Category Archives: Read Hot and Digitized

Hidden in Plain Sight: Seeking Out Forgotten Treasures with The Public Domain Review

January 21, 2021 adrianacasarez Leave a comment

Read, hot & digitized: Librarians and the digital scholarship they love — In this new 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.

As we enter a more digital workspace, the copyright of content we reuse in presentations or projects has become a more pressing question in our public facing work. While there are ways to search for resources by their Creative Commons licenses or by digging through the public domain, the results are not always satisfying. Enter The Public Domain Review, an online journal of scholarly essays and curated collections of material from the public domain.

*Front page of* The Public Domain Review.

The public domain refers to creative content in the United States that is no longer protected under copyright law. Every January 1^st, works published before a certain year are released from copyright protection. 2021 welcomed material published in 1925 into the public domain. The first day of 2021 also saw The Public Domain Review celebrate its 10th anniversary of curating and publicizing interesting and obscured content from the public domain, related to history, art and literature. The digitized items and collections are gathered from 134 cultural heritage institutions and platforms across the internet, including the Smithsonian, Wikimedia and the Library of Congress. What separates The Public Domain Review from just another list of curious findings on the internet is the academic commentary on the relics by scholars, archivists and creatives in its Essays section. The collections on the site are mostly western-centric with a few global works included and are organized by theme, time period and medium. The pieces featured in the Review are not just images but also include film, books and audio. The level of organization and tagging make the unique compilations and essays easy to delve into on the site through its Explore page.

The project was developed ten years ago by history scholars and archives enthusiasts Adam Green and Jonathan Grey. The goal of The Public Domain Review has been to inform and highlight relics often forgotten or buried so deep that it would be difficult to come across serendipitously. The projects’ keen eye for the intriguing, supplemented by its expert commentary are what keeps me coming back to the site, either through the Review’s monthly mailing list or when I need an image for a presentation. The project’s editorial board selects collections and welcomes contributors to submit proposals that feature hidden cultural heritage materials.

The Public Domain Review is teeming with potential for digital scholarship endeavors and while there is no active portion of the project engaging with those scholarly methods, there are traces. The project site itself was built by UT Austin graduate, Brian Jones, a historian and web developer. In the retired series, Curator’s Choice, a guest writer from the GLAM sector (galleries, libraries, archives, museums), would spotlight digital collections or digital scholarship projects from their own institutions. See notable digital humanist, Miriam Posner on anatomical filmmaking here and read how scholars at The British Library are using digital technology to recreate a medieval Italian illuminated manuscript from fragments here.

The site also encourages reuse and remixing through its PD Remix section, holding caption competitions or gif creation challenges using works from their public domain highlights. Although a not-for-profit, they do have a Shop, selling prints, mugs, bound collections of Selected Essays, with the profits used to keep the lights on in this scholastic and engaging corner of the internet.

The public domain itself is a treasure trove of cultural artefacts often hidden by the complexities and rules in copyright law. Luckily, The Public Domain Review exists to spotlight these relics and even shows you how to find your own out-of-copyright gems. Below are some of my favorite exhibits and essays from The Public Domain Review.

*Collection: Japanese Depictions of North Americans (1860s)*.

*Collection: W. E. B. Du Bois’ Hand-Drawn Infographics of African-American Life (1900)*.

*Collection: Hopi Drawings of Kachinas (1903)*.

*Collections: The Surreal Art of Alchemical Diagrams*.

Find out more about the public domain in UT Libraries collections and guides:

-Still not sure what the public domain is or want to know more about copyright and fair use? See the library’s Copyright Crash Course guide.

-Take a look at the list of works that entered the public domain in 2021 on UT Austin’s Open Access blog here.

-Fire insurance has never been more exciting than when depicted in the colorful, aesthetically pleasing Sanborn Fire Maps from the PCL Map Collection.

Digital Humanities, Digital Scholarship, Global Studies, Read Hot and Digitized

Read, Hot & Digitized: Bulgarian Dialectology as Living Tradition

November 10, 2020 Ian Goodale Leave a comment

Read, hot & digitized: Librarians and the digital scholarship they love — In this new 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.

Creating and publishing open access linguistic data is an invaluable way to support research in digital approaches to linguistics, and to lend support to making more scholarly research openly available to a broad audience. Bulgarian Dialectology as Living Tradition contributes to this body of open access data with its searchable and interactive database of oral speech in Bulgarian, representing a wide range of dialects recorded in 69 different Bulgarian villages. Data is presented in the oral recordings themselves and in the 184 transcriptions of those recordings, with a variety of features–such as tokens with associated tags for grammatical, lexical, and linguistic trait information–available for each text. This collection of Bulgarian linguistic materials is an important resource for studying the language, and the project will be of interest to anyone interested in computational linguistics, digital approaches to studying and analyzing languages, and, of course, in Slavic languages.

The site breaks down its texts into lines, which are themselves comprised of associated tags for grammatical, lexical, and linguistic trait information. Each text can be viewed in three ways: the Glossed View, which shows tokens with grammatical information, English glosses, and Bulgarian lemmas; the Line Display, which shows a line of text and its English translation; and the Cyrillic Line Display, with the original Bulgarian lines in Cyrillic script. In addition to these views, there are five types of search available to users; from the website: the wordform search, lexeme search, linguistic trait search, thematic content search, and phrase search.

This project succeeds at its goal “to return the focus of dialectology to its source in living, natural speech, to provide a broad, representative covering of this speech throughout the chosen region, and to make this material accessible to a wide spectrum of users.” The use of field recordings not only makes these recordings broadly accessible in a way that may be difficult absent digital technologies, but allows users, whether casual browsers of the site or researchers in an academic setting, to hear the language and its many dialects as it is actually spoken. The foregrounding of this dialectal speech in its “natural village context” forwards forms of a language that are often markedly different from standardized, more urban ways of speech.

*A map showing where interviews were recorded within Bulgaria.*

The site’s creators took care to make the documentation of the site’s creation available publicly, so that others who might wish to create similar digital collections could draw on the work. The site was developed using the open source content management system Drupal, a framework that allows a greater ease of reproduction/repurposing of work and which furthers the goals and values of open source software development by creating a healthier, more robust ecosystem of scholarship and digital humanities work using freely accessible technologies.

The project serves as an important contribution to digital scholarship in Slavic Studies. The large volume and unique content of the recordings and texts make for a valuable corpus, and the creators’ commitment to supporting other projects by using open source software and making their documentation on the site’s creation publicly available is also very admirable. I hope to see it inspire other projects that likewise support open source within the digital humanities.

For more information on digital linguistic methods, open source projects, and the Bulgarian language, please consult the UTL resources below:

Blagoeva, Diana, Svetla, Koeva, Vladko, Murdarov, Georg Rehm, and Hans Uszkoreit. The Bulgarian Language in the Digital Age. Berlin : Springer, 2012.

Computational Linguistics. Cambridge, MA: MIT Press Journals, 1984.

Crompton, Lane. Doing More Digital Humanities: Open Approaches to Creation, Growth, and Development. Milton: Routledge, 2020.

Gold, Matthew. Debates in the Digital Humanities. Minnesota: University of Minnesota Press, 2012.

Digital Scholarship, Global Studies, Read Hot and Digitized

Read, Hot & Digitized: Translatio

October 19, 2020 DJCorrea Leave a comment

Read, hot & digitized: Librarians and the digital scholarship they love — In this new 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.

Digitization Project “Translatio” website header, featuring an image of al-Fukāha magazine.

“Translatio” at the University of Bonn—a project of the Department of Islamic Studies and Middle Eastern Languages—seeks to make Arabic, Persian, and Ottoman Turkish periodicals published between 1860 and 1945 available online for free. The periodicals are selected from a number of partner institutions and digitized at the University of Bonn. The digital surrogates are then made available in a readable and downloadable version through the University’s digital collections website. “Translatio” strives, in its first phase, to focus on digitizing complete or mostly complete runs of periodicals (although it is evident that some of the titles are not nearly complete; UT Austin has acquired and is processing a complete set of al-Ḥurriyya, although there is only one volume extant in the “Translatio” database). The next phase will likely turn to less complete and single issues of periodicals that still bear cultural, historical, and research significance. The current collaborators include Bamberg University Library, Oriental Seminar of the University of Freiburg, Mainz University Library, Bavarian State Library Munich, Tübingen University Library, and the University of Bonn. Although “Translatio” is not a digital scholarship project in the conventional sense, it is still a novel gathering of digitized Middle Eastern periodicals that offers tantalizing opportunities for researchers engaged with traditional and digital methods.

A view of the short description (in German) and bibliography for the journal Ṣaḥīfat Dār al-ʿUlūm.

Access to the digitized periodicals is quite user-friendly: they are organized by language group, and then alphabetically by title. Each title expands into a brief description of the periodical (in German), a short bibliography when available, and a link to the digital images. Transliteration follows the German standard, and metadata fields are indicated in German. Some understanding of German, therefore, is helpful for navigating the site and the contents of the periodicals (Google Translate, alone or via the Chrome browser, works well in this case). The metadata for each periodical is given at the title level, and users can click through individual issues to see issue-level metadata. The metadata does not include information on editors and authors, which would be desirable for researchers, but would also take an incredible amount of labor on the side of the project workers. This could be an area for future development.

Landing page for access to the digitized issues of Ṣaḥīfat Dār al-ʿUlūm, including metadata for the journal, a list of PDF files, and a thumbnail of the opening page of the publication.

As for the digital images of the periodicals: they can be downloaded in PDF or JPEG format and saved directly to the user’s device. The images are of adequate quality for researchers who wish to use them much like they would a microform newspaper, by scanning, browsing, and reading. However, the quality of many of the titles is not high enough to capture physical details of the ink or paper, and would not lend itself to optical character recognition (OCR). That is perhaps both the primary frustration and the arena of greatest possibility with this project: all of these digitized periodicals are begging to be put through OCR so that they may be full-text searchable and instrumentalized as a corpus for distant reading. That would certainly be a groundbreaking development for the field of Middle Eastern Studies.

A screenshot of the international digital projects and collections that “Translatio” links on their website.

It is, nevertheless, significant that researchers have access to all of these excellent and important Middle Eastern periodicals in one place. Additionally—and this librarian’s favorite aspect of the project—the project website includes a clearinghouse of digital Middle Eastern periodicals collections from institutions around the world. Thus, Bonn’s digitized periodicals do not live in complete isolation from similar efforts on the web; rather, one can use the “Translatio” website as a starting place for research across a number of related collections. Researchers using UT Libraries’ print collections have the opportunity to interact with some of these titles in person as well, including al-Balāgh al-ʿUsbūʿī, al-Bayān, and Sharq, among others. The next step in the evolution of the relationships among these collections would be a federated search across all of them simultaneously—and this librarian would love to see a digital reading interface that observes the right-to-left directionality of all three languages in this project—but let’s take this one step at a time. The “Translatio” team at Bonn has much to celebrate.

Digital Humanities, Digital Scholarship, Global Studies, Read Hot and Digitized

Read, Hot and Digitized: Digital Resources from the Arab Latin American Diaspora

July 30, 2020 Texlibris Leave a comment

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.

Katie L. Coldiron is the Global Studies Digital Projects GRA at Perry-Castañeda Library and a current graduate student at the School of Information. She also has an M.A. in Latin American Studies.

Arab migration to the Americas is a unique phenomenon, particularly in the context of northern South America. While Arabs came to the Americas fleeing such events as the collapse of the Ottoman Empire and the Armenian Genocide, they mainly went to the countries of the Southern Cone and Brazil, which are known for welcoming more immigrants than their other Latin American counterparts. Colombia and Venezuela, which are referred to as sister countries, tend to be portrayed outside their borders in a negative light, rather than for that which makes up their rich and diverse cultures. This post is an effort to highlight a group of migrants that came to Colombia and Venezuela and remain there today, both assimilating into their respective countries while also keeping their traditions alive. Furthermore, the existence of these digital primary resources provides a necessary means of continuing academic research in the midst of a global pandemic. The ability to have first-hand accounts readily available of a particular diaspora is a privilege of the digital age, and a mechanism of democratization for the cultural record.

Instituto de Cultura Árabe de Colombia

Through my research into the Arab-Colombian diaspora and conversations with prominent scholars on the subject, I was put in touch with Odette Yidi David of Barranquilla. The city of Barranquilla became a hub for Arab migration to Colombia in the early 20th century due to its proximity to the Port Colombia. Yidi David is a fourth generation Palestinian barranquillera and a scholar on the subject of Arabs in Latin America and the Caribbean. Currently she divides her time teaching at Barranquilla’s Universidad del Norte and serving as executive director of the Colombian Institute of Arab Culture.

Yidi David founded the Colombian Institute of Arab Culture with the intention of constructing bridges between Colombia and the Arab world, as well as generating and sharing responsible knowledge about the Arab world in Colombia. The organization has offered Arabic language classes and talks on a variety of subjects pertaining to the Arab world, and even hosted an Arab culture festival in Barranquilla. With the advent of social distancing, I have noticed an uptick in content they are sharing about digital events, as well as resources and other activities to pass the time of quarantine. Many Zoom panels have also been shared through their social media outlets, including ones that feature Yidi David herself. The Institute also regularly hosts talks on Arab dance and even virtual dance classes. These posts not only provide means of diversion in a time in which not many exist, but also create larger awareness of the existence of the Arab diaspora in Colombia. While prominent families, beauty queens, and even the singer Shakira have brought notoriety to the diaspora, the Institute goes beyond a few notable faces to show that Arab culture is alive in the Colombian Caribbean. Their social media includes Instagram and Facebook.

Odette Yidi David, Founder and Executive Director of the Instituto de Cultura Árabe de Colombia.

Los libaneses en Venezuela

My research also led me to the blog “Los libaneses en Venezuela,” or “The Lebanese in Venezuela.” This blog is the product of Venezuelan-Lebanese journalist Tony Frangie Mawad, who regularly contributes to outlets like Caracas Chronicles. To create this blog, Frangie Mawad did recorded interviews with multiple Lebanese immigrants to Venezuela who arrived from the 1940s to 1960s, and chronicled their stories individually. Due to his familial ties to the Lebanese diaspora of Caracas, finding the individuals to interview was, in the words of Frangie Mawad, “only a question of picking up the phone and telling them or their kids about the project.” A photographer friend also helped Frangie Mawad with photographing the featured individuals. The accounts are very personal and are contextualized within the atmospheres of Lebanon and Venezuela at the time. The blog can be found here.

For more information on UT’s and other Open Access materials on the Arab Diaspora in Latin America, check out this research guide: https://guides.lib.utexas.edu/ArabsinLatAm

Digital Humanities, Digital Scholarship, Global Studies, Read Hot and Digitized

Read, Hot and Digitized: Recursos digitales de la diáspora árabe latinoamericana

July 30, 2020 Texlibris Leave a comment

Katie L. Coldiron is the Global Studies Digital Projects GRA at Perry-Castañeda Library and a current graduate student at the School of Information. She also has an M.A. in Latin American Studies.

La inmigración árabe a las Américas es un fenómeno único, particularmente en el contexto del norte de Sudamérica. Aunque es verdad que los árabes llegaron a las Américas huyendo de eventos como la caída del Imperio Otomano y el Genocidio Armenio, la mayoría fueron a los países del Cono Sur, los cuales son conocidos como mayores receptores de inmigrantes en América Latina. Colombia y Venezuela, los cuales se conocen como países hermanos, tienden a padecer de una imagen negativa en el extranjero, menos por sus culturas ricas y diversas. Este blog es un esfuerzo para mostrar un grupo de inmigrantes que llegaron a Colombia y Venezuela y hoy siguen allá, que igualmente se asimilaron en sus países respectivos, pero preservaron sus propias tradiciones. Además, la existencia de estos recursos digitales primarios provee una manera necesaria para la propagación de investigaciones académicas durante una pandemia mundial. El acceso a los recursos primarios de una diáspora específica es un privilegio de la época digital, y un mecanismo de democratización del archivo cultural.

Instituto de Cultura Árabe de Colombia

A través de mi investigación sobre la diáspora árabe-colombiana y conversaciones con eruditas conocidas de este tema, me puse en contacto con Odette Yidi David de Barranquilla, Colombia. La ciudad de Barranquilla se volvió un centro de migración árabe por su proximidad a Puerto Colombia. Yidi David es una palestina barranquillera de cuarta generación y experta del tema de los árabes en América Latina y el Caribe. Actualmente, ella divide su tiempo entre labores en la Universidad del Norte de Barranquilla y como directora ejecutiva del Instituto de Cultura Árabe de Colombia.

Yidi David fundó el Instituto de Cultura Árabe de Colombia con el propósito de “construir puentes de diálogo entre Colombia y el mundo árabe” y también “generar y compartir conocimiento responsable sobre el mundo árabe en Colombia.” La organización ha ofrecido clases del idioma árabe y charlas sobre una variedad de temas del mundo árabe. Además, hicieron un festival de cultura árabe en Barranquilla. Con el arranco del distanciamiento social, he notado que el Instituto comparte más sobre eventos virtuales, y también recursos y otras actividades para pasar el tiempo en cuarentena. Se comparten muchos paneles de Zoom en sus redes sociales, que incluyen a la misma Yidi David. El Instituto también tiene charlas de danza árabe y hasta clases virtuales de danza. Estas publicaciones no solo proveen una manera de divertirse cuando no hay otras opciones, sino también crean más conocimiento sobre la existencia de la diáspora árabe en Colombia. A pesar de que ciertas familias conocidas, reinas de belleza, y la cantante Shakira han traído fama a la diáspora, el Instituto va más allá que unas pocas caras conocidas para mostrar que la cultura árabe está viva en el Caribe colombiano. Sus redes sociales incluyen Instagram y Facebook.

Los libaneses en Venezuela

Mi investigación también me llevó al blog “Los libaneses en Venezuela.” Este blog es el producto del periodista venezolano libanés Tony Frangie Mawad, quien contribuye regularmente a medios como Caracas Chronicles. Para crear este blog, Frangie Mawad entrevistó a inmigrantes libaneses que llegaron a Venezuela desde los 40 hasta los 60, y registró sus historias individualmente. Por sus lazos familiares a la diáspora libanesa de Caracas, encontrar dichos individuos fue, en las palabras de Frangie Mawad “solo cuestión de levantar el teléfono y contarles sobre el proyecto o a sus hijos.” Un amigo fotógrafo también le ayudó a tomar las fotos de los personajes incluidos. Los testimonios son muy personales y se contextualizan dentro de los ambientes del Líbano y Venezuela de la época. El blog se encuentra aquí.

Para más información sobre los recursos de UT y acceso abierto de la diáspora árabe en América Latina, vea esta guía de investigación: https://guides.lib.utexas.edu/ArabsinLatAm

Digital Scholarship, Distinctive Collections, Read Hot and Digitized

Read, Hot and Digitized: Maritime Asia: War and Trade

July 8, 2020 mengfensu Leave a comment

Maritime Asia: War and Trade is a multi-media Drupal site which introduces viewers to the complexities of 17^th century war and trade in East and Southeast Asia. The open educational resource (OER) is a collaboration among UT History Professor Adam Clulow, Professor Xing Hang at Brandeis University, and the Roy Rosenzweig Center for History and New Media at George Mason University (RRCHNM). This open educational resource can be used effectively for outreach and teaching.

In the historical documents presented and examined on the site, six power contenders are involved: two armed maritime powers, the Zheng family of China & Taiwan and the Dutch East India Company (VOC), two major land agrarian powers, Qing China and Tokugawa Japan, and two continental trade powers, Siam (now Thailand) and Cambodia who took advantages in this global trade and diplomacy competition among major powers. It is interesting to note that the main actors involved were all extensively global.

The website for Maritime Asia: War and Trade has five main themes through which the viewer can explore this multifaceted history:

Maritime Exercise. This part of the website functions as an open educational resource (OER) classroom simulation exercise targeted to 11^th and 12^th graders and post-secondary students. An instructor’s packet of lesson plans and interesting and inspiring questions for student debate can be downloaded.

Exhibits. Included here are exhibitions of documents that highlight the history of the Zheng family and the Dutch VOC. For example, the first generation of the Zheng family, Zheng Zhilong of southeast China, was globally successful in both piracy and trade from Japan to Siam (now Thailand). As a player in the Ming Dynasty, Zheng Zhilong was appointed “Admiral of the Coastal Seas.” His son, Zheng Chenggong (Koxinga), was born in Japan to a Japanese mother. Koxinga continued his father’s powerful maritime trade and military pursuits after his father’s had surrendered to Qing China in 1644 (and was executed in 1661). Koxinga defeated the Dutch in 1662, forcing out their colonial powers from Taiwan, and he shifted the Zheng family stronghold from China to Taiwan. Another exhibit from the website displays Dutch VOC highlighting their ships and the fort they built in Taiwan.

Timeline. This portion of the website graphically documents major events among the 6 powers throughout the 17^th century, from 1600 to 1683.

Key actors. Exploring individual personalities is one of the most compelling ways to dive into history. Included here are presentations of individuals such as Zheng Zhilong, the founding patriarch of the Zheng family, Joan Maetsuycker, a governor-general from the VOC, Tokugawa Ietsuna of Japan, Kangxi Emperor of China, King Paramaraja VIII of Cambodia and King Narai of Siam (now Thailand).

Archive. The Maritime Asia website highlights and provides contextualized access to primary source documents. While the physical artefacts are housed in the Nationaal Archief of the Netherlands and the Rijksmuseum in Amsterdam, users can access the digital surrogates through the website.

Further readings on related subjects:

大航海時代與17世紀台灣（Age of exploration and the 17^th century Taiwan）
鄭成功來臺 (Zheng Chenggong came to Taiwan)
Two open source Chinese learning websites created by the Research Center for Digital Humanities, National Taiwan University.

Pillaging the Empire Global Piracy on the High Seas, 1500-1750. / Kris Lane. 2016.

Sea rovers, silver, and samurai: Maritime East Asia in global history, 1550-1700 / edited by Tonio Andrade and Xing Hang. 2016.

Encounters: the meeting of Asia and Europe, 1500-1800 / Edited by Anna Jackson & Amin Jaffer. 2004.

Maritime Taiwan: historical encounters with the East and the West / Shih-shan Henry Tsai. 2009.

The colonial ‘civilizing process’ in Dutch Formosa, 1624-1662 / Chiu Hsin-hui, 2008

Formosa under the Dutch: described from the contemporary records / by Rev. Wm. Campbell. 2019.

Lost colony: the untold story of China’ first great victory over the West / Tonio Andrade. 2011.

How Taiwan became Chinese: Dutch, Spanish, and Han colonization in the seventeenth century / Tonio Andrade. 2008.

The Dutch impact on Japan (1640-1853) / Goodman, Grant Kohn. Leiden, E.J. Brill, 1967.

Japan and the Dutch, 1600-1853 / Grant Kohn Goodman. 2000.

The quest for civilization: encounters with Dutch jurisprudence, political economy, and statistics at the dawn of modern Japan / Okubo Takeharu. 2014.

Jan Compagnie in Japan, 1600-1817; an essay on the cultural, artistic and scientific influence exercised by the Hollanders in Japan from the seventeenth to the nineteenth centuries / C.R. Boxer. 1936.

Dawn of Western science in Japan. Rangaku kotohajime / Genpaku Sugita. 1969

Global Studies, Read Hot and Digitized

Mapping Access

June 15, 2020 pgmoreno Leave a comment

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

Mapping Access is a crowdsourced mapping and data visualization project started at Vanderbilt University through their Critical Design Lab that examines physical and social barriers on the Vanderbilt campus. Professor Aimi Hamraie began the project as a Dean’s Fellowship in 2016 with a small $2500 grant from the National Humanities Alliance and in partnership with the Nashville Feminist Collective. Vanderbilt University Library Fellow Leah Samples was charged with planning and execution of the project. The initial goal was to assess and map the accessibility of spaces around Vanderbilt and Nashville in order to provide necessary information to disabled users for navigating around campus but also more generally to gain insights and to look critically into the accessibility of built environments. The project’s website explains that Mapping Access was informed and influenced by methods and theories from disability justice, the environmental humanities, intersectionality, and critical GIS to look beyond code compliance and satisfying legal standards to create a more human centered approach to accessibility. As such, it exemplifies one of the key principles of the Universal Design movement, namely that features that help disabled users will also yield benefits to non-disabled users.

Leah Samples used geospatial data, participatory research, urban cartography and mobile technologies to achieve the aims of the project. Through the use of focus groups, project members were able to build and refine a survey that was ultimately managed in REDcap, a survey and data collection app created at Vanderbilt. Project members organized a one day Map-A-Thon where volunteers could add relevant data to a map of the University. In the Map-A-Thon, 120 participants surveyed the campus for accessible features and barriers and updated a live map with images and descriptive text so all participants could view the project’s progress and see which buildings were being mapped. . A live Twitter stream also allowed the team to track progress in real-time. The event featured panel discussions and speakers throughout the day highlighting the intersectional nature of disability studies.

Promotional image for Vanderbilt Accessibility Map-a-Thon, April 8,2016.

After gathering data from the live mapping event, team members reviewed and cleaned the data, they visualized the GIS data using R and Shiny, and they created JSON drafts that were edited in Atom. The resulting Campus Access Amenities Map examines not only accessible features such as automatic doors, ramps, and sidewalk obstructions (permanent and impermanent); it also highlights inclusive features such as all-gender bathrooms, lactation rooms, prayer and meditation spaces, showers and Blue Light Security stations.

Detail of campus amenities map highlighting user generated text describing a permanent sidewalk obstruction.

In her article, “Mapping Access: Digital Humanities, Disability Justice, and Sociospatial Practice,“ project founder Aimi Hamrae analyzes the impact and impetus of projects like Mapping Access and their communitarian aims:

“New digital projects use geographic information systems (GIS) and crowdsourcing applications to gather data about the accessibility of public spaces for disabled people. While these projects offer useful tools, their approach to technology and disability is often depoliticized. Compliance-based maps take disability for granted as medical impairment and do not consider mapping as a humanistic and activist practice. This essay draws on digital humanities theories of “thick mapping” and critical disability theories of public citizenship to offer critical accessibility mapping as an alternative to compliance-focused mapping. Using Mapping Access as a case study, I frame digital mapping as a question-generating device, a site of narrative praxis, rather than mere data visualization. I argue that critical accessibility mapping offers a digital humanities-informed model of “sociospatial practice,” with several distinct benefits: it recognizes marginalized experts; redefines the concepts of data, crowdsourcing, and public participation; offers new stories about disability and public belonging; and materializes the principles of disability justice, an early twentieth-century movement emphasizing intersectionality and collective access.”

Digital accessibility maps are becoming more commonplace either through commercial apps or crowdsourced digital humanities projects like Mapping Access. These kinds of initiatives can not only yield direct and tangible results to help people with disabilities get around but more importantly, they offer critical insights into the built environment that can influence architects and policy makers to make meaningful changes to create accessible spaces for all.

citations

Elwood, S., Schuurman, N. & Wilson, W. (2011). Critical gis. In T. L. Nyerges H. Couclelis & R. McMaster The SAGE handbook of GIS and society(pp. 87-106). London: SAGE Publications Ltd doi: 10.4135/9781446201046.n5

Hamraie, Aimi. “Mapping Access: Digital Humanities, Disability Justice, and Sociospatial Practice.” American Quarterly, vol. 70 no. 3, 2018, p. 455-482. Project MUSE, https://muse.jhu.edu/article/704333

Hamraie, Aimi. Building Access : Universal Design and the Politics of Disability / Aimi Hamraie. Minneapolis: University of Minnesota Press, 2017. Print.

https://search.lib.utexas.edu/permalink/01UTAU_INST/be14ds/alma991046135289706011

Poetry, Read Hot and Digitized

Read, Hot and Digitized: Get in the Midst for National Poetry Month

April 29, 2020 ginabastone Leave a comment

A poem in its printed form can feel complete and final. What I have learned, though, about poetry as both a reader and writer is that it is never linear. I don’t usually read a book of poems from start to finish – I jump around the book, pull phrases here and there. Writing poetry is even more complicated. A poem may start on a scrap of paper or in the Notes app on my phone. I may rewrite it by hand, then type it out again on my laptop. Drafting is never done in one sitting.

While every writer has their own process, I suspect many poets will admit to a similarly messy approach to drafting. And what if you could witness that process in real time? Poet, artist, and UT MFA student Annelyse Gelman and her collaborator, software programmer Jason Gillis-Grier, seek to answer that question through their delightful new poetry journal Midst.

Midst, which launched its inaugural issue in December 2019, provides readers a time-lapse view of a poem’s drafting process. Readers can watch the entire process from start to finish, or move around the timeline by rewinding or fast-forwarding. Each version of the poem is time-stamped, demonstrating that poems do not just magically appear but rather are the product of weeks, or even months, of work. This peek into the lengthy process of editing is intentional. Gelman and Gillis-Grier state on the journal’s website that they hope that Midst will demystify poetry and make it more accessible by showing the reader the writing process.

An early draft of Jenny Qi’s “When This Is All Over” in the *Midst* time-lapse web player (top). Compare it to Qi’s final draft (bottom). The Midst web player allows you to move along the timeline of a poem’s drafting process, so you can compare early drafts to the final poem.

Gelman and Gillis-Grier have plans to expand the project with the Midst app, which will allow poets to capture their drafting process and then submit their time-lapse poem to the journal. Right now, featured writers are nominated and invited to submit versions, but with the app, they can open up the journal to a wider audience of writers and readers directly.

And Gelman and Gillis-Grier haven’t limited their creative poetry projects to just Midst. They also recently debuted the web app Relineator, in collaboration with UT English graduate student Zoe Bursztajn-Illingworth and the UT Digital Writing & Research Lab. Relineator allows poets and students to enter poems and see them reformatted with new line breaks.

A fun re-interpretation of William Carlos Williams’ “The Red Wheelbarrow,” reformatted in the Relineator app.

April is National Poetry Month. While this year’s celebration is marked with a more somber tone due to the global pandemic, it also feels fitting to enjoy poetry from home through experimental, interactive projects like Midst and Relineator. If this has inspired you to further explore poetry, April is the best time of year to do it! Take a look at this curated selection of poetry ebooks on the UT Poetry Center’s guide. Once our print collections open again, you can find Annelyse Gelman’s book Everyone I Love is a Stranger to Someone and many other great collections of contemporary poetry at the Poetry Center’s physical location in the Perry-Castañeda Library.

Collections Highlight, Digital Humanities, Libraries History, Open Access, Read Hot and Digitized, Uncategorized

Red, Hot and Digitized: Fortunoff Video Archive for Holocaust Testimonies

April 22, 2020 urikolodney Leave a comment

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

Together with diaries and memoirs in print, audio-visual testimonies are primary sources that shed light on the lived experience of people who experienced the Holocaust. There are a few institutions around the world that produce, curate, and publish such testimonies;[1] one of them is the Fortunoff Video Archive for Holocaust Testimonies at Yale university. The mission of the Fortunoff archive is to “record and project the stories of those who were there.” Established in 1981, and based on a donation of testimonies previously videotaped since 1979 by The Holocaust Survivors Film Project, the archive works to record, collect, and preserve Holocaust witness testimonies, and to make its collection available to researchers, educators, and the general public.[2]

Fred Alford, professor emeritus of the university of Maryland, researches the way trauma becomes embedded in nations, societies, and groups[3]; upon his research in the Fortunoff archive, he asserted that “testimonies are important [because they] make a historical abstraction real.”[4] Witnesses remind us that the Holocaust was made of people, victims, and executioners. He argues that a proper psychoanalytic interpretation can help us understand not merely the suffering of survivors, but can remind us of an equally important fact: “…. that for every torment there was a tormenter, for every degradation a degrader, for every humiliation one who inflicted it. For every death a murderer……”

He goes on to say that “We listen to witnesses in order to understand their suffering, and we seek to understand their suffering in order to understand better regimes of organized terror and the role they play in our lives……We listen to witnesses in order to remember better that their suffering comes at the hands of regimes that are made of people.”[5]

The Fortunoff archive currently holds more than 4,400 testimonies, which are comprised of over 12,000 recorded hours. Testimonies were produced in cooperation with 36 affiliated projects across North America, South America, Europe, and Israel. The archive and its affiliates recorded the testimonies of willing individuals with first-hand experience of the Nazi persecutions, including those who were in hiding, survivors, bystanders, resistants, and liberators. Testimonies were recorded in whatever language the witness preferred, and range in length from 30 minutes to over 40 hours (recorded over several sessions).

While the database allows for various searching, sorting, and limiting options – using the Library of Congress Subject Headings (LCSH) as a form of a common controlled vocabulary – it also has more advanced Digital Humanities tools which were developed together with the Yale DHLab.

Let them speak (LTS) is a digital anthology of testimonies from three different collections – United States Holocaust Memorial Museum (USHMM), the Shoah Foundation at the University of Southern California (USC VA), and the Fortunoff archive. The anthology includes a search tool that employs corpus query language which allows for more sophisticated searches like Lemma searches. The goal is to demonstrate the value of these linguistics tools for exploring large numbers of audiovisual materials, as well as make a first attempt to bring collections of testimonies into the same digital space. The LTS tool is slated to go live by December 2020.

The Collection metadata dashboard is a visual representation of the collection descriptions, as it allows filtering by various parameters, such as date (birth year and recording year), birth place, subject, gender, language of testimony, and affiliate programs from which testimonies were received. One could access each testimony directly from the dashboard. A useful functionality is the ability to search for subject headings in the dashboard and limit the results further by additional parameters. For example, a search for the term “childbirth” would reveal five subject headings related to the term; clicking on “childbirth in concentration camps” would bring up 98 testimonies.

The Testimony citation database shows data on cited testimonies, publications that cited them, and the authors of those publications. Some authors’ names are linked to the author’s website, their page on the OCLC WorldCat Identities database, or their authority file on the Virtual International Authority File (VIAF) database. Searching for Fred Alford, the scholar cited above, one would realize that he has made 60 citations to 26 testimonies in 5 publications. These testimonies and publications are linked from the results page.

The Fortunoff archive is open to any student or researcher either on site, or online through an ‘access site.’ Currently there are 84 access sites around the world in academic libraries, museums, and research centers. The University of Texas Libraries has joined the project as an access site in summer 2019. The archive is accessible to UT affiliates both on and off campus, as well as to non-UT walk-in visitors on campus. All users would need to create an account with Yale’s Aviary, the archive’s digital access system. Searching and browsing is done through that personal account. There is no cost involved. UT affiliates could also access their Aviary account, and the archive, through a proxy connection to UT and/or a VPN.

The UT Libraries holds 390 items (in print and online) that deal with personal narratives and testimonies of holocaust survivors. Most of these items are autobiographies or diaries, while others are audiovisual materials, research and analysis of personal narratives, and collections of individual testimonies. The Fortunoff database itself is also accessible through the library catalog.

[1] The United States Holocaust Memorial Museum (USHMM), The Yad Vashem Museum in Jerusalem, The British Library (London), and The University of Southern California (USC) Shoah Foundation.

[2] https://fortunoff.library.yale.edu/about-us/our-story/

[3] https://gvpt.umd.edu/facultyprofile/alford/c-fred

[4] Alford, C. Why Holocaust Testimony is Important, and how Psychoanalytic Interpretation can Help…but only to a Point. Psychoanal Cult Soc 13, 221–239 (2008). https://doi.org/10.1057/pcs.2008.16

[5] Ibid.

Global Studies, Read Hot and Digitized, Uncategorized

Read, Hot and Digitized: Wish you were here! Early Postcards from India

March 30, 2020 mrader Leave a comment

The Indian subcontinent gained independence from Britain in 1947, ending centuries of colonial influence and rule, thereby creating the nation states of India, Pakistan and Bangladesh (Bangladesh was East Pakistan until 1971). Like elsewhere, the “colonial project” in India took many forms and could be readily observed through examples such as the built environment, changes in civil infrastructure, and ultimately in ways of documenting and “knowing.” Contemporaries in the colonial period noted (and in some cases celebrated) these changes in many ways too, leaving traces such as official documents and reports, personal narratives including diaries, and even ephemera. As students of history, we desperately need these primary sources to nuance our awareness of what happened in the colonial period and of how people understood the events at the time. We need documentary mnemonics. In this post, I highlight a social media project that encourages us to look closely at postcards as sources to inform our understandings of both what was considered as important (the visuals on the cards themselves) as well as how information traveled and gained collective traction (the sending and receiving of the cards, not to mention what might be written on them).

As I write this from a scenic spot in Austin on a lovely spring day, I see many folks with their cell phones out, ready to take pictures. I’m not sure why they’re feeling compelled to take the pictures—maybe to help them remember this pleasant day, maybe to document things they haven’t seen before, maybe to share with friends and family later, inviting them to imagine Austin along with them. Whatever the reason, this now ubiquitous phenomenon of quick, easy and cheap photo sharing feels simultaneously both very “natural” and very “21^st century.”

Delightful digital projects such as the “Early Postcards from India,” however, challenge my assumption that an ephemeral capturing and sharing images is a particularly “contemporary” activity. As School of Oriental and African Studies (SOAS) visual anthropologists Stephen Hughes and Emily Stevenson explain,

“For anyone who has lived through the recent emergence of the Internet, social media, camera phones, and digital-printing technologies, it is perhaps all too easy to assume that the rapid and large-scale circulation of photographic images is a uniquely twenty-first-century phenomenon… A growing body of literature demonstrates that since its invention, in the mid-nineteenth century, photography has always circulated, moving among different spaces, discourses, and material forms.. Of the various nineteenth-century photographic innovations, the humble picture postcard was the most widely traveled of them all.”(1)

In “Early Postcards from India,” Hughes and Stevenson build on the success of their earlier physical exhibits of postcards as historical documents. They creatively exploit Instagram’s social media platform to reintroduce and redistribute the visual memories captured in and on early postcards from India. The chosen platform is unpretentious in layout, openly accessible to anyone with an Instagram account, and constantly growing–they have a new image and related provocative or didactic post daily. Their use of Instagram, one of the most widely adopted and therefore “traveled” image innovations, to continue the circulation and consumption of these images, is a simple but highly effective stroke of genius.

The content in “Early Postcards” is wide-ranging: it includes images of monuments, of municipal infrastructures, of “anthropological types.” As such, the images evoke feelings of nostalgia, of curiosity, of unease, and perhaps, of collective regret. Thanks to Hughes and Stevenson for sharing these images so we can all collectively participate in the critiques and (re)writings of history.

Those interested in further exploring the history of postcards, of visual representation(s) and of colonial India might find these helpful starting points:

Akbar, Sohail, “An Exploration of the Early History of the Nation through Personal Photographs.” photographies 6:1 (2013): 7–15.

Jhingan, Madhukar, Post Card Catalogue of India and Native States (New Delhi: We Philatelists, 1979).

Khan, Omar, Paper Jewels: postcards from the Raj (Ahmedabad, India: Mapin Publishing, 2018).

Mathur, Saloni, India by Design : Colonial History and Cultural Display (Berkeley: University of California Press, 2007.

Nenadic, Stana, “Exhibiting India in Nineteenth-Century Scotland and the Impact on Commerce, Industry and Popular Culture” Journal of Scottish Historical Studies 34.1 (2014): 67–89.

Pinney, Christopher, Camera Indica : the Social Life of Indian Photographs (Chicago: University of Chicago Press, 1997).

Ponsford, Megan, “Photographic Reportage and the Colonial Imaginary,” Sport in Society 22:1 (2019): 160–184.

Seth, Vijay, and J. R. Nanda. Centenary of Indian Airmails, 1911-2014 (New Delhi: Indian Aviation Research Foundation, 2014).

Notes:

(1) Hughes, Stephen and Emily Stevenson, “South India Addresses the World: Postcards, Circulation, and Empire” Circulation 9:2 (2019).