. The History of the Book in the Middle East. Ashgate, 2013.

Read, Hot and Digitized – A Nobleman’s Life, Digitized: The Jiam Diary Project

Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from UTL’s Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship.  Our hope is that these monthly reviews will inspire critical reflection of and future creative contributions to the growing fields of digital scholarship.

This post was written by Sojeong Ryoo, the Global Studies Digital Projects GRA at Perry-Castañeda Library and a current graduate student at the School of Information.


Sometimes, an ordinary personal diary can be an extraordinary historical resource that provides a glimpse into the times. The Jiam Diary Digital Humanities Project, led by Professor JiYoung Jung at Ewha Womans University, is based on the nearly eight years (95 months) of journals kept by Yun Yi-hu (pen name: Jiam), a yangban (nobleman) of the Joseon dynasty in the late 17th century.

Between 1692 and 1699, Yun Yi-hu — a retired nobleman in the Honam region — kept a meticulous diary of his daily life. Known as Jiam Ilgi, the three-volume, 920-page record captures everything from farming, fishing, and travel to visits with friends, political events, and even the activities of household slaves. It offers a vivid portrait of both personal routines and the broader social world of 17th-century Korea.

The Jiam Diary Digital Humanities Project transforms this rich historical source into searchable, visualized data. More than 80,000 pieces of semantic information have been extracted and organized into interactive maps, timelines, and relationship networks, enabling users to explore the people, places, events, and lifestyles mentioned in the diary. This digital approach opens a new window into the everyday life of a Joseon noble.

On the site, you can explore data visualizations in five themes: Lifestyle, Person, Place, Event, and Slave.

Lifestyle visualization is designed to help users explore lifestyle-related data. The eight-year calendar is arranged vertically by year and horizontally by month, with original and translated diary entries for each day appearing in the blank space on the right. Clicking the small square menu box in the upper left allows you to choose from over 80 lifestyle categories and view related records. Examples of lifestyle categories include: family, returning home, visiting, slaves, bathing, private punishment, guests, lodging, prison, transactions, architecture, capital affairs, civil service examinations, weather, farming, theft, literature, unusual events, funerals, hunting, fishing, arts, entertainment, medicine, disease, and slave hunting.

Person visualization highlights people mentioned in the diary. Yun Yi-hu’s family, kinship ties, and political connections are shown as an interactive network. Clicking a person icon allows you to filter and view the diary text for the date the person was mentioned.

Place visualization displays a map of Korea, marking locations mentioned in the diary. Places can be categorized by type — administrative districts, buildings, roads, mountains, fields, rivers, and islands — and filtered using the menu on the bottom left. Clicking on a place reveals diary entries linked to that location. For example, selecting Seoul — the capital of the Joseon dynasty — returns an impressive 455 entries. Clicking on a diary date on the right reveals the original and translated text of the diary entries that mention “Seoul.”

Event visualization organizes events from the diary along a timeline, making it easy to see which major events Yun Yi-hu experienced and how long they lasted. Clicking on an event box shows the relevant diary entry, with entries displayed chronologically below.

Slave visualization examines the nobi (slave). The slave system existed during the Joseon dynasty. As a nobleman, Yun Yi-hu owned many household slaves. The visualization links each slave in the center to the lifestyle activities associated with them, displayed around the outside. This allows us to examine the roles played by specific slaves in Yun Yi-hu’s life.

Looking into the records of Yun Yi-hu, a man who lived centuries ago, we see him interacting with family and friends, traveling, rejoicing, and grieving — experiences not so different from our own lives today. The Jiam Diary Digital Humanities Project brings this rich life to light through diverse visualizations of his diary, offering deep insight and inspiration.


To learn more about the Joseon dynasty or Korea in general, check out these resources in the UT Libraries’ collections:

Duncan, J. B. (2014). The Yangban in the Change of Dynasties. In The Origins of the Choson Dynasty (pp. 99–153). University of Washington Press.

Park, S. N. (2020). The Korean vernacular story : telling tales of contemporary Chosŏn in sinographic writing / Si Nae Park. Columbia University Press.

LEE Uk(이욱). (2007). The Yangban’s Perception of the Ideal Economic Life During the Mid-Chosŏn Era. International Journal of Korean History, 11, 117–150.

Kang, M. (2010). Chosŏn p’ungsoksa / Kang Myŏng-gwan. (Ch’op’an.). P’urŭn Yŏksa.

Read, Hot and Digitized: AI for OCR & Translation

Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from UTL’s Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship.  Our hope is that these monthly reviews will inspire critical reflection of and future creative contributions to the growing fields of digital scholarship.


The foundation of digital humanities is data.  Lots of it.

As the early phases of AI have shown us, there is a staggering amount of textual data available to manipulate and compute–both openly available and that which exists behind paywalls.  All too often the depth and accessibility of digital scholarly textual data in non-English and non-Roman scripts is lacking.  Rather than be left behind or constrained by these lacuna, individual scholars are working to generate their own digital research corpora, often building upon AI tools.

Recently I was introduced to the MITRA project and have been nothing short of amazed.

A research project from the University of California-Berkeley’s AI Research Lab, MITRA “focuses on bridging the linguistic divide between ancient wisdom source languages and contemporary languages through the application of advanced Deep Learning and AI technologies.”  Using Gemini APIs, MITRA builds upon an extensive digitized text corpus and contributions from translators and researchers alike to “harness AI technologies to promote the scholarly study and personal practice of the dharma and to accelerate academic and individual research through open-source collaboration on datasets, models and applications.”  In so doing, MITRA aims to “overcome the challenges inherent in low-resource language translation,” to “minimize language barriers,” and to create “more equitable access to literature and wisdom.” 

I have engaged with OCR and digital text conversion for years but have always found it to be a labor intensive and ultimately less-than-satisfying [or accurate] experience, especially for non-roman languages and scripts.  Of Interest to me, therefore, is how MITRA has harnessed AI to allow one to drag-and-drop PDF files into the tool at which point it can both detect the language (Sanskrit & other Devanagari-based languages, Tibetan, scriptural Chinese or English) and use OCR to produce a relatively accurate text file.  That unto itself is pretty amazing.  From there, however, one can quickly transliterate, translate and/or explain the text into Sanskrit, Buddhist & Modern Chinese, Russian, Korean, Japanese, German, French, Italian, Hindi or Spanish. 

To test it out, I grabbed a small amount of openly accessible text from HathiTrust.  I chose an early Hindi novel, namely Rāmalāla Varmmā’s Banārasī Dupaṭṭā Yā Gularū Zarīnā from 1916 which is readily available in PDF form on HathiTrust.  I grabbed the first page of the novel which looks like this:

Page one of Banārasī Dupaṭṭā Yā Gularū Zarīnā from HathiTrust

I then put a PDF of that page into MITRA to see if it could OCR the text.  Despite some blurriness of the original source text, it most certainly could OCR it (even if not 100% accurate):

MITRA’s OCR of page one of Banārasī Dupaṭṭā Yā Gularū Zarīnā

Encouraged, I then asked MITRA to both transliterate (take the text written in Devanagari script and convert to roman script) and to translate the text which it also did quite quickly and easily:

Ever more optimistic, I then clicked on “English explained” and MITRA was also quite adept at parsing the translated text, the original script of the text, and the grammar and vocabulary. 

MITRA’s “English Explained” of page one of Banārasī Dupaṭṭā Yā Gularū Zarīnā

I repeat, I stand amazed.

While MITRA has clearly captured my attention and my appreciation, I will note that there are other similar projects currently available and equally commendable, from Andrew Ollett’s Indological and OCR tools [and fabulous related explanations] to Tyler Neill’s toolkit, Skrutable

Likewise, the UT Libraries is here to help explore the production of your own digital content for research.  The Scan Tech Studio in the PCL Scholars Lab has the hardware and software you might need to convert print into digital texts, as well as a group of specialists to help you.  We have online guides to introduce the practices and concepts of OCR as well as recordings from OCR workshops

I encourage anyone interested in exploring non-English or non-roman digital texts to jump in, kick the tires, and have some fun with these impressive conversion projects. 

Read, Hot and Digitized: Country of Words | بلد من كلام

One of the more complex questions we encounter in area studies is how we define a nation. Is it lines on a political map? A shared territory? For Palestinians, traditional maps can often feel inadequate, showing borders and divisions but failing to capture the full, lived reality of a people. The remarkable digital-born project, Country of Words | بلد من كلام : A Transnational Atlas for Palestinian Literature, by Refqa Abu-Remaileh (Freie Universität Berlin) rethinks the very idea of a map. Instead of depicting political boundaries, it offers a form of literary cartography.

Screenshot of literature under British occupation essay title
Screenshot
Screenshot of Literary Diasporas essay title
Screenshot

At its heart, Country of Words is an interactive, web-based atlas that visualizes the vast geography of Palestinian literature. When you visit the site, you are met with a world map dotted with points and featuring an accompanying timeline. Each dot represents a location—Gaza, Jerusalem, Beirut, but also Paris, Santiago, and Iowa City—that appears in a work of Palestinian fiction or poetry. Clicking on a dot reveals an excerpt from the literary work set in that place, presented in both its original Arabic and in English translation.

The accompanying timeline summarizes essential events in Palestinian history and allows you to read essays on how these historical moments influenced and were shaped by key works of Palestinian literature. Additionally, you can look at an overall network visualization; a variety of visualizations of biographies, historical events, publishing histories, and publishing networks; and audio interviews with key current and recent Palestinian literary figures.

The project is the work of Prof. Dr. Refqa Abu-Remaileh and her team at Freie Universität Berlin. It grew not from a desire to create a simple database, but rather from a potent intellectual argument. The project contends that for a people so often defined by exile and displacement, literature itself has created a “country”—a homeland of memory, imagination, and shared experience that transcends physical borders. This atlas makes that homeland visible.

As a librarian, I see this as a powerful tool for teaching and research. It allows students to literally see the global reach of the Palestinian experience. For scholars, it is a dynamic data visualization that can spark new questions about place, identity, and literary networks. It is a beautiful, poignant, and profoundly human entry point into a rich literary tradition. It invites you to wander through this country of words and discover the stories that connect a people, wherever they may be.

To dive deeper into the literary world mapped by the project, here are a few key works from the UT Libraries’ collections that speak to the themes of place, exile, and memory:

  • غسان الكنفاني، الأثار الكاملة. The complete collection of a foundational writer of modern Palestinian literature, Ghassan Kanafani. Included is his novella, Men in the Sun, about Palestinian men seeking to cross a border in a water tanker. It is a searing allegory of the search for life and dignity in the face of statelessness.
  • After the Last Sky: Palestinian Lives by Edward Said. A landmark book of essays and reflections paired with photographs by Jean Mohr. Said, a major figure in postcolonial studies, meditates on the nature of Palestinian identity in exile.
  • Enter Ghost by Isabella Hammad. Isabella Hammad’s second novel centers on Sonia, an actress who journeys back to Palestine and joins a production of Hamlet in the West Bank. Enter Ghost offers a vivid portrait of contemporary Palestine and explores themes of exile, belonging, and the deep bonds formed through family and collective struggle.

Read, Hot and Digitized: Digital Benin

Launched in November 2022, Digital Benin isn’t necessarily a new digital project, but it is an important one that continues to shift how we understand and access African cultural heritage, in this case cultural objects from the Kingdom of Benin (present-day Nigeria).

At first glance, it’s an aesthetically pleasing and user-friendly interface that showcases more than 5,000 artifacts looted from Benin during a notorious 1897 British military campaign, an enduring symbol of colonial violence and theft. While this alone would make the project a valuable resource, a great strength of the project lies in how it highlights connections: between museum-held objects and their places of origin, between Western classifications and indigenous Edo terminology, between archival documents and the Benin objects themselves. It’s not just a database, but a dynamic tool for recontextualizing history.

Digital Benin connects the global locations of Benin artifacts across 130 institutions in 21 countries, most of which were looted during the colonial period and are now located in Western museums. Each object record includes high-resolution images, metadata, provenance information and translations in both English and Edo. Notably, you can trace how looted items moved from British soldiers in 1897, through art dealers and collectors, and into major museum collections.

Above is a screenshot of the Network Explorer tool, which allows users to explore connections between people, entities, objects and archival documents.

One of the most powerful aspects of the project is the “Ẹyo Otọ” section that highlights the Edo object classification system. Instead of relying on Western museum categories (like “pottery” or “bronze”), Digital Benin introduces a controlled vocabulary based on Edo knowledge systems. For example, you’ll notice distinct categories like Akhẹ Amẹ (water pot) or Akhẹ Osun (Osun shrine pot). These designations reflect the original, indigenous understanding and use of the object.

Object records are organized by the Edo object classification system under the “Ẹyo Otọ section. Here are all the records for Iyeọkhọkhọ hen figures used on female altars.

The design of the site is equally impressive, with extensive documentation on the project development, data acquisition and management, and the Edo controlled vocabulary. The Italian studio Calibro, known for projects like the open source data visualization tool RAWGraphs and The Palestinian Museum Digital Archive, built custom visual tools and interfaces for the site.

Good design intersects with dynamic function in the “Paper Trails” section of the project, which connects the individual Benin objects to archival documents like letters, catalogues, photographs and newspaper clippings that mention them. You can click through the documents, read transcriptions and follow specific objects as they are referenced over time.

The Archival Documents database shows a flyer for a demonstration advocating for the return of the Benin Bronzes. The archival record links to the specific Uhunmwu-Elao, or commemorative head, mentioned in the document.

A unique strength of Digital Benin is its overall approach to this work. The project is led by Nigerian and international scholars, deeply grounded in local knowledge, oral traditions and indigenous frameworks. It models a powerful kind of digital restitution by not just returning information to descendant communities, but empowering them to define how that knowledge is structured and shared. This value is embedded into the project as a whole, shaping everything from the site’s design and data organization to its commitment to centering Edo perspectives and reclaiming cultural authority.


See more resources in our library catalog:

Abungu, George Okello, and Webber Ndoro. Cultural Heritage Management in Africa: The Heritage of the Colonized. London: Routledge, 2022.

Coombes, Annie E. Reinventing Africa: Museums, Material Culture, and Popular Imagination in Late Victorian and Edwardian England. Yale University Press, 1994.

Falola, Toyin. Britain and Nigeria: Exploitation or Development? London ; Zed, 1987.

Hicks, Dan. The Brutish Museums: The Benin Bronzes, Colonial Violence and Cultural Restitution. London: Pluto Press, 2020.

Ogbechie, Sylvester Okwunodu. Making History: African Collectors and the Canon of African Art : The Femi Akinsanya African Art Collection. Milan, Italy: 5 Continents Editions, 2011.

Phillipe, Nora. Restitution?: Africa’s Fight for its Art. Paris: Cinétévé, 2021.

Phillips, Barnaby. Loot: Britain and the Benin Bronzes. London: Oneworld, 2021.

Troelenberg, Eva-Maria, Damiana Oțoiu, and Felicity Bodenstein. Contested Holdings: Museum Collections in Political, Epistemic and Artistic Processes of Return. New York: Berghahn Books, 2022.

Read, Hot and Digitized: A Digital Survey of the Scottish Witch Trials

The witch trials of Europe in the early modern period, from about 1400 to 1775, resulted in the prosecution, often violent, of over 100,000 people. Studying this history and understanding its causes—which were multifaceted, and incorporated elements of religious persecution of alleged heresy, superstition, and religious conflict between Catholics and Protestants—is an important way we can understand the motivations of past atrocities and learn from them to avoid similar violence and intolerance in the future. The Witches: Survey of Scottish Witchcraft project at the University of Edinburgh is one project that makes this history more broadly accessible and understandable both to scholars and the general public.

The site itself contains an excellent introduction to the history of witch trials in Scotland. It states:

During the sixteenth and seventeenth centuries Scotland went through a series of changes to the state and church which fuelled the Scottish witch hunt. As a result of the Reformation, when Scotland broke away from the Catholic Church and moved towards Protestantism, the church went through an upheaval of religious belief and became much more interested in what ordinary people did and believed. 

This concern led to great concern from Church and state about people’s religious beliefs and practices, deviations from behavior expected by the Church and society (such as not attending Church on a Sunday), and witchcraft. More than 4,000 people were prosecuted for witchcraft in Scotland between 1563 and 1736, and confessions were often evinced using torture. Of people accused of being witches it is estimated that around 2,500, or roughly two-thirds, were executed, with the majority of those executed (about 85%) being women.

The main map on the site’s landing page, showing locations where witches in the database lived.
The main map on the site’s landing page, showing locations where witches in the database lived.

The site’s most striking feature is a map showing accused witches’ residences and details about their case and personal lives, including their occupations. This provides an intuitive and visually appealing way to explore the dataset, and allows for free exploration of the data without digging into the spreadsheets and metadata underlying the map. Users can also search the complete dataset used to make the map, exploring the same by searching for an accused’s name. In addition to these exploratory tools, the site also features a very helpful introduction that explains many details of the dataset and provides further background information, as well as a number of additional visualizations. Particularly affecting is the Story of Isobel Young visualization, which chronicles the life and death of one woman who was accused of witchcraft and executed.

The Story of Isobel Young visualization, showing a map of places where Isobel lived and background information on the Scottish Witchcraft Act of 1563.
The Story of Isobel Young visualization.

The site also provides a host of references that provide scholarly background on the history of witch trials in Scotland. There are also a number of resources, including a GitHub repository for the project’s website and the CSV files used to make the map. It also provides lists of accused witches, trials, people involved, and memorials and sites of interest within Scotland that users may wish to visit.

The Witches: Survey of Scottish Witchcraft site offers a robust but inviting introduction to this period of European history. I encourage you to explore the site for yourself and find out what it has to offer.

Related resources at the UT Libraries:

Witch Hunts in Europe and America: An Encyclopedia

Demonology and Witch-hunting in Early Modern Europe

Witch Hunts: A history of the Witch Persecutions in Europe and North America

Read, Hot and Digitized: The Mixtape Museum

Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from UTL’s Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship.  Our hope is that these monthly reviews will inspire critical reflection of and future creative contributions to the growing fields of digital scholarship.


Before we had Spotify playlists, we had the mixtape. Scrawled handwritten track lists; the precise practice of hitting PLAY and REC at the same time; the dread of ejecting the cassette from the player to find the tape had been pulled into a tangled mess and using a pencil to carefully respool it.

A definition of the word mixtape. Noun: Traditionally recorded on to a compact cassette, a mixtape is a compilation of songs from various sources arranged in specific order.
A screenshot from the About section of The Mixtape Museum.

The Mixtape Museum (MXM) is a digital archive project and educational initiative committed to the collection, preservation, and celebration of mixtape history. The project seeks to both further mixtape scholarship and foster public dialogue, raising awareness of the artistry and far-reaching impact of mixtapes as a cultural form.

An image of a handwritten track list on a mixtape
Stephen J. Tyson Sr. Collection.

The Mixtape Memory Collection is the heart of the MXM, bringing together interviews, anecdotes, photographs, and reflections from a mix of contributors. There are tributes to mixtape pioneers, reminiscences about childhood introductions to Hip Hop, and laments for tapes not saved. I appreciated this brief recollection of a “mixtape correspondence” as it underscores the richness of the form as a mode of communication.

While mixtapes are the anchor point, these memories are also about people and places, relationships and phases, marking connections between a cultural era and the personal eras of our lives. The Collection reveals how music indexes experiences and moments in time, and also attests to the way particular objects can become imbued with layers of meaning and cultural significance. Even in the digital space of the MXM, I am struck by the affective resonance of the physical cassettes themselves, each containing a story that stretches beyond the tape wound inside it.

An image of eight cassettes with handwritten labels
DJ Red Alert, Ismael Telly Collection.

In addition to the Memory Collection, the MXM includes a News section of related articles and public events, and a Mixtape Scholarship Library featuring key texts in the field. Appropriately, there is also a Listen section, which takes visitors to the Mixtape Museum Soundcloud page, where today’s creators might upload their tracks instead of passing out their tapes.

Aligned in a sense with the ethos of the format it highlights, the MXM operates from a simple WordPress site—a platform with a relatively low barrier of entry for producing digital content. The project was founded by scholar, arts administrator, and community archivist Regan Sommer McCoy, who serves as Chief Curator, supported by a group of advisors and institutional collaborators.

As I browse the collection my own mixtape memories surface—a tape gifted to me by a former best friend that I played on repeat during my freshman year of high school; my painstaking efforts to create the perfect mix to let a crush know the way I really felt about him. Does the MXM spark a mixtape memory for you? The project welcomes submissions to the archival collection and invites a variety of formats. Contributors have the option to make memories public or keep them password protected, respecting the boundaries of each offering.


Want to learn more about mixtape culture and history? Several of the titles featured in the MXM are available from the UT Libraries:

Auerbach, Evan, and Daniel Isenberg. Do Remember! : The Golden Era of NYC Hip-Hop Mixtapes / Evan Auerbach, Daniel Isenberg. New York, NY: Rizzoli International Publications, Inc., 2023. 

Burns, Jehnie I. Mixtape Nostalgia : Culture, Memory, and Representation / Jehnie I. Burns. Lanham: Lexington Books, 2021.

Moore, Thurston. Mix Tape : The Art of Cassette Culture / Edited by Thurston Moore.1st ed. New York, NY: Universe Pub., 2004

Taylor, Zack, Georg Petzold, and LLC Seagull and Birch. Cassette : A Documentary Mixtape / a Film by Zack Taylor ; Directed, Produced, and Filmed by Zack Taylor ; Edited, Produced, and Additional Camera by Georg Petzold ; Seagull and Birch, LLC. El Segund

Walker, Lance Scott. DJ Screw : A Life in Slow Revolution. Austin: University of Texas Press, 2022. 

Read, Hot and Digitized: The Library of Lost Books

Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from UTL’s Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship.  Our hope is that these monthly reviews will inspire critical reflection of and future creative contributions to the growing fields of digital scholarship.


In 2019 I have written about Footprints, a project that aims to track the circulation of printed ‘Jewish books’ around the world as it is evidenced through provenance research.[1] The Library of Lost Books is a “citizen science” (aka crowd sourcing) international project that similarly to Footprints, aims to trace books looted by the Nazis from the library of the Higher Institute for Jewish Studies in Berlin (Hochschule für die Wissenschaft des Judentums) and track their journey around the world through provenance data. Operating from 1872 until it was closed down by the Nazis in 1942, the Higher Institute was dedicated to the study of Jewish history and culture, as well as rabbinical studies in Liberal Judaism.[2] The original library is reported to have around 60,000 volumes, but only around 5,000 of them have been rediscovered since the war. The Leo Baeck Institute for the Study of German-Jewish History and Culture in Jerusalem, with support from the German Foundation for Remembrance, Responsibility and Future (EVZ) and the German Ministry of Finance (BMF), has created this platform not only for the purpose of tracing the lost books, but also to commemorate and educate about the Higher Institute for Jewish Studies in Berlin, its scholars, and its students.

The Library of Lost Books website features a database, an interactive map, and an online exhibition detailing the history and legacy of the Higher Institute. A great place to begin is with “The story of the missing books” and its three chapters (with optional narration). Chapter one gives the background story of the Higher Institute, its founders, and its academic landscape. The Higher Institute represented a modern current within Judaism, namely Liberal Judaism, that emphasizes universal values — personal freedom, individuality, and social responsibility. Chapter two describes the last years of the Higher Institute before it was shut down. It shows a chronology of systematic discrimination according to the Nazi ideology, explains why and how the books were moved out of the library, and brings detailed biographies of students and employees, some of whom kept working at the library as forced laborers until their deportation to concentration camps, while others managed to escape. This chapter also details the rescue efforts of part of the books before 1942. Chapter three details the fate of the books after the war; it explains how they were transferred to [nowadays] the Czech Republic, or were scattered in various libraries in Berlin. Yet, some books were relocated to the United States or Russia.  

The project owners are using “citizen science” (aka crowd sourcing) in their quest to identify the missing books. Users are encouraged to look at books in their local libraries or second-hand bookstores, cross-reference their findings with the virtual library, and share their findings through the platform, using a “lost and found” form. In order to support this provenance research, the project offers ‘hunting supplies’, including a detailed checklist that includes stamps, accession numbers, call numbers, and paper labels that might be found in or on the books. The goal is to virtually reunite the found books through the Library of Lost Books; the project owners specifically state that “physical copies will remain in their places where they were discovered, as that is also a part of their story.”[3]

The platform is also a teaching tool for educators. It includes learning units for students about pre-war Jewish life in Berlin, Nazi looting practices, provenance research, the importance of cultural heritage, and the roll of libraries in the pre-internet era. Besides English, all content on the platform has versions in German and Czech, as it is suspected that most of the books ended up in either Germany or the Czech Republic (although some were already located also in the United States, United Kingdom, and Israel).

From the database view, one could browse the few thousands of books that were already identified so far. Browsing options are by book titles/authors/publication year, by owners (past and present), and by individuals or institutions that found the books. Clicking on a book entry, one gets full tracing information: gallery of associated images, supportive provenance evidence, and a timeline of related events, showing how the book traveled through time and various owners. See for example the eventful life of the title Zekhor le-Avraham : sheʼelot u-teshuvot – through interactive map. This book was published in 1837 in Istanbul, acquired by the Higher Institute (year unknown), looted in 1942, salvaged after the war, resurfaced in Jerusalem (year unknown), acquired by a private donor for UCLA in 1963, and currently held by UCLA. Similarly, thousands of books that were looted from the Higher Institute resurfaced years after the war and are now reunited again in the virtual library of lost books.   


Related resources:

Glickman, Mark, and Rachel Gould. Stolen Words : The Nazi Plunder of Jewish Books / Mark Glickman ; Designed by Rachel Gould. 1st ed. Philadelphia, [Pennsylvania: The Jewish Publication Society, 2016. Digital. https://search.lib.utexas.edu/permalink/01UTAU_INST/9e1640/alma991058395754406011

Rydell, Anders. The Book Thieves : The Nazi Looting of Europe’s Libraries and the Race to Return a Literary Inheritance / Anders Rydell ; Translated by Henning Koch. Trans. by Henning Koch. New York, New York: Viking, 2017. Print. https://search.lib.utexas.edu/permalink/01UTAU_INST/9e1640/alma991046059239706011

Peiss, Kathy Lee. Information Hunters : When Librarians, Soldiers, and Spies Banded Together in World War II Europe / Kathy Peiss. New York, New York: Oxford University Press, 2020. Digital. https://search.lib.utexas.edu/permalink/01UTAU_INST/9e1640/alma991058667683006011


[1] https://texlibris.lib.utexas.edu/2019/04/read-hot-and-digitized-footprints-the-chronotope-of-the-jewish-book/

[2] https://wienerholocaustlibrary.org/exhibition/the-library-of-lost-books/

[3] Citizen Science – Leo Baeck Institute