I do have a request for all of you out there in the blogosphere: If you had to recommend a favorite book or journal article published in the past few years on the topic of electronic records, what would it be? Pointers to favorite reading lists are also very welcome.

This post is from from: Spellbound Blog.

Career Update

These two 1930s posters from the Library of Congress focus their message on convincing women to seek treatment from their doctor quickly and not fight their cancer alone.

By the 70s we got PSAs from organizations like the American Cancer Society, focusing on not smoking, doing self-exams and seeing your doctor for ‘regular cancer check-ups’. The clip below features Farrah Fawcett in 1981 (25 years before her own cancer diagnosis):

Almost 30 years later we have a new kind of video appeal. The Army of Women, a program of the Dr. Susan Love Research Foundation, funded by a grant from the Avon Foundation for Women, is recruiting 1,000,000 women (and men!) of all ages and ethnicities to participate in studies to find the cause of breast cancer. Their PSA below recasts the challenge. Now, instead of living a healthy lifestyle and then seeking out doctors for diagnosis and treatment – we are asked to join forces with others to support doctors in their research the cause of breast cancer.

I lost my aunt to breast cancer. I have more friends and family who have fought breast cancer than I can count on one hand. I joined the Army of Women over a year ago.

What can you do?

• If you are over 18, sign up to join the Army of Women database. The first step is to add your name to the pool of individuals willing to be contacted to hear about research projects in the future. It is free. You are not agreeing to participate in any specific project, just adding yourself to the list so researchers can find the subjects they need as fast as possible.
• Invite your friends and family to join.

Help us reach a day when the only way that a woman can learn about what it was like to have breast cancer is from memoirs, documentaries and tear-jerker movies. I want to put cancer in the archives (forgive me.. couldn’t resist it!).

This post is from from: Spellbound Blog.

Breast Cancer: Join the Army of Women & Help Scientists Find the Cause

I find myself in the odd position of having finished my Master’s Degree and not wanting to sign on for the long haul of a PhD. So I have a big project that was born in academia, initially as a joint class project and more recently as independent research with a grant-funded programmer, but I am no longer in academia.

What happens to projects like ArchivesZ? Is there an evolutionary path towards it being a collaborative project among dispersed enthusiastic individuals? Or am I more likely to succeed by recruiting current graduate students at my former (and still nearby) institution? I have discussed this one-on-one with a number of individuals, but I haven’t thrown open the gates for those who follow me here online.

For those of you who have been waiting patiently, the ArchivesZ version 2 prototype is avaiable online. I can’t promise it will stay online for long – it is definitely brittle for reasons I haven’t totally identified. A few things to be aware of:

• when you load the main page, you should see tags listed at the bottom – if you don’t at all, then drop me an email via my contact form and I will try and get Tomcat and Solr back up. If you have a small screen – you may need to view your browser full screen to get to all the parts of the UI.
• I know there are lots of bugs of various sizes. Some paths through the app work – some don’t. Some screens are just placeholders. Feel free to poke around and try things – you can’t break it for anyone else!

I think there are a few key challenges to building what I would think of as the first ‘full’ version of ArchivesZ – listed here in no particular order:

• In the process of creating version 2, I was too ambitious. The current version of ArchivesZ has lots of issues, some usability – some bugs (see prototype above!)
• Wherever a collaborative workspace of ArchivesZ were going to live, it would need large data sets. I did a lot of work on data from eleven institutions in the spring of 2009, so there is a lot of data available – but it is still a challenge.
• A lot of my future ideas for ArchivesZ are trapped in my head. The good news is that I am honestly open to others’ ideas for where to take it in the future.
• How do we build a community around the creation of ArchivesZ?

I still feel that there is a lot to be gained by building a centralized visualization tool/service through which researchers and archivists could explore and discover archival materials. I even think there is promise to a freestanding tool that supports exploration of materials within a single institution. I can’t build it alone. This is a good thing – it will be a much better in the end with the input, energy and knowledge of others. I am good at ideas and good at playing the devil’s advocate. I have lots of strength on the data side of things and visualization has been a passion of mine for years. I need smart people with new ideas, strong tech skills (or a desire to learn) and people who can figure out how to organize the herd of cats I hope to recruit.

So – what can you do to help ArchivesZ? Do you have mad Action Script 3 skills? Do you want to dig into the scary little ruby script that populates the database? Maybe you prefer to organize and coordinate? You have always wanted to figure out how a project like this could group from a happy (or awkward?) prototype into a real service that people depend on?

Do you have a vision for how to tackle this as a project? Open source? Grant funded? Something else clever?

Know any graduate students looking for good research topics? There are juicy bits here for those interested in data, classification, visualization and cross-repository search.

I will be at SAA in DC in August chairing a panel on search engine optimization of archival websites. If there is even just one of you out there who is interested, I would cheerfully organize an ArchivesZ summit of some sort in which I could show folks the good, bad and ugly of the prototype as it stands. Let me know in the comments below.

Won’t be at SAA but want to help? Chime in here too. I am happy to set up some shared desktop tours of whatever you would like to see.

PS: Yes, I do have all the version 2 code – and what is online at the Google Code ArchivesZ page is not up to date. Updating the ArchivesZ website and uploading the current code is on my to do list!

This post is from from: Spellbound Blog.

ArchivesZ Needs You!

I have spent lot of time thinking about how to generate thematic overviews of groups of archival collections. My information visualization project, ArchivesZ, aims to provide ways of understanding aggregated archival description data, both from a single institution or across institutional boundaries. Now I find myself wondering if text mining with a tool like MALLET might generate smart topic groupings more elegantly than fighting with the wide range of non-standardized collection subjects.

Topic Modeling with MALLET

To get a sense of what MALLET generates, see the excerpt below from Blevins’s post:

With some tinkering, MALLET generated a list of thirty topics comprised of twenty words each, which I then labeled with a descriptive title. Below is a quick sample of what the program “thinks” are some of the topics in the diary:

• MIDWIFERY: birth deld safe morn receivd calld left cleverly pm labour fine reward arivd infant expected recd shee born patient
• CHURCH: meeting attended afternoon reverend worship foren mr famely performd vers attend public supper st service lecture discoarst administred supt
• DEATH: day yesterday informd morn years death ye hear expired expird weak dead las past heard days drowned departed evinn
• GARDENING: gardin sett worked clear beens corn warm planted matters cucumbers gatherd potatoes plants ou sowd door squash wed seeds

He goes on to explain that “MALLET also allows us to track those topics across the text.” What if, instead of text mining a diary, we pumped the descriptions of every archival collection from a single institution into MALLET. Of course we would need a good list of stop words including such common terms as archives, history, sources and records. But I wonder how the topics MALLET suggests would compare to the official subjects associated with each collection? Could this give us a broad overview of the topics covered by a specific repository and give us a new way to build paths to the collections based on topic?

Auto-Classification Using Castanet

Text miner Aditi Muralidharan also posted recently on this theme in Castanet: automatically generating a browsing structure for a collection and explains:

Castanet automatically carves a sub-structure from the hierarchical concept dictionary, WordNet (http://wordnet.princeton.edu), and matches items in the collection to one or many appropriate places within that hierarchy. Then, after some automated trimming and flattening, the result is a hierarchical browsing system.

I have heard of Castanet before via the Flamenco Search Interface Project. Apparently Muralidharan did a project using Castanet last summer to create a category system for Flickr Commons images based on the images’ tags which is then rendered using a Flamenco interface. I include a partial screen-shot below to give you a taste of what the navigation of images feels like a few levels down in the hierarchy. I love the classification of ‘Group Action’ then filtered by a sub-classification of ‘Commerce’. The first images shown are of ‘horse trading’ – with additional headings and images beneath them as well as additional filter options on the left.

What If?

What if we pulled all the English language archival descriptions from around the world as our original data set. If we used this data for topic modeling, our subjects clusters would be cross-institutional. Maybe we could map the local institution assigned subjects to the topic model generated topics for each collection and get a sort of automated crosswalk for finding related collections. If we used the local institution assigned subjects from the archival descriptions for Canasta style auto-classification, maybe we could generate a way to hierarchically browse collections topically.

Both MALLET and Flamenco are open source (I am not sure of the status of Castanet) and, as I discovered working on ArchivesZ, many institutions will share their archival description data for a good cause. So – is this a good cause? I need to tease these ideas out a bit more, but what do you all think of it at first blush? Feasible? Interesting? Worthwhile experiments?

Image Credits: MALLET logo from MALLET homepage. Images in screen shot from Flickr Commons with no known copyright.

This post is from from: Spellbound Blog.

Topic Modeling, Auto-Classification and Archival Description

A few years back I read Malcolm Gladwell‘s book Blink. One of the ideas I took away was the profound impact of the images with which we surround ourselves. He discusses his experience taking an Implicit Association Test (IAT) related to racism and his opinion that surrounding oneself with images of accomplished black leaders can change ones ‘implicit racism’. Project Implicit still continues. I found a demo of the ‘Gender-Science IAT’ and took it (you can too!). “This IAT often reveals a relative link between liberal arts and females and between science and males.” My result? “Your data suggest little or no association between Male and Female with Science and Liberal Arts.” My result was received by 18% of those taking the test. 54% apparently show a strong or moderate automatic association between male and science and female and liberal arts.

My inspiration for this post is to find images of accomplished women in science and technology to help young women and girls fight this ‘automatic association’. How can you imagine yourself into a career when you don’t have role models? Lets find the most varied assortment of images of what female scientists and technologists looks like!

The Smithsonian has an entire set of Women in Science images on the Flickr Commons about which they wrote a fabulous blog post over on their Visual Archives Blog. Consider the difference between the Smithsonian Flickr set of Portraits of Scientists and Inventors and that of Women in Science shown below in my snazzy animated GIF.

For me, the first set goes a long way to associate what a scientist or inventor looks like to images of white men with varying degrees of facial hair. I don’t see myself in that set of photos, even though there are a few women mixed into the set. The Women in Science set shows me women and, even though the images are black and white and reflect the style of another era, I can imagine myself fitting in with them.

Digging into a few specific examples within the ‘Women in Science’ images, on the left below we see research scientist Eloise Gerry who worked for the US Forest Service from 1910 through 1954. The caption from this image is “Dr. Gerry in her laboratory with the microscope that helped give the great naval stores industry in the United States a new lease on life.” On the right we have Physicist Marie Curie.

Over on the website of the Smithsonian’s Dibner Library of the History of Science and Technology I found a few more images. On the left we have mathematician Tatiana Ehrenfest, from the first half of the 20th century, and on the right a physicist from the 1700s, marquise du Châtelet, Gabrielle-Émilie Le Tonnelier de Breteuil. These were not easy to find – I did in fact skim through all the names and photos listed to find the two shown here.

After thinking a bit about the shortest path to more images of women in science and technology I went onto Freebase.com. I was so pleased to discover how easy it was for me to find entries for computer scientists, then filter by those who were female and had images. This gave me the faces of Female Computer Scientists, including those shown in the screen shot below (and yes, that is Ada Lovelace herself 2nd from the left in the top row).

I was excited to find more images and next I pulled together a list of Female Scientists. Finally a bit more diversity in the faces below (and there are many more images to explore if you click through).

Finally, I put a call out on both Twitter and the DevChix mailing list asking for women to share images of themselves for use in this blog post. Within just a few hours I received photos of Lorna Mitchell (a PHP developer in the UK – photo by Sebastian Bergmann), Aimée Morrison (shown crafting a social multimedia curriculum for DHSI 2010), Kristen Sullivan and a group photo of the DC LinuxChix dinner at ShmooCon.

There are many sources of images of women who have contributed to or are members of the fields of science, technology, engineering and mathematics, but one of the best are archives. Consider the photo credits page for the website dedicated to Biographies of Women Mathematicians which credits 9 different archives for images used on the site.

Images are so powerful. The preservation of images of women like those mentioned above is happening in archives around the world. The more of these images that we can collect and present in a unified way, the more young women can see themselves in the faces of those who came before. It sounds so simple, but imagine the impact of a website that showed face after face of women in science and tech. Of course I would want a short bio too and the ability to filter the images by specialty, location and date. I think that Freebase.com could be a great place to focus efforts. Their APIs should make it easy to leverage images and all the structured data about women in tech that we could possibly dream to collect. I know that many of the posts created today will feature photos of amazing tech women, how do we organize to collect them in one place? Who wants to help?

If you know of additional archival collections including images of tech women, please let me know!

Happy Ada Lovelace Day everyone!

This post is from from: Spellbound Blog.

Ada Lovelace Day: Portraits of Women in Technology

Below I have include two diagrams that seek to illustrate the process of adopting new technology. I think they are both useful in aiding our thinking on this topic.

The first is the “Hype Cycle“, as proposed by analyst Jackie Fenn at Gartner Group. It breaks down the phases that new technologies move through as they progress from their initial concept through to broad acceptance in the marketplace. The generic version of the Hype Cycle diagram below is from the Wikipedia entry on hype cycle.

Each summer, Gartner comes out with a new update on Where Are We In The Hype Cycle?. Last summer, microblogging was just entering the ‘Peak of Inflated Expectations’, public virtual worlds were sliding down into the ‘Trough of Disillusionment’ and location aware applications were climbing back up the ‘Slope of Enlightenment’. There is even a book about it: Mastering the Hype Cycle: How to Choose the Right Innovation at the Right Time.

The other diagram is the Technology Adoption Lifecycle from Geoffrey Moore’s Crossing the Chasm. This perspective on the technology cycle is from the perspective of bringing new technology to market. How do you cross the chasm between early adopters and the general population?

Archivists need to consider new technology from two different perspectives. When to use it to further their own goals as archivists and when to address the need to preserve records being generated by new technology. A fair bit of attention has been focused on figuring out how to get archivists up to speed on new web technology. In August 2008, ArchivesNext posted about hunting for Web 2.0 related sessions at SAA2008 and Friends Told Me I Needed A Blog posted about SAA and the Hype Cycle shortly thereafter.

But how do we know when a technology is ‘important enough’ to start worrying about the records it generates? Do we focus our energy on technology that has crossed the chasm and been adopted by the ‘early majority’? Do we watch for signs of adoption by our target record creators?

I expect that the answer (such as there can be one answer!) will be community specific. As I learned in the 2007 SAA session about preserving digital records of the design community, waiting for a single clear technology or software leader to appear can lead to lost or inaccessible records. Archivists working with similar records already come together to support one another through round tables, mailing lists and conference sessions. I have noticed that I often find the most interesting presentations are those that discuss the challenges a specific user community is facing in preserving their digital records. The 2008 SAA session about hybrid analog/digital literary collections discussed issues related to digital records from authors. Those who worry about records captured in geographic information systems (GIS) were trying to sort out how to define a single GIS electronic record when last I dipped my toes into their corner of the world in the Fall of 2006.

It is not feasible to imagine archivists staying ahead of every new type of technology and attempting to design a method for archiving every possible type of digital records being created. What we can do is make it a priority for a designated archivist within every ‘vertical’ community (government, literary, architecture… etc) to keep their ear to the ground about the use of technology within that community. This could be a community of practice of its own. A group that shares info about the latest trends they are seeing while sharing their best practices for handling the latest types of records being seen.

The good news is that archivists aren’t the only ones who want to be able to preserve access to born digital records. Consider Twitter, which only provides easy access to recent tweets. A whole raft of third-party tools built to archive data from Twitter are already out there, answering the demand for a way to backup people’s tweets.

I don’t think archivists always have the luxury of waiting for technology to be adopted by the majority of people and to reach the ‘Plateau of Productivity’. If you are an archivist who works with a community  that uses cutting edge technology, you owe it to your community to stay in the loop with how they do their work now. Just because most people don’t use a specific technology doesn’t mean that an individual community won’t pick it up and use to the exclusion of more common tools.

The design community mentioned above spoke of working with those creating the tools for their community to ensure easy archiving down the line. In our fast paced world of innovation, a subset of archivists need to stay involved with the current business practices of each vertical being archived. This group can work together to identify challenges, brainstorm solutions, build relationships with the technology communities and then disseminate best practices throughout the archives community. I did find a web page for the SAA’s Technology Best Practices Task Force and its document Managing Electronic Records and Assets: A Working Bibliography, but I think that I am imagining something more ongoing, more nimble and more tied into each of the major communities that archivists must support. Am I describing something that already exists?

This post is from from: Spellbound Blog.

Archivists and New Technology: When Do The Records Matter?

Asian American Jazz Fusion

Dr. Anthony Brown, of Anthony Brown’s Asian American Orchestra, explained why there was a Chinese hammered dulcimer sitting in the middle of the room. Brown was going to introduce us to Asian and American Jazz fusion. The curator of the Smithsonian’s Duke Ellington Collection from 1992-1996, he discovered materials related to Ellington’s Far East Suite, originally composed to honor the people who welcomed Ellington during his state department tour (cut short by Kennedy’s assasination). Brown was able to trace Ellington’s itinerary through business records and then figure out the instruments that inspired the original in the Asian American Jazz Orchestra’s recording of Far East Suite. His next CD project was Monk’s Moods. The Asian American Jazz Orchestra is now celebrating its 10th anniversary with the release of a CD titled Ten.

Yangqin Zhao plays the Chinese hammered dulcimer and is the formost performer on the instrument in the western hemisphere. The dulcimer travelled via the silk road from persia. The silk road was the original information highway. It was the way east and west were connected in the ancient eras.

Then a recording of Monk’s Moods on piano was played. Then Zhao performed the same piece on the Chinese hammered dulcimer. To achieve this, Brown and Zhao had to work together to translate the original arrangement. Excerpt from Gershwin’s rapsody in blue – recomposition – reorchestrated for his orchestra. A piece of music or a dance chart cannot come to life until you breath life into it. Enabling access to performing arts is different.

The second piece that Zhao played was Andantino from Rhapsody in Blue. Samples of both Andantino and Monk’s Moods are available on the Ten CD page. Zhao then thanked Anthony for teaching her Jazz.

Tango

The dance portion of the session was brought to us by Richard Powers of Stanford University Dance Division and his dance partner Joan Walden. Powers founded the Flying Cloud Academy of Vintage Dance. He has a design and creative process degree from Stanford where he is an expert in 19th and early 20th century social dance. Stanford has an extensive dance manuals collections and Powers is the director of Stanford’s 70 member vintage dance ensemble.

Stanford Dance department wanted Richard to make dance more visible on campus to help make sure that it didn’t get cut (partially or completely). Outreach is important – strengthen funding or let potential donors know about you. He recommends that you can bring back dance manuals from your archive. With movies like Mad Hot Ballroom and Shall We Dance? and TV shows like Dancing With The Stars, the American public is predisposed right now to be interested in dancing. Most of the dances in dance manuals were meant for teaching regular people to dance so they could dance with their friends. They were part of a self improvement movement.

Think of unique way to encourage others to use archival records. Powers encourages everyone to NOT hand it off to others. Being a non-dancer gives you a better chance for colloboration. The more we know, the harder it is to get into a true collaboration. But if it is new for you you are more open minded and more open to true collaboration.

There are other resources beyond dance manuals: dance magazines, etiquette books, anti-dance manuals (which sometimes describe the illicit dances that the proper dance manuals won’t mention), novels that give background, journals/diaries/letters, iconography – lithographs, photos, drawings, etchings, sculptures .. to help get the visual idea.. costuming. Dance cards and ball programs give lots of information – when, who.. what music.. maybe where. This also gives you a chance to see which dances were popular (vs the manuals which are promoting dances). Motion pictures from the times. So – how can we weave all of this together?

For more information about how to reconstruct dances, read Powers’ Guidelines for Dance Research and Reconstruction.

We then got a crash course in Tango history. I took notes as fast as I could, but I know I missed a lot along the way. Here are the bits I managed to get down – but don’t trust me to be an authority:

• 100 years ago in Buenes Ares or Paris – you could find the argentinian tango. 1908 – just arrived in paris.. in the outskirts from Buenes Ares. But that version would seem simple. And then they danced!
• 1st Myth of the Tango: It was born in the brothels. His informed opinion is that it was created by the poor, but that doesn’t mean they were pimps & prostitutes. Most tango scholars today believe it was created by the honest poor in the bario.
• 2nd Myth of the Tango: The Tango was imported to Paris (1908-1912) and tamed by the French who found it too passionate and make it more appropriate for the ballroom. Lots of documentation from many sources that prove that the French ADDED more passion.. and that the dance was carried to Paris by young aristocrats.
• Tango was presented in response to the dance called the Apache – exchanged influence from 1912-1914 in Paris.
• A Buenes Arnes dance manual from 1914 (dated by the illustrations) called El Tango Argentino includes detailed illustrations and foot diagrams. Going back to the source shows us the meaning behind the names and rules about steps. Most drama and stalking was added 15 years later.
• The true roots of Tango are unknown.
• The main trunk of Tango is the version known in Paris 100 years ago.. social Tango today is still the same. Three branches of
• Tango are: 1) stage performance (more dramatic), 2) ballroom competition and 3) Beunes Ares – every 10 years or so it changes dramatically.

Then they got everyone up and out on the dance floor. We went from learning history and thinking about how to one might decipher dance manuals to actually learning to Tango!

My Thoughts

If you are wondering why I am posting this over four months after the conference – you can blame Beaver Archivist’s post about Dancing Archivists. It immediately made me recall the largest gathering of dancing archivists I had personally witnessed. The session itself was really great. It was so far from people sitting in silent rows staring at powerpoint slides (not that there is anything wrong with that) that you might have thought you had wandered into the wrong conference.

It was the takeaway that was especially appealing to me. I really like the idea of finding new ways to bring performance based archives back to life – of finding new ways to reach out to people and make the records sing and dance again. Hearing music reinterpreted and reinvented is of course fundamentally different from seeing sheet music in a glass case. What if every archives that had performance art related records found a way to have two live, participatory events each year? I can only imagine the new audience who might be drawn in to learn about what is hidden in the archives — they might just come back because it is fun. My fingers are crossed that I can get my 2nd Tango lesson in Austin, TX in August 2009.

As is the case with all my session summaries from SAA2008, please accept my apologies in advance for any cases in which I misquote, overly simplify or miss points altogether in the post above. These sessions move fast and my main goal is to capture the core of the ideas presented and exchanged. Feel free to contact me about corrections to my summary either via comments on this post or via my contact form.

This post is from from: Spellbound Blog.

SAA2008: Chinese Hammered Dulcimer + Tango = Archivists as Creative Collaborators

The Copyright Slider lets you answer questions such as (quoting the post linked to above):

• Is a work in the public domain?
• Do you need permission to use it?
• When does copyright expire?

Here is their example of how it might be used:

A library in rural Pennsylvania is digitizing its local historical collection on the copper mining industry in the region. One of the collection texts, Memoirs of a Copper Miner, was published in 1953 and is still protected by copyright. Or is it? Align the black arrow on the slide-chart to materials published between 1923 and 1963 and discover that works originally published in the U.S. between 1923 and 1977 without a copyright symbol are in the public domain! Memoirs of a Copper Miner was published in 1953 and does not have a copyright symbol. Let the digitizing begin!

This looks like a dandy little tool to have in your desk drawer and I plan to order one sometime soon.

My next question is how hard would it be to make a slick flash version of this that could live online and be updated as copyright rules change?

Image Credit: A cropped version of a photo from the District Dispatch blog post quoted above. 

This post is from from: Spellbound Blog.

Copyright Slider: Quick Easy Access to Copyright Laws and Guidelines

…we hope that by harnessing this (relatively) new technology for collaboration on the web, we can draw on the collective interests of thousands of researchers and archivists to develop a rich resource for anyone venturing into new archives for the first time.

The AHA post goes on to express the hope that the wiki “will provide a deeper level of information than the rather general information on most archival web sites”. Setting aside the question of if this wiki will reach critical mass with regard to contributions, the idea of collecting lots of information about archives and their collections got me thinking again about Freebase.com.

My earlier post, Metadata World Building: Freebase.com and OpenLibrary.org, considers the potential of using Freebase to build a set of structured data about archival institutions. I believe in the spirit behind the Archives Wiki, but I wish that the rich set of information that is going to be captured was being stuck into multiple attributes rather than free-form wiki text. I know that they have contributor guidelines , but that isn’t enough for me.

Why Structured Data Is So Cool

Why am I so hung up about structured data? This is the sort of thing that needs a good example – and thanks to Level 1 Librarian‘s post OCLC maps the world, I found my way to the amazing OCLC WorldMap project. The WorldMap itself is a Flash based application that lets you explore data about both WorldCat holdings and other related statistics for countries around the world.

Once you get into the application, click on any two countries (I chose Russia and Australia) and then click on the ‘Compare’ button. For those especially interested in Archives, click on the ‘Cultural Institutions’ button (3rd from the bottom). If you move your mouse over each of the bars on the bar graphs you can see the actual numbers driving them. For example, on my Cultural Institutions comparison chart for Russia vs Australia I can see that Russia has 112 Archives while Australia has 42. The data source for both of these numbers is listed as the International Directory of Archives. To see the sources for the data, click on one of the tabs labeled with a country name and then click on any number to see it’s source. If my instructions are lacking, take a look at the beautiful and thorough Key to the WorldMap.

If people are going to go to all this effort entering data about archives and their collections, I wish it were being collected in such a way that we could then build new and more fabulous tools for accessing, manipulating and exploring the information.

As an example – if we collected the hours of each archives in a structured way we could figure out how many hours a week the Illinois State Archives is open (Monday–Friday, 8:00 a.m.–4:30 p.m.; Saturday, 8:00 a.m.–3:30 p.m. = 50 hours) and contrast that with the weekly hours of the Missouri State Archives (8 a.m. to 5 p.m. Monday through Wednesday and Friday; 8 a.m. to 9 p.m. on Thursday; and 8:30 a.m. to 3:30 p.m. on Saturday = 56 hours) . We could figure out how many state archives have evening hours or weekend hours. How about a map that showed the historian visiting a new city which archives were open late on the one night he has off from his conference? This is just a tiny example – but I hope it lights a spark for people about the promise of collecting this simple kind of data in a structured way.

Freebase’s whole point is to build data-sets that can drive interesting applications – like WorldMap. This just makes me want to race back to Freebase and figure out how to capture what I wish were being captured by the ArchivesWiki within the confines of Freebase’s model.

OCLC’s WikiD

I was just about to end this post when I realized I ought to check to see if someone has already tackled this problem of adding structured data to a wiki. I found my way to OCLC’s WikiD (Wiki/Data) project. The project’s home page states: “WikiD (Wiki/Data) extends the Wiki model to support multiple WikiCollections containing arbitrary schemas of XML records with minimal additional complexity.” From a brief look around, I am not clear how this would integrate in with the more traditional wiki style of the Archives Wiki – nor am I convinced that this project is still moving forward (the most recent dates I see on presentations are from 2006) – but the idea of a wiki that includes structured data is definitely there. Anyone out there have any more information about WikiD or any other tool that supports wiki style ease with the ability to structured data?

Final Thoughts

Again, I love the vision inherent in the Archives Wiki. I know that even getting a project like this off the ground is a big deal. I found this old AHA blog post from October of 2006 that discusses the original proposal for it and why it should be done. All the reasons are sound. But (you knew there was a but) the database geek in me just goes nuts when I see structured data being typed in free-form.

This post is from from: Spellbound Blog.

Pondering Structured Data About Archives: Archives Wiki, Freebase and OCLC’s World Map & WikiD

The IMLS Connecting to Collections Bookshelf is intended to provide small and medium-sized libraries and museums with essential resources needed to improve the condition of their collections. The Bookshelf includes books, DVDs, and other collections resources, as well as a Guide to Online Resources and a User’s Guide to all of the materials. It addresses such topics as the philosophy and ethics of collecting, collections management and planning, emergency preparedness, and culturally specific conservation issues.

The Heritage Preservation has created both a 48 page Bookshelf User’s Guide, with a page dedicated to each resources selected for the bookshelf, and a Guide to Online Resources to be used as a companion to the bookshelf. The Bookshelf User’s Guide has a brilliant section at the end giving you pointers to specific sections of the various Bookshelf resources to answer special questions – such as ‘Where can we find information on raising funds for collections care?’ and ‘How can I prioritize the needs of our collections?’.

What is interesting is that it took me a while to realize that each of the institutions that is awarded The Bookshelf will actually receive the books. My past experience with O’Reilly’s Safari Books Online made me assume that the books would be only accessed online. The Safari Books Online site requires a paid membership, but then provides access to an ever growing electronic reference library. The total number of resources is listed as currently over 5,000. One level of membership, Safari Library, provides unlimited access to all the resources (currently listed as $42.99 a month or $472.89 per year) while the less expensive membership level, Safari Bookshelf (currently listed as $22.99 a month or $252.99 a year), provides access to up to ten titles at a time.

Seeing those prices got me wondering, what will the receivers of this bookshelf be getting and what it’s total cost would be? I found my way to a list of the books and resources that will be included. Between the Internet and the 48 page guide to the Bookshelf I found the following information about each element of the Bookshelf. IMLS has broken the bookshelf down into three subsections as shown below:

Bookshelf: The Core Collection

• IPI Media Storage Quick Reference – booklet and quick reference wheel ($25, but you can also download the PDF of the booklet for free)
• Framework for preservation of museum collections wall chart – 26 x 36.25” wall chart ($25, laminated version $56.25)
• Preservation Management for Libraries, Archives and Museums, Gorman, G. E., and Sydney J. Shep, eds., 2006 ($125)
• Heritage Preservation: Capitalize on Collections Care ($2)
• Heritage Preservation: Emergency Response and Salvage Wheel ($12.95 for individuals, $7.95 non-profit/government rate)
• Heritage Preservation: Field Guide to Emergency Response, book and DVD ($29.95)
• International Review of African American Art: Collecting, Conservation, and Collaborations – “Strengthening the Three C’s”, 21.4, 2007. This is a special issue funded by a grant from the IMLS. It is not clear to me if it will be available to order as a back issue – but if so, back issues are $8.
• A Legal Primer on Managing Museum Collections, Malaro, Marie C., 1985. (link to 2nd edition, 1998 – $29.07)
• Museum Handbook Part I: Museum Collections, National Park Service, 2006. (free online version)
• Caring for American Indian Objects: A Practical and Cultural Guide, Ogden, Sherelyn, ed., 2004. ($26.37)
• The Nature of Conservation: A Race Against Time, Ward, Philip., 1986. (out of print and reprinted for the bookshelf, available used for approximately $25)

Bookshelf: Nonliving Collections

• Promoting Preservation Awareness in Libraries, Drewes, Jeanne M. and Julie A. Page, eds, 1997 ($100 new, available under $1 used)
• The Care of Prints and Drawings, Ellis, Margaret Holben., 1995. ($26.31)
• Caring for Your Family Treasures, Long, Jane S. and Richard W. Long., 2000. ($24.95, Heritage Preservation Member Price – $18.00)
• The National Trust Manual of Housekeeping: The Care of Collection in Historic Houses Open to the Public, 2006. ($87.36)
• Photographs: Archival Care and Management, Ritzenthaler, Mary Lynn and Diane L. Vogt O’Connor, 2006. ($84.95, SAA Member price – $59.95)

Bookshelf: Living Collections

• Dr. Burgess’s Mini Atlas of Marine Aquarium Fishes, 2d ed., Burgess, Warren E. 1992. ($28.76 new, as little as $5.55 used)
• Zoo and Wild Animal Medicine, 6th ed. Fowler, Murray E. and R. Eric Miller., 2007. ($139.50)
• The Darwin Technical Manual for Botanic Gardens, Botanic Gardens Conservation International (BGCI), 1998. ($26.50, BGCI Member price – $19.00. Note $9.00 shipping to USA)
• Essentials of Conservation Biology, 4th ed., Primack, Richard B., 2006. ($84.95)
• Global Strategy for Plant Conservation, Secretariat of the Convention on Biological Diversity. (free download in 10 languages)
• Building a Future for Wildlife: The World Zoo and Aquarium Conservation Strategy (free download)

Grand Total

The maximum cost (with no membership discounts) to purchase all the components of The Bookshelf would be $951.87. Add in the cost of shipping and printing your own copies from the free downloads and we can probably talk about the monetary value of the Bookshelf being approximately $1000!

Online Acces

While researching all of this I came across a new option on Amazon.com – something they are calling Amazon Upgrade. For an additional fee above and beyond the price you pay for the physical book – you can have immediate and permanent online access to the content of that book. Take a look at the offering explained on the Amazon page for The National Trust Manual of Housekeeping: The Care of Collection in Historic Houses Open to the Public. I assume that they plan to increase the titles for which this is an option. If so, I can envision building an online reference shelf of one’s own – one title at a time. Rather than deciding that something like O’Reilly’s Safari Books Online has enough books to make it worth while for you – you will create your own custom online reference shelf.

The other half of the online access story is of course the number of resources that are posted online for free download (or as living HTML documents being updated over time). These are all the resources from the list above that can be downloaded for free:

• IPI Media Storage Quick Reference
• Museum Handbook Part I: Museum Collections
• Global Strategy for Plant Conservation
• Building a Future for Wildlife: The World Zoo and Aquarium Conservation Strategy

What if all the resources that those who care for collections need were available via an online bookshelf? Now that would be an amazing resource for which many would be happy to pay an annual fee. Perhaps it could be provided as part of the membership fee for one or more of the appropriate professional organizations. An additional benefit to an online collection is the opportunity to receive automatic updates and new editions. I will also keep an eye on the Amazon Upgrade option to see how easy it is for someone to build their own online reference shelf – but I think a purposeful online collection designed for cultural heritage institutions would be even more compelling.

Getting the Bookshelf

A lot of organizations have already received the Bookshelf, but the press release that got me looking at all this mentioned that the next (final?) application period will be from March 1 through April 30, 2008. Recipients will be announced in July of 2008.

If you are considering applying you can find more details about the application process and review the questions you must answer online. But even for those that don’t qualify (federally operated and for-profit institutions are not eligible) – the Bookshelf User’s Guide, the Guide to Online Resources and those resources that may be downloaded for free provide a powerful combination of materials to support institutions and individuals as they care for collections of all shapes and sizes.

Note: All prices quoted in this post were valid as of January 27th, 2008. Image shown above from IMLS Connecting to Collections Bookshelf page.

This post is from from: Spellbound Blog.

Caring for Special Collections: Exploring the Connecting to Collections Bookshelf