Karl Kamrath (architect). Farnsworth & Chambers Office Building, Houston, Texas. Undated. Pencil, colored pencil and crayon on trace paper. 11 7/8 x 25 1/8 in. Karl Kamrath Collection, Alexander Architectural Archives.
Houston architect Karl Kamrath had an opportunity to meet Frank Lloyd Wright when he visited Taliesin in June of 1946. The encounter had a profound effect on Kamrath’s architectural designs as he began creating Organic architecture, integrating human habitation with the natural environment.
The archive provides insight into the prolific Texan’s work, much of whose modernist design aesthetic paid homage to Wright, and includes some of Kamrath’s award-winning projects such as the Kamrath residence of 1939, Temple Emanu-El in Houston, the Houston Fire Alarm Building, M.D. Anderson Hospital and Tumor Institute, and the Contemporary Arts Association in Houston. The archive also includes a number of volumes from Kamrath’s personal library that shed further light on his influences.
Karl Kamrath grew up in Austin and earned his bachelor’s degree from The University of Texas. In 1934, he moved to Chicago, where he worked for the architectural firm Pereira and Pereira, the Interior Studios of Marshall Field and Co. and the Architectural Decorating Company.
In 1937, he and another former graduate of the university, Frederick James MacKie Jr. opened their own architectural firm, MacKie and Kamrath in Houston, Texas. MacKie and Kamrath were among the first Houston architects to follow a modernist approach to design for which they received national recognition.
Kamrath left the firm from 1942 to 1945 to serve as a captain in the Army Corps of Engineers. Shortly after his return in 1946, Kamrath met Wright and immediately became an advocate of Wright’s Usonian architecture style.
Kamrath became a member of the American Institute of Architects in 1939 and was elected to fellowship in the institute in 1955, and at various times served in an adjunct capacity at the University of Oklahoma, The University of Texas, Texas A&M University and the University of Oregon. He was also a founder and served on the board of the Contemporary Arts Museum from 1948 to 1952.
Sharir dancers. Photographer: Jonathan Leatherwood.
Choreographer, dancer, artist and teacher Yacov Sharir recently donated his archive to the Fine Arts Library. Sharir moved to Austin in 1978 where he founded the American Deaf Dance Company and was hired on as faculty at UT shortly thereafter. He developed a dance program that has become a model for universities across the country, founding the university’s professional company-in-residence, the Sharir Dance Company, in 1982, which became Sharir+Bustamante Danceworks (SBDW) in 1998.
The lengthy project of processing the collection of materials from Sharir’s professional career required the persistence of graduate researcher Katie Van Winkle, an advanced degree candidate in the College of Fine Arts.
Van Winkle took time to answer some questions about the project and her impressions of the experience.
Tex Libris: How did you get involved in processing the Sharir archive?
Katie Van Winkle.
Katie Van Winkle: I’m a Ph.D. candidate in Performance as Public Practice (PPP), a program in the Department of Theatre & Dance. When I began my studies in the fall 2013, a fellow PPP student named Cassidy Browning was working with Dr. Sharir as a research assistant. Cassidy moved on to dissertation work, and recommended me as a replacement, just as Beth Kerr (Theatre & Dance Librarian in the Fine Arts Library) and Dr. Sharir established the archive project.
I have found always physical and digital archives invaluable in my work both as a scholar and as an artist–but I have almost zero training in archival work. At UT, I participated in a one-day workshop with the American Theatre Archive Project (ATAP), and a theory-based course on “Archive and Ephemera.” Instead, I have some experience in inventing and implementing technological solutions for arts management: for example, as a Dramaturgy Fellow at Center Stage in Baltimore I developed an early prototype of the National New Play Network’s New Play Exchange (http://nnpn.org/programs/new-play-exchange) through a Dramaturgy-Driven Grant from the Literary Managers and Dramaturgs of the Americas.
What did the process consist of? What was the scope, and how much in terms of materials and types of materials were there?
KVW:The Sharir/Sharir+Bustamante Dance Collection is a gift archive from Dr. Sharir to UT’s Fine Arts Library. It consists of video documentation of many hundreds of dances between 1977 and 2015, as well as paper documentation (programs, photographs, press clippings, etc.) of the work of the American Deaf Dance Company, the Sharir Dance Company, and Sharir+Bustamante Danceworks. A large selection of this archive has been digitized by Anna Lamphear and Katie Thornton and other staff members of UT Libraries’ Preservation and Digitization Services. The digitized collection is hosted on Texas ScholarWorks.
This symposium celebrates the public launch of the first phase of the digitization process: the videos! The paper archive will be digitized in 2017 as phase two of the project.
Dr. Sharir’s office contained 671 individual video objects. Since the earliest was dated 1977, and the latest 2015, these objects embody four decades of video technology: U-matic (3/4″), VHS, Hi8, Betacam, Digital Video Cassette and Mini DV, DVD, and born-digital files stored only on hard drives: .mov and .mp4.
Some of these 671 objects were labeled with titles and dates and choreographers and other pertinent information; some were not labeled at all. Some of the objects documented multiple dances, some from multiple events with multiple choreographers or dance companies participating; others documented a single dance.
The major challenge we faced was how to balance efficiency and depth of coverage. We wanted to ensure that the digital collection represented as many unique dance works as possible, without wasting time digitizing duplicate tapes, but the inconsistency of visible information made this difficult. Also challenging: there was no way to tell if the physical object had degraded beyond use without playing/digitizing it at the PCL.
Here’s the sequence of my work:
In the fall of 2013, I created an inventory of most of the video items (we discovered more later on). I ordered the items chronologically (as far as possible), gave each a unique number (0001-0671), and made a spreadsheet detailing all “metadata” available at that point. Depending on the item, this could include: unique number, date, item format and brand, event title, individual dance titles, event type (rehearsal or performance), run time, dance companies, choreographers, venues and sites, videographers and their notes, performers, designers, musicians, composers, other collaborators, and notes.
Sharir and I then began selecting “batches” of video items to send to the PCL, 20 at a time. We prioritized based on questions like “how old is this tape?” (older objects got priority); “how significant is this event/dance?” (Dr. Sharir, of course, was the expert of this); and “have we digitized any version of this event/dance before?” (new/unique pieces got priority).
In January 2014, I delivered the first batch of 20 tapes to Anna and Katie in the PCL, where they worked their magic using lots of devices that I do not recognize or understand! I continued to deliver and pick up batches of tapes through the summer of 2016.
Anna and Katie digitized 398 video objects between January 2014 and September 2016. WOW.
After they uploaded each batch to the libraries server as .mp4 files, Dr. Sharir and I watched each digitized video. While he watched the dances closely, reminiscing about his fellow artists and considering the quality of the videography and lighting, I filled in the blanks of my spreadsheet, based sometimes on in-video credits and sometimes on Dr. Sharir’s recollections.
Once he watched the video through, Dr. Sharir decided whether or not to accession it into the digital collection. He based this decision on the significance of the dances represented, the quality of the video (for instance, some videos lacked audio, and some had degraded over time), and whether we had coverage of the event in the collection already. We generally chose to accession subsequent nights of the same dance program, a collection-level acknowledgement that live performance changes in every reiteration.
About halfway through the watching process, Dr. Sharir’s co-artistic director José Luis Bustamante delivered three crates filled with beautifully organized files of programs, press clippings, and season announcements. I am so grateful for this gift! Matched with Dr. Sharir’s files, it has allowed me to create a four-decade production history, and provide extensive credits and notes for almost every item in the digital collection.
Once an item is chosen for the digital collection, I upload its .mp4 file to TexasScholarWorks, and add in all its metadata. On TexasScholarWorks, UT folk and the general public alike can search and browse the collection, view streaming video, and download the videos to their own drives. Each video is protected by a Creative Commons license (Attribution-NonCommercial-NoDerivs 3.0 United States).
I take the digitized tapes to Beth Kerr at FAL, and she adds them to the physical Sharir collection located in off-site storage. This physical collection contains all digitized video objects, whether accessioned or not into the digital collection. It also contains all the video objects we decided not to digitize (usually because they were clearly duplicates of something we already had accepted).
You worked closely with Dr. Sharir on this project; did he provide any impressions about the digitization/digital preservation of his work?
KVW: I don’t want to speak for Yacov, but I know he is tremendously grateful for the opportunity to share his work with the global public and with future generations. (He is also grateful to regain all that shelf space in his office!)
He has found great joy in “re-view”ing his choreography and dancing over the decades, and in responding again to the work of the many extraordinary artists he worked with and presented/produced here in Austin and elsewhere.
He shared many jokes and memories with me. Certainly the most poignant and somber touched on the lives of his artist colleagues who had died between the filming of the dance in the 1980s or 1990s, and the day we watched it again in 2015 or 2016. The Sharir Dance Company, like so many arts organizations, lost beloved members to the AIDS epidemic. We felt sometimes that we were watching ghosts dance.
How long did the project take?
KVW: 3 years and 2 months since I began my work as (part-time) archivist. (But the project isn’t done yet—we have phase 2 still to complete). Add in more time before that (I don’t know how much) for Beth and Yacov’s work getting the project up and running and funded.
Did you discover anything in the process that was either unexpected (either in the materials or cataloging), and can you reflect on the accomplishment and its value to the broader world?
KVW: My favorite moment in the inventory process was discovering a VHS tape with no labels except two sticky notes reading: “This is the one you’ve been waiting for. UNCUT UNRULY UNHOLY.”
Having never participated in a archival process of this scope, I had no idea just how much time this work takes. It’s a major undertaking.
Yacov is a treasure: of the dance world, of Austin and the UT faculty, of the Department of Theatre & Dance. His career has been hugely significant and influential, from his pioneering, inclusive work with Deaf and hearing dancers; to his artistic and production collaborations with artists like Merce Cunningham, Bill T. Jones, Deborah Hay, David Dorfman, Doug Varone, Margaret Jenkins, Tina Marsh, Allison Orr…the list goes on.
Documenting and preserving dance has always been difficult. Yacov’s work is perhaps particularly suited to a digital life because he was a pioneer of the integration of digital media and live performance, beginning in the early 1990s and continuing in his collaborations with dancers, musicians, computer programmers, and biomedical and wearable-tech engineers today. (Check out [3D Embodied] and AdMortuos for the most recent examples in the collection):
It has been a privilege—and a real pleasure—to help make this important piece of dance history available to the public. I grew up and discovered theatre and dance here in Austin, and I’m proud to contribute to the preservation of the city’s cultural history.
This Thursday (11/3), five local artists will gather for a panel at the Fine Arts Library (FAL) to talk about how they were impacted by the presence of the DIY ‘zine movement.
The FAL began collecting ‘zines in 2010 with some guidance from Russell Etchen, the manager/curator of the much-beloved and gone-too-soon Domy Books, which provided Austin (and Houston before) with an opportunity for browsing (and occasionally purchasing) niche publications and other media in art, design, literature and photography. Domy closed and Etchen moved on, but he’s maintained his ties to Austin, and he recently generously donated his personal collection of ‘zines to FAL — four large boxes of rare and sometimes unique works that represent a breadth of formats and genres, and superlative examples of the form.
Russell is returning to Austin for a visit and a show at Co-Lab Projects’ Demo Gallery (721 Congress Avenue), and kindly accepted an invitation to moderate the panel at FAL. He also took some time out to answer a few questions from us about his own experiences with self-publishing.
Russell Etchen.
Tex Libris: Since they are such a very outsider form, what was your entrée into the world of ‘zines?
Russell Etchen: I started reading Mad Magazine and superhero comics first. Had a subscription box at my local strip mall comic and game shop and went weekly.
Simultaneously I was discovering music ‘zines like Maximumrocknroll, the underrated Chicago based Rocktober, Punk Planet, and many more smaller publications in the punk and hardcore scene.
John’s mini-comix/zine distro Spit and a Half, and the long-deceased Factsheet Five opened me up to everything that followed.
Which were you first, creator or collector?
Stamp of approval.
RE: I was always both. I collected to create. I created to collect.
How many ‘zines have you produced, and are you still making them today?
RE: I’ve produced two dozen, maybe three dozen ‘zines to date. I still self publish now and then for myself and others. Two last fall. Nothing currently in the works.
My personal memory of you is from Domy Books, and I know that (former head librarian) Laura Schwartz connected with you during that time to get your help in developing what became the ‘zine archive at FAL. Can you tell me a little bit about how you met Laura and what you did to help guide her in choosing materials?
RE: Unless I’m mistaken, I met Beth and Tim Kerr first. They both work/worked in the UT library system for decades. Beth introduced me to Laura, and Laura let me know that she was working with a budget to start purchasing interesting small press and self-published publications.
Selfishly, I guided Laura to works I was particularly fond of and publications I felt wouldn’t get archived anywhere else.
Did you use the same criteria for developing your own collection, or was that more organic?
Unboxing Etchen’s ‘zines.
RE: A mix. Mostly organic, but sometimes strategic. I was seeking the underground and was trying to go as deep as I could. I was looking for fellow outliers and I found them. So many of them.
How would you describe the purpose(s) of a ‘zine? Or does that question even have an answer?
RE: A ‘zine is self published self-expression. An extension of a perceived community and was/is cultural currency. You want to trade? I make one, too.
How would you characterize the relevancy or currency of ‘zines today? What’s their relationship to technology? This is a recurring question that we have to consider at the libraries regarding physical/digital.
RE: To me, these days, they seem to be primarily an extension of the business card or portfolio. Or one-upmanship within a scene (echo chamber). Too precious. A digital generation discovering the analog and turning it into a fetish. Exceptions abound, but it feels like an inversion of itself. I don’t trust them anymore. The intentions have been blurred.
What made you decide to donate your collection to FAL? It’s pretty amazing, and based on the small segment I’ve seen, encompasses a broad variety of types and formats.
More from the collection.
RE: After spending twenty years collecting and editing the collection, moving it everywhere I went and hardly ever looking at them anymore, I finally decided that someone else will get much more out of them. That, and I need the space while still wanting to know my “stash” is relatively safe and accessible. Plus, someone else is going to catalog it all for me!
What do you hope people get out of having access to your collection?
RE: Should one person rifle through them and find inspiration, my job is done. Should another person find that obscure publication that helps their research, my job will be done. Beyond that, I just know they’ll just sit in boxes in my closet and continue to decay and that would be a waste. I care too much about analog history to do that to them. And I’m done with them.
Are you still collecting?
RE: I’m actively un-collecting at this point, but I will still pick up cheap paperback literature for the same reason I picked up comics or ‘zines. To feel like I’m saving a small slice of history from absolute oblivion, and ’cause there are just too many books I want to read before I’m dust.
Gallery of covers from Etchen’s ‘zine donation:
Thursday’s panel features photographer/publisher Kelly Dugan of Peachfuzz, visual artist James Huizar of Puro Chingon Collective, editor/curator Amarie Gipson of MUD Magazine, designer/curator Phillip Niemeyer of Northern-Southern, and mail artist/musician Josh Ronsen of Monk Mink Pink Punk.Click for more info.
From the Carlos Villalongín Dramatic Company Records. Benson Latin American Collection.
Founded in Jalisco, Mexico in 1849, the Carlos Villalongín Dramatic Company (also known as Compañía Cómico Dramática) was headed by Mexican actor and director Carlos Villalongín, and featured members of his family, as well as the families of Encarnacíon Hernández and Cristóbal Berrones. The troupe was based primarily in Nuevo León, but toured extensively through northern Mexico and the southwestern U.S. for many years, producing a repertoire of tragedies, dramas and comedies that gained popularity in Mexico City.
Carlos Villalongin, 1902. From the Carlos Villalongín Dramatic Company Records. Benson Latin American Collection.
The company was contracted in 1911 by the Teatro Aurora — a theater on the second floor of a converted saloon in San Antonio — and earned such popularity that their initial 9-month residency was extended to a year and a half. Villalongín made the decision to remain in San Antonio upon the outbreak of the Mexican Revolution, then made subsequent tours through south Texas before finally retiring in 1924.
The archive from the company, which resides at the Benson Latin American Collection, consists of plays and promptbooks, photographs, broadsides and ephemera, including 163 volumes of plays and promptbooks in printed or manuscript form; programs, promotional fliers, and tickets; and photographs showing Mexican and Mexican American stage actors and directors, including members of the Villalongín and Hernández and families.
A student tries out the Vive virtual reality equipment.
After a frenetic summer of construction, the new maker space at the Fine Arts Library — The Foundry — opened to great fanfare (literally) on September 7.
More than 300 attendees were welcomed to the renovated area on the main floor of FAL with a flourish of horns by the FivE Euphonium Quartet — as well as other performances by Butler School of Music students and director Jerry Junkin — and remarks by Vice Provost Lorraine Haricombe, College of Fine Arts dean Douglas Dempster and Provost Maurie McInnis.
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FAL staff and students provided demonstrations of the new tools and technology that inhabit the space, and the centerpiece video wall projected examples of creative work produced by art and design students from across campus.
Guests had the opportunity to see the 3-D printers, a carver, sewing and embroidery machines, and MFA student Jon Haas provided a hologram projection onto a large model of the UT Tower to the delight of onlookers.
The opening attracted interest from around the university community, as well as area residents, donors and local media.
Interim FAL head librarian David Hunter and Libraries supporter Jan Roberts pose for Austin American-Statesman photographer Ralph Barrera.
With the space completed, efforts to train staff and student assistants on the technical particulars of the new equipment and the development of training materials and video tutorials for patrons is well underway. The space is expected to be fully functional by the end of October, and the wait begins to see how students will use the space for creativity and innovation.
All photos by Lawrence Peart, provided by the College of Fine Arts.
Knowledge, relationship, awareness, perception, assessment, responsiveness, realization, recognition, insight, creativity, vision, and GRASP! Bingo, a seminar!
After a year’s planning and one conversation between a marine science librarian and a faculty member, a grand opportunity came to fruition for the Marine Science Library to connect the Marine Science Institute and its regional partners with UT Libraries. On August 19, we hosted a 2-hour seminar on Scholarly Publishing & Data Management at the institute in Port Aransas. Yes, “that place on the beach!” By inviting expert librarians from UT Libraries, a diverse audience received an informative session on topics relevant to researchers, librarians and students.
Colleen Lyon covers copyright and the basics of scholarly communications.
Colleen Lyon, Scholarly Communications Librarian at UT Libraries, covered the basics of copyright, transfer agreements associated with copyright, open access publishing and how to legally share research on online tools like ResearchGate and Academia.edu.
Jessica Trelogan, Data Management Coordinator at UT Libraries, shared her expertise on basic data management planning and principles. Requirements from funding agencies, publishers, and institutions continue to create pressures on researchers who are already stretched for time and funds. Jessica discussed the process of creating and writing a Data Management Plan (DMP), how to make data more discoverable, accessible and reusable, and provided useful resources.
The event was held in the large seminar room located in the Estuarine Research Center building, creating a comfortable and relaxed atmosphere, with views of the dunes and Gulf of Mexico. The small group of participants included faculty, staff and students from the Marine Science Institute and librarians from Texas A & M University, Corpus Christi. Throughout the seminar, thought-provoking questions led to some great discussions and our presenters handled them with ease.
After the session, attendees had an opportunity to chat, while enjoying a delicious lunch provided by the Mustang Island Food Company of Port Aransas.
The Marine Science Library continues to find creative ideas for its role in providing opportunities in learning and research. The seminar event was a great success!
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:
Hemeroteca del Museo de la Palabra y la Imagen, also based at the Museo de la Palabra y la Imagen, documenting clandestine publications from the period of the Salvadoran armed conflict.
La Informaciónat Centro de Investigación y Documentación de la Costa Atlántica, documenting the historical newspaper’s coverage of social, political and economic life of Bluefields, Nicaragua.
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.”
Vice Provost and Director of the UT Libraries Lorraine Haricombe with the Longhorn Singers.
Welcome to our incoming class and welcome back to our returning students!
It is with much excitement that I invite you into the many UT Libraries facilities across campus and also online. While you were gone, we have updated our spaces, hired several new colleagues, installed new technologies to help orient you about our spaces, events and collections in the Perry-Castañeda Library, the largest library on campus. At UT Libraries’ nine facilities you will find professionals with distinctive expertise committed to assist you in your scholarly work. In the PCL you will find state of the art technology rich classrooms, gender neutral bathrooms, the University Writing Center, Stem Study spaces and the Scholars Commons for quiet study. Just steps away from the new and vibrant pedestrian walkway on Speedway, the PCL is already open 24/5 starting on this first day of class.
In the Doty Fine Arts Building, the new 3900 sq. ft. Foundry in the Fine Arts Library will officially open on September 7. In the meantime you are invited to check out the video wall, the 3D printers, sound recording studio and more to support hands-on learning for the entire UT community.
Great libraries make great universities, and we will continually strive to make ourselves and our university greater, because all that starts here, changes the world — one student, one faculty member, one researcher, one mind at a time.
The UT Libraries has been busy working on our role in national collaborations for deepening and diversifying South Asian collections while simultaneously making them more accessible. One of these efforts exemplifies our multi-pronged approach, namely the growing — albeit idiosyncratic — niche collection in popular and pulp fiction in regional South Asian languages. The various projects associated with this collection have harmoniously united to form a synergy of resources for scholars of South India.
On a brief acquisitions trip to South India last year, Mary Rader, the South Asia Librarian and Global Studies coordinator, obtained a treasure trove of popular and pulp fiction novels to jumpstart our efforts. These novels were primarily in Telugu, the chief language of Andhra Pradesh and Telangana, and third most spoken language in India.
“Abhiśāpaṃ” by Yaddanapūḍi Sulōcanārāṇi.
Popular and pulp fiction literature gained popularity across India during the 1950s and 1960s — a time of tremendous social activism in the subcontinent. For example, after India gained independence in 1947, many social reformists and their movements sought to encourage women to learn to read and write. As a result of these efforts, women writers across the socioeconomic spectrum took advantage of the medium of popular and pulp fiction to address contemporary societal dilemmas. The issues these women wrote about included problems they faced personally as well as those issues that permeated throughout Indian culture. Thanks to these movements, the 1960s were dominated by female writers who wrote fiction that subtly critiqued social issues while piquing the interest of the common reader with imaginative storylines and exuberant characters. In this vein, pulp and popular fiction presented a very raw and realistic take on life, which allowed the middle class to see elements of their lived experiences within the confines of these beautifully illustrated, modest books.
“Kālakanya : saspens, miṣṭarī thrillar” by Madhubābu.
These popular and pulp fiction authors also had close connections with the movie industry, aside from writing for popular cinema magazines. Another one of the authors whose works we have acquired — Yaddanapūḍi Sulōcanārāṇi — wrote sought-after fiction that was frequently used as the plot of many successful Telugu movies. Her love stories and dramas were popular for younger generations and directors such as K. Viswanath adapted her stories into extremely popular films that addressed a wide array of social issues.
“Sampeṅga podalu” by Si. Ānandārāmaṃ.
Another set of contemporaneous novelists replicated the detective novel literature that was popular in the U.S. during the 1930s and 1940s. Proliferous authors like Sāmbaśivarāvu Kommūri, Madhubābu, and Rāmmōhanarāvu Sūryadēvara produced dozens of novels providing quick entertainment while still addressing contemporary social issues in a more informal context.
“Ekkavalasina railu” by Dvivēdula Viśālākṣi.
As we continue to develop this distinctive niche collection, we are also working to make our Telugu materials more accessible. As part of the South Asian Language Journals Cooperative Table of Contents Project (SALToC), we have been annotating Telugu journals within the Libraries’ collection. As we worked on the annotations, unique parallels with our pulp and popular fiction emerged. Our first contribution to SALToC was the creation of a table of contents for Āndhrasacitra vārapatrika, a 200+ issue weekly cinema magazine that included short stories by amateur authors. In the early 1960s, weekly and monthly journals like Āndhrasacitra vārapatrika flooded the market with editors who eagerly encouraged women to write. Many of the short stories written by these women gained critical acclaim. In particular, a short story called “Sampenga Podalu” or Tuberose Vines, written by C. Ananda Ramam in Āndhrasacitra vārapatrika, jumpstarted her career as a successful popular fiction novelist. Similarly, another of the authors whose works we have acquired – Dvivēdula Viśālākṣi – had the beginning of her career founded in a short story she wrote for another one of these popular journals.
We have a lot more annotating, researching, and acquiring to do and we have started work in other regional languages like Tamil and Malayalam. In the meantime, check out the amazing resources we are compiling.
Written by Sricharan Navuluri — South Asia Library Assistant working with Global Studies Coordinator Mary Rader.
The University of Texas Libraries wants to send you to OpenCon 2016 in Washington, DC.
If you’re a graduate student with interest in Open Access (OA), Open Educational Resources (OERs) and Open Data who wants to help shape the future of research and education at UT, consider applying for a travel scholarship being provided by the Libraries to attend this year’s OpenCon — an academic conference for students and early career researchers taking place November 12–14, 2016 in the nation’s capital.
The scholarship winner will receive a $2000 stipend — an amount that planners designed cover all expenses for attendees. OpenCon is an excellent opportunity to learn more about open access, open education and open data, to learn how to advocate for these issues, and to network with people from across the globe. The program includes keynote talks, panel discussions, workshops, hackathons, and an opportunity to lobby at the US Congress. It truly is an international conference — last year’s conference included attendees from 5 continents!
In exchange for the stipend, the winner will participate in campus discussions about their experiences at the conference, and share ideas with Libraries administration, faculty and student government leaders about how to make Open Access a campus priority.
Requirements:
UT Austin graduate student or postdoctoral researcher. Attendee agrees to engage in the open discussion on campus and to give updates to undergraduate and graduate student government upon their return.
To apply:
Please send a statement (no longer than 500 words) discussing how you would work with the Libraries to engage the campus community in discussions of an open agenda for UT.
Submit your statement and resume/CV to Scholarly Communications Librarian Colleen Lyon by Thursday, June 30, 2016. Applicants will be notified with a decision by July 15, 2016. If you have questions about the conference or about the application process, please contact Colleen at 512-495-4244 or c.lyon@austin.utexas.edu.