Most recently, though, staff from LLILAS Benson Latin American Studies and Collections and the Libraries have been building upon a project — initially funded from a 2014 Mellon grant award — that takes a more comprehensive approach to preserving the culture and history of Latin America.
The Latin American Digital Initiatives (LADI) repository, currently represents the collaborative efforts of LLILAS Benson with three Central American organizations on four distinctive projects:
Theresa Polk, post-custodial archivist at the Benson and one of the project’s leads, is gratified by the success of the project, and looks forward to its future potential.
“It was tremendously exciting to see how the metadata facilitated these disparate collections talking to one another and to other Benson digital collections,” says Polk. “As the site continues to evolve, new collections are added, and researchers begin to actively engage it, we hope it will facilitate new insights into human rights scholarship in the region.”
While we’re apt to sound out the world-class general and distinctive materials maintained by the Libraries, these resources are just a single galaxy in a greater universe of extraordinary collections across UT campus.
In the first of its kind accounting, the University of Texas Press has just released a massive assemblage of the rare, unique and exceptional collections that reside on the Forty Acres in the form of The Collections, a necessarily significant tome documenting the various holdings — recognizable and not so — from around UT.
Represented in the book are Libraries mainstays such as the Benson Latin American Collection, the Alexander Architectural Archive, the PCL and Walter Geological Map Collections and the Historical Music Recordings Collection, as well as highlights from discrete collections across the branches.
The book features hundreds of items from more than 80 collections campus-wide, covering a range of subject areas: archaeology, ethnography, fine and performing arts, rare books and manuscripts, decorative arts, photography, film, music, popular and material culture, regional and political history, natural history, science and technology.
Edited by Andrée Bober with the support of more than 350 staff from across the university, The Collections features a foreword by UT Austin President Gregory L. Fenves and a historical introduction by Lewis Gould, professor emeritus of American history, whose essay traces the formation of the collections and acknowledges many people whose visions are manifest in these material resources.
There’s no doubt that the embrace of digitization by museums and libraries has significant benefit for the devotees of art history. The preservation of the cultural record from the degrading effects of time is the most utilitarian benefit of the practice, but archival digitization also allows for non-linear consideration of creative works in its ability to allow art to be partnered with other data, information, critical context, etc. Digitization is, though, limited by the sheer volume of historical works that exist and by that which continues to be created. Sometimes, the only sure way for art to be preserved digitally, is for a specific need to arise.
Such is the case with the work of Sandow Birk, a visual artist in southern California, whose art contemplates modern American society with a nod to past masters.
Earlier this year, UT College of Fine Arts Ph.D. candidate Rose G. Salseda began research for her dissertation by interviewing several artists who created artworks in response to five days of civil unrest caused by a jury’s acquittal of four white Los Angeles police officers who had been charged with the videotaped beating of Rodney King, a black motorist.
“These riots were the first in history to be heavily documented through live news coverage, film, video, and photographs,” says Salseda. “Yet, past scholarship has failed to recognize the potential encompassed within art to speak to the history of the riots.”
“My dissertation seeks to unearth a missing visual narrative. Moreover, it reveals the capacity of art to unhinge and complicate polarizing histories of the 1992 LA Riots.”
Along with Birk, Salseda had interviewed sculptor Seth Kaufman and graffiti artist Man One, only to discover that virtually none of the artists’ work from the 1980s-90s had been digitally preserved.
“It really alarmed me,” says Salseda, “because, since most of these artworks were in private collections or in unprotected public spaces, no one would have the opportunity to see them again.”
In working with the Birk, Kaufman and Man One, Salseda was able to gain access to slides, photos and ephemera directly from the artists themselves.
“Birk was the first of the three artists that I met. He shared slides of his work with me and I was surprised that only a few had ever been digitized,” recalls Salseda. “I knew that if the documentation of the work was not updated, it may continue to be overlooked by scholars, teachers, and others.”
Salseda remembered from previous work with staff at the Visual Resources Collection (VRC) at UT that a library might be able to help her capture the imagery, thus ensuring that it would be preserved for both her use, as well as the use of future researchers. But she needed to find someone close by in Southern California that would be willing and able to assist.
“I contacted the head art librarian at Cal State Long Beach — the university closest to Birk’s studio. She then directed me to Jeffrey Ryan, the CSULB Visual Resource Center staff,” recounts Salseda. “I spoke with Ryan and he volunteered to digitize Birk’s images, as well as that of other artists whose work has not been digitized. Thus far, he has digitized several hundred slides for me and the artists I work with — all of which are now available to CSULB students, faculty and staff.”
Salseda then followed up with Sydney Kilgore, media coordinator for the UT’s VRC — an actively growing collection of some 80,000 digital images of art and architecture located at the university’s Fine Arts Library — to see if it would be possible to ingest a selection of Birk’s work into the university’s digital media repository, the DASE (Digital Archive SErvices) Collection, for the benefit of students, faculty and researchers at UT.
“When Ms. Salseda approached us with the Birk project we knew it would be another win/win situation,” says Kilgore. “In this case, the VRC additions resulted with Rose Salseda wanting to share her research, and artist Sandow Birk being willing to personally choose and share 30 images of his art which he felt were representative of his career.”
Salseda is currently working with Kaufman and Man One to secure digital images of their work for inclusion in the VRC, as well, which are expected to arrive next year.
She believes that there is a larger history to be told by the art that was created in the wake of the unrest, but because of a lack of documentation, the story of the period has an incomplete context.
“Due to the numerous artworks the riots inspired and the surprisingly scant scholarly and curatorial consideration of this work, I am positive there are many more artworks out there that have not been properly digitized and archived,” Salseda says. “In general, the lack of art history on the riots and the unbalanced focus on a small pool of artists means that other artist contributions to this important episode in LA and US history are forgotten or go untold.”
It’s this personal, practical experience that Salseda had in the process of her own research that prompted some realizations about the temporality of art and the necessity of digital preservation.
“I have come to realize even more the importance of digitizing images. These images are essential when original artworks are lost, reside in private collections, and/or are irregularly exhibited,” she says.
“It is also important for artists to update the format of their image archives to ensure that future generations have the potential to access images of their art when viewing equipment for older formats become scarce or defunct,” says Salseda. “However, taking on such tasks are out-of-reach for many artists: the equipment is expensive, as is hiring private companies to do such work, and it can take an extraordinary amount of time if one does not have the proper equipment or assistance.”
“Resources like UT’s VRC and CSULB’s Visual Resource Center are invaluable. From personal inquiries to professional ones, like documenting my exhibitions or archiving images related to my dissertation, I knew I could rely on these resources. I hope more students and faculty realize the important indispensable services they offer.”
An exhibition featuring Sandow Birk’s “American Qur’an” is currently on view at the Orange County Museum of Art.
Sydney Kilgore, Rose Salseda and Thao Votang contributed to this article.
Though the Learning Commons is starting to take shape and less imagination is required to envisage the finished space, it is still a construction area, and not the spanking future version of itself quite yet.
Stephen Littrell is Head of Access Services for the Libraries, and an avid fan of the Hipstamatic digital photo app, which allows users to customize mobile-native photography using a variety of lens, film and flash filtering options, creating images with a nostalgic feel. Littrell recently used his digital photography skills to coax some subtle beauty from the otherwise drab, dusty and cluttered space that will soon be the new Learning Commons.
“When the Learning Commons opens in August it will be a lovely and vibrant space,” say Littrell. “But before the space opens to the public, there’s an opportunity to capture some of the construction process in a way that’s less documentarian and more playful…maybe even a little artistic.”
Littrell has posted his work on Instagram, and uploaded selections to Hipstography, a site that features galleries of work by Hipstamatic users.
One of the most important resources online documenting the causes, processes, and consequences of the 1994 Genocide against the Tutsi, GAR demonstrates the generative impact that the Libraries’ programming can have. The HRDI project, begun in Rwanda in 2008, engaged staff and volunteers at the Kigali Genocide Memorial Centre, a museum and documentation center for education and memory in Rwanda, to combine their personal experiences, deep knowledge, and historical resources with the technical expertise at UT Libraries in order to preserve and provide access to the fragile record of the Genocide that was daily being lost.
The first version of GAR, developed by the Libraries’ Technology Integration Services, Information Technology Architecture and Strategy, and Digitization Services departments using Glifos media software, was installed on a laptop and hand-carried by me and human rights archivist T-Kay Sangwand to Rwanda, where it spent the next year demoing the project to build local community, government, and international support.
Launched online in 2010, GAR enabled people in Rwanda and around the world to hear testimonies from Genocide survivors as well as perpetrators and elders in Rwanda about their experiences of Genocide, its root causes, and the lives and society that it destroyed. Photographs and historical documents were collected and digitized by Aegis Trust’s Rwandan staff to be added to the Archive and preserved digitally by UT Libraries, and soon UTL was consulting on construction of a climate-controlled physical archive in Kigali in addition to the online digital archive.
The new Genocide Archive of Rwanda moves the archive to the cloud and integrates new mapping features, improved access to documents and photographs, and interactive tours of memorial sites around the country. The new site also includes features to engage youth in peace-building, and highlights important community renewal and reconciliation programs.
When recently retired Vice Provost Dr. Fred Heath and I attended the Kwibuka 20 commemoration ceremonies marking 20 years since the Genocide, Rwandan president Paul Kagame stated that, “Historical clarity is a duty of memory that we cannot escape. Behind the words ‘Never Again’, there is a story whose truth must be told in full, no matter how uncomfortable.” Born in the basement at Perry-Castañeda Library, and now managed in the cloud by a team of new information professionals in Rwanda, the Genocide Archive of Rwanda is a resource that preserves and gives clarity to the 1994 Genocide in support of memory, reconciliation, education, and scholarship in Rwanda, Texas, and around the globe.
The global impact of the University of Texas Libraries is made possible in large part to the financial support of individual, corporate and foundation donors. To contribute to projects like the Human Rights Digitization Project, please contact Natalie Moore or visit our online giving page today.
Like so many leather skirts, go-go boots and seersucker jackets that need to be carefully stowed in the interim between their respective periods in vogue, these great buildings of books, too, need to occasionally clear space for more useful, timely purposes.
To that end, the Libraries have thus far accommodated a need for additional “closet space” through the construction of off-site warehouses much reminiscent of the one imagined in the closing scene of Raiders of the Lost Ark, seemingly endless rows of shelving stretched from concrete floor to stories-tall rafter, where once-prized tomes and formerly-current periodicals can reside until such time as they are once again called upon to provide the critical information needed to complete some important research or solve some lingering question.
These library storage facilities (LSFs) house those low-circulation items and fragile materials that might be considered complementary resources for collections from across the campus of The University of Texas at Austin and beyond. Both the Harry Ransom Center and the Briscoe Center for American History are reliant upon this remote storage in order to free up room for the more high-value, high-use items in their ever-growing collections of cultural artifacts. Likewise, as parts of the Libraries’ valuable print collection are accessed less frequently than in the past, it’s logical to move those volumes into a high-quality storage environment and establish systems for retrieving books as scholars request them from storage. The migration creates space that can be repurposed for student use and newer technologies to facilitate a more productive, modern learning environment.
The Libraries also enjoined sibling rivals at College Station in two of the ventures thus far — the second of two facilities at the Pickle Research campus in North Austin, and a joint library facility (JLF) at Texas A&M’s Riverside campus outside of Bryan, Texas. In a collaboration that seeks to minimize the physical presence of materials while still availing the needs of institutions across the state, UT and A&M have pared some of their collections to a single-copy that is then shared cross-organizationally through a delivery system coordinated by the principals. The Austin unit constructed in 2010 is already at capacity, and the Riverside unit, which opened in 2013, has incorporated nearly half a million volumes to date. Given the successful outcomes of the partnership, there are already considerations for the development of further partnerships.
Beyond the space-saving functionality of the LSFs, there is a compelling financial reason for moving low-use items off-site. A 2010 study showed the cost of storing a single volume in an open library stacks facility is $4.26 per year, taking into account personnel, lighting, maintenance and heating and cooling costs. The cost is pegged at 86 cents per volume for storage at a facility such as the Riverside unit jointly operated by the Texas A&M and University of Texas Systems — representing a savings of $3.40 per volume.
The Libraries learned recently that it had received approval from the Board of Regents to begin construction on a third unit at the Pickle campus, which is necessitated by the Dell Medical School’s future plans to build where the Collections Deposit Library currently stands. CDL has long served as a storage facility on campus for permanent collections, as well as a holding space for unprocessed materials, but due to its age and lack of available space, the building has just about outlived its utility. The new construction at the north Austin campus will allow significant additional materials from other campus locations, as well.
The coming facility will, like its predecessors, be climate controlled, and will hold roughly one million additional volumes, bringing the Libraries over halfway to completing a stated goal of removing two million books from campus locations to off-site storage. Construction on the $8 million building will begin in 2016 and is expected to open in late summer of 2017.
The Primeros Libros project, of which the University of Texas Libraries and Benson Latin American Collection are founding members, seeks to digitize the first books published in the Americas, focusing initially on works published in Mexico in the 16th century. Each participating member library is entitled to a full set of the digitized exemplars of all partners as part of the project’s innovative preservation and access strategy. The project inventory currently includes 248 exemplars.
The University of Salamanca will bring 11 exemplars to the project, including five titles not previously covered by the project. One of these is the Sumario Compendioso de las Cuentas de Plata y Oro que en los reinos del Perú son necesarias a los mercaderes y a todo género de tratantes. Published in Mexico City in 1556. The Sumario Compendioso is the first non-religous text produced in the Americas and the first scientific text published outside of Europe. It was written primarily for merchants and miners involved in the silver and gold trade out of Mexico and Peru as a practical guide to help them manage their transactions, a sort of early precursor to the calculator. The Sumario contains tables that made it easier for merchants to get numerical values without having to do extensive calculations by hand, but there are also sections on algebra and quadratic equations.
The addition of the University of Salamanca’s digitized version of the Sumario Compendioso to the Primeros Libros project is also important in terms of the repatriation of cultural patrimony to Mexico, one of the key goals of the project, since there are only three known surviving copies of the book in the world, none of which is in Mexico (the Salamanca copy, one at the British Library, and one at the Huntington Library in Los Angeles). All seven Primeros Libros partner institutions in Mexico will now be able to feature this digital copy of the Sumario Compendioso as part of their local collections.
The Biblioteca Burgoa brings nine additional exemplars to the project. One of these, the Institución, modo de rezar y milagros e indulgencias del Rosario de la Virgen María, represents the only copy of this work in the project to date.
When libraries began to experiment with ways to migrate and adapt their traditional structures and skills to a technologic age, they came up with some novel approaches to information collection and preservation that are in a process of constant evolution. One such experiment begun in 2005 is still active and paying dividends today.
The Latin American Government Documents Archive (LAGDA) has been collecting, preserving and providing access to ministerial and presidential documents from 18 Latin American and Caribbean countries. In a process of crawling – the automatic downloading of webpages based on given criteria – the project has captured documents and information that could (and likely would) be lost over time due to neglect, changes in technology, changes in leadership or, in some cases, a willful desire to expunge the historical record.
Kent Norsworthy is a data curator and communications specialist splitting time between the Benson and the Lozano Long Institute of Latin American Studies who has been one of the primary drivers of the LAGDA project. He recently provided an interview on his work to “The Signal,” the Library of Congress’s blog on digital preservation, which you can read here.
University of Texas Libraries Director Fred Heath traveled to Guatemala in December 2011 to participate in the launch of a joint project between the Guatemalan National Police Archive (AHPN) and The University of Texas at Austin. Together, AHPN and the Libraries would provide public access via the web to records of human rights violations by government agents that were discovered in a military munitions dump in 2004.
This is Dr. Heath’s travelogue of his trip.
Our flight to Guatemala City, 5,000 feet up in the Central American highlands took two and a half hours. Our destination was the National Police Archives, where on Friday we would celebrate with our colleagues, the recent opening of the AHPN website. I had yet to write my brief remarks.
In the cramped rear coach seat of the Boeing 737, I held my laptop in my lap, with the screen tilted slightly forward to accommodate the encroaching seatback of the traveler in front of me, and edited my three-minute talk. I was working from the draft I delivered the week before, when we first opened the web site of the Guatemalan National Police Archive.
Our next day — Friday, December 9 — would be International Human Rights Day, and AHPN director Gustavo Meoño had shrewdly decided to reciprocate the previous week’s events with a ceremony in Guatemala City celebrating the partnership between AHPN, administratively housed within the Ministry of Culture, and the University of Texas.
At 35,000 feet, I was not sure what to expect. I did know that Christian Kelleher (program coordinator for the Human Rights Documentation Initiative), Karen Engle (director of the Rapaport Center for Human Rights and Justice) and Daniel Brinks (professor and co-director of Rapaport) would all address the audience at AHPN, projected to be some 200 in number, but I knew little about the attendees. I also knew that all three of my colleagues would deliver their remarks in Spanish; so I was determined to keep my Anglo remarks brief. As I wrote, I wanted to answer the question of why democracies elect to archive and preserve even the dark chapters of their histories, rather than deny or erase them. I chose to use the example of the Lyndon Baines Johnson Library & Museum, whose holdings allow researchers to address the issues of the transfer of presidential power in the aftermath of the assassination of John Kennedy, to study an epochal period in our own tumultuous civil rights movement, and to inquire into the dark chapter that was the war in Vietnam. My hope was that in my brief remarks I could remind our Guatemalan audience that in a democracy it is necessary to study all parts of our past, in order to learn from our accomplishments, and avoid the recurrences of our missteps. Continue reading The Libraries Afield: Launching the Guatemalan National Police Archives Website→
On Thursday of last week, college football fans around Texas and many from around the nation gathered around the flat screen to watch the final episode in the third longest running rivalry in college football. After this season, the two teams are unlikely to encounter each other again in the regular season as the Aggies head toward the Southeastern Conference and the Longhorns lock up annually with their heartland foes.
But even as the sports scene in Texas changes fundamentally, so much remains the same. The University of Texas at Austin and Texas A&M University remain the two flagship institutions of our state, and when it comes to teaching, learning and research, the two schools remain ever so closely aligned.
And our libraries are united in their determination to advance the core educational missions of the two universities. The University of Texas System and the Texas A&M University System have united to fund and operate a common storage facility on property owned by Texas A&M. There all the universities in both systems will be able to preserve their print copies in a shared resources in common facility that will ensure the preservation of the “long tail” of scholarly research while freeing up valuable central library space on every campus. Full sets of journals now accessed electronically—such as JSTOR—will have their archive print instantiation in Bryan, Texas.
At the same time, the two flagships continue to work together to harness the power of digital technologies in support of research. Combining their own powerful (but separate distinct) holdings of first century books from Mexico with other examples from Mexican partners, Spain, Brown University, Tulane, Harvard and elsewhere, the Los Primeros Libros project will eventually enable scholars around the globe to access and study all of the 200+ surviving examples of printing in the Western Hemisphere.
So, as both schools rewrite the lyrics to their fight songs, where each disparages the other in the early stanzas, the librarians will resume the collaboration that makes their combined collections one of the state’s most important assets.