(4823,10,'2013-06-24 06:00:44','2013-06-24 06:00:44','<b>Abstract</b>\r\n\r\nIncreased interest in large-scale, publicly accessible data collections has made data curation critical to the management, preservation, and improvement of research data in the social and natural sciences, as well as the humanities. This paper explicates an approach to data curation education that integrates traditional notions of curation with principles and expertise from library, archival, and computer science. We begin by tracing the emergence of data curation as both a concept and a field of practice related to, but distinct from, both digital curation and data stewardship. This historical account, while far from definitive, considers perspectives from both the sciences and the humanities. Alongside traditional LIS and archival science practices, unique aspects of curation have informed our concept of “purposeful work” with data and, in turn, our pedagogical approach to data curation for the sciences and the humanities.\r\n\r\n<b>The Genesis of <i>Data Curation</i></b>\r\n\r\nNatural history museums have long been devoted to the curation of scientific data in the form of physical specimens. Their curatorial roles and responsibilities help explain how the term <i>curation</i> came to stand for the current conception of the management and preservation of digital research data. Moreover, their focus on making data usable for research over the long term is tightly aligned with our approach to data curation education, to be discussed below, which has been driven by the principle of “purposeful curation.” ((Carole Palmer, Allen Renear, and Melissa Cragin, “Purposeful Curation: Research and Education for a Future with Working Data,” <i>Proceedings of the 4th International Digital Curation Conference, </i>2008.))<a title=\"\" href=\"#_edn1\">\r\n</a>\r\n\r\nBefore scholarly practices shifted to a digital realm or a big data paradigm, natural history museums were extending their concept of curation in anticipation of the demand for the management and enhancement of digital data. In particular, William Fry, a curator at the British Museum of Natural History, made very early observations about the need to optimize data collections for research in a digital environment. His 1965 <i>Nature </i>article, “Methods in Taxonomy,” asserts, “what is urgently needed, if numerical taxonomy is to become an accepted tool of routine identification and classification, is proof that the labour of collecting the vast quantities of data required for the statistics is rewarded by greatly increased usefulness of the results.” ((William G. Fry, “Methods in Taxonomy,” <i>Nature</i> 207 (1965): 246, doi:10.1038/207245a0.))<a title=\"\" href=\"#_edn2\">\r\n</a>\r\n\r\nFry questioned how “mathematical and computational” methods would affect the practices of curators and collection managers, forecasting the kinds of concerns we hear today about the data deluge: “While collections, the items of which can be counted in hundreds, can be adequately controlled and used by means of written guides and indices, these time-honoured methods cannot be efficient where collections must be numbered in tens or hundreds of thousands.” ((Ibid.))<a title=\"\" href=\"#_edn3\">\r\n</a>\r\n\r\nThe notion of <i>curation</i> in relation to digital research data became more common in the 1990s, although most of what we now think of as <i>data curation </i>was often labeled <i>informatics </i>in both the humanities and the sciences. A 1994 Department of Energy (DOE) report on genome informatics is notable in its attention to data access and management, as well as its description of “database curators” in both laboratories and natural history museums. However, the first published application of the term <i>data curation</i> may be found in Diane Zorich’s 1995 paper on future collections management in <i>Museum Management and Curatorship</i>. She elaborates on the concept of database curators from the 1994 DOE report, arguing for an entirely new field of information work in museums, libraries, and traditional scientific laboratory settings:\r\n<blockquote>Data sets need to be examined for consistency, long-term quality and relevance over time, and new sources of data must be identified and assessed. Changes or updates to data require authentication and verification. Tools which support object databases, such as authority lists, thesauri, data dictionaries and other documentation resources, need to be maintained, updated and distributed at regular intervals, while data security and access must be considered. All these concerns constitute the discipline of data curation. ((Diane M. Zorich, \"Data management: Managing electronic information: Data curation in museums,\" <i>Museum Management and Curatorship</i> 14, no. 4 (1995): 431.))<a title=\"\" href=\"#_edn4\">\r\n</a></blockquote>\r\nIn the humanities and cultural heritage communities, the curation of digital research data has been an important topic since at least the late 1980s. Again, the museum community, especially those engaged with the early web, was at the center of curation discourse. In 1987, in the first issue of <i>Archival Informatics Newsletter</i> (the external house organ for David Bearman’s company), Bearman explicitly drew the link between informatics as “an emerging usage in biomedicine” and “a philosophy of looking at the cultural information missions of archives and museums.” ((David Bearman, “What Are/Is Informatics?” <i>Archival Informatics Newsletter</i> (1987): 8.)) In 1993, the second International Conference on Hypermedia and Interactivity in Museums (ICHIM) featured a paper by Susan Hockey, then Director of the Center for Electronic Texts in the Humanities (CETH) at Rutgers and Princeton Universities, reporting on the Text Encoding Initiative (TEI) standard for machine-readable texts initiated that year. Hockey explains the significance of efforts like the TEI to the goals of those working on “museum documentation and information handling systems,” in part because of the need for “the usefulness, development and longevity of . . . data.” ((Susan Hockey, “Developing Text Standards,” <i>Selected papers from the second International Conference on Hypermedia and Interactivity in Museums, Cambridge, England</i> (1993): 255, <a href=\"http://www.archimuse.com/publishing/ichim93/hockey.pdf\">http://www.archimuse.com/publishing/ichim93/hockey.pdf</a>.))<a title=\"\" href=\"#_edn6\">\r\n</a>\r\n\r\nIn the same year that Zorich’s article coined the term “data curation,” the Joint Information Systems Committee (Jisc) ((Jisc, http://www.jisc.ac.uk/aboutus.aspx.)) in the UK helped to establish the Arts and Humanities Data Service (AHDS), with the following mission: it “acquires, curates, preserves and provides access to complex digital resources created by or supporting research and teaching in Higher and Further Education and life-long learning.” ((“Interview with Sheila Anderson and Hamish James, AHDS,” <i>Digital Curation Center</i>, accessed May 28, 2013, http://www.dcc.ac.uk/community/interviews/sheila-anderson-and-hamish-james.)) Shortly thereafter the aims of the AHDS were further refined to “collect, describe, and preserve the electronic resources which result from scholarly research in the humanities” and to further “develop a generalized and extensible framework for digital resource creation, description, preservation, and location.” ((Daniel Greenstein, “Serving the Arts and Humanities” <i>Ariadne 4</i> (1996), http://www.ariadne.ac.uk/issue4/ahds.))<a title=\"\" href=\"#_edn9\">\r\n</a><b></b>\r\n\r\n<b>Diffuse Trajectory in the Humanities</b>\r\n\r\nInitiatives in the humanities, such as the AHDS, were undoubtedly responding to data-curation imperatives similar to those in bioinformatics and other sciences. Clear parallels are the exception, however, in a longer and more discontinuous and diffuse trajectory as the <i>digital humanities</i> progressed. Through 2001, digital research in the humanities was sometimes referred to as humanities informatics, ((J. Unsworth, “A Master’s Degree in Digital Humanities: Part of the Media Studies Program at the University of Virginia,” <i>Congress of the Social Sciences and Humanities, Université Laval, Québec, Canada</i>, 2001,<i> </i><a href=\"http://people.lis.illinois.edu/~unsworth/laval.html\">http://people.lis.illinois.edu/~unsworth/laval.html</a>; M. G. Kirschenbaum, “What Is Digital humanities and What’s It Doing in English Departments?” <i>ADE Bulletin</i> 150 (2010): 1-7.)) but <i>humanities computing </i>became the more common term for the growing field now known as digital humanities.\r\n\r\nSeveral significant strands of early computational research in humanities computing involved the development of indices, annotated linguistic corpora, and digitally encoded texts—in other words, the preparation, collection, organization, and maintenance of datasets. The widely accepted origin story of the digital humanities as a field centers on Father Roberto Busa’s project, beginning in 1949, to create a concordance to the complete works of Thomas Aquinas. ((Susan Hockey, \"The history of humanities computing,\" <i>A companion to digital humanities</i> (2004): 3-19.)) Busa’s reflection on the genesis of his own work contains an echo of Fry’s call for a curatorial response to “mathematical and computational” methods—with the challenge being the accelerated production of textual data rather than biological specimens. As Busa states, it was clear “that to process texts containing more than ten million words, I had to look for some machinery.” ((Roberto Busa, \"The annals of humanities computing: The index thomisticus,\" <i>Computers and the Humanities</i> 14, no. 2 (1980): 83.))<a title=\"\" href=\"#_edn12\">\r\n</a>\r\n\r\nTwo decades of work in concordance and index building followed from Busa’s initial achievement, as documented by Dolores M. Burton, ((Cited in Hockey, \"The History of Humanities Computing.”)) and a cognate track of scholarship was devoted to digital dictionaries and corpora, or “electronic lexicography.”<a title=\"\" href=\"#_edn14\">[14]</a> Databases became important in the 1980s and 1990s, evidenced by the 1992 inaugural CETH seminar devoted to a project on “Building a Humanities Database.”<a title=\"\" href=\"#_edn15\">[15]</a> Although less pronounced than with genomics or the natural museum community, the value of databases and their many applications to scholarship were beginning to be recognized.\r\n\r\nCompared to the science realm where curation activities generally remained distinct from research, humanities computing encompassed work with data that was curatorial in nature. The focus of the research community, however, tended toward information retrieval, processing, and publishing more than data curation, even with the earliest case, when Busa referred to the need “to process” data for the Aquinas concordance. There was no comparable modern tradition of stewardship or collection management as with natural history museums. Thus, humanists did not adopt the terminological framework of curation for their work with data. Instead, they applied vocabulary familiar from philology, textual editing, quantitative history, and linguistics. In digital literary studies, the development of methods for digitally encoding textual variants, for example, demonstrates an engagement with curatorial concerns such as provenance but using discipline-specific terms like “diplomatic” transcription strategies, and “editions.”<a title=\"\" href=\"#_edn16\">[16]</a> Many of the debates over findings from quantitative history related to the sufficiency or insufficiency of information collections created by scholars pursuing those analyses and to ideas of historical “evidence.”<a title=\"\" href=\"#_edn17\">[17]</a>\r\n\r\nWhile the principles and many processes involved in data curation are common across the science and humanities, there are still important differences in how and when curation work is integrated into, or provided as, a service for research. As with other areas of digital scholarship, flagship initiatives are often harbingers of future trends. The highly visible AHDS lost funding in 2008. Since that time, data curation in the humanities returned to being a more diffuse, <i>ad hoc</i> enterprise rather than a part of governmental and institutional research programs, as is more typical in the sciences.<a title=\"\" href=\"#_edn18\">[18]</a>\r\n\r\n<b>Continuity in the Sciences</b>\r\n\r\nThe 2002 paper, “Online Scientific Data Curation, Publication, and Archiving,” by computer scientist Jim Gray and collaborators was instrumental in projecting the term data curation beyond the museum and bioinformatics domains. Gray and his colleagues were developing architecture and storage environments for the Sloan Digital Sky Survey in astronomy, and they had also begun writing about a new paradigm of scientific research associated with the emergence of grid computing and a deluge of digital data.<a title=\"\" href=\"#_edn19\">[19]</a> The “fourth paradigm” referred to a new data-driven method for scientific inquiry, where analysis of expertly curated, open access data collections would complement and extend traditional methods like simulation, observation, and theoretical experimentation.<a title=\"\" href=\"#_edn20\">[20]</a> Data curation, central to this vision, was described as the annotation, preservation, and expert description of datasets, to be carried out, by and large, by librarians.<a title=\"\" href=\"#_edn21\">[21]</a>\r\n\r\nAt the same time, the UK was embracing the potential digital transformation of a national research agenda. What had been called an informatics approach in North America and continental Europe was being labeled <i>eResearch </i>and <i>eScience </i>in the UK.<a title=\"\" href=\"#_edn22\">[22]</a> A 2003 Jisc-commissioned report on the infrastructures needed to support eScience was one of the first attempts to clarify differences between preservation, archiving, and curation in relation to digital scholarship.<a title=\"\" href=\"#_edn23\">[23]</a> The report identifies data curation<i> </i>as the “activity of, managing and promoting the use of data from its point of creation, to ensure it is fit for contemporary purpose, and available for discovery and re-use.” It specifies that “archiving” is needed for “curation,” and “preservation”<i> </i>is “an aspect of archiving,” with all three “involved in managing change over time.”<a title=\"\" href=\"#_edn24\">[24]</a> To this day, the distinctions and applications of these three concepts remain imprecise, as is also the case with the terms <i>digital curation</i>, <i>data curation</i>, and <i>data stewardship. </i>In the next section we clarify some of the differences between these terms, their use, and the overall importance in understanding the unique contribution of data curation to science and scholarship.\r\n\r\n<b>Co-Evolution of Digital Curation and Data Curation</b>\r\n\r\nIn the UK, the term digital curation first appeared in a 2001 digital preservation workshop,<a title=\"\" href=\"#_edn25\">[25]</a> but later Neal Beagrie more explicitly defined it in his description of the newly formed Digital Curation Centre (DCC):\r\n<blockquote>The term “digital curation” is increasingly being used for the actions needed to maintain digital research data and other digital materials over their entire lifecycle and over time for current and future generations of users. Implicit in this definition are the processes of digital archiving and digital preservation, but it also includes all the processes needed for good data creation and management, and the capacity to add value to data to generate new sources of information and knowledge.<a title=\"\" href=\"#_edn26\">[26]</a></blockquote>\r\nThis text is nearly an exact match with the roles outlined in the 2003 Jisc report on <i>data </i>curation—evidence that early on the two concepts were thought of synonymously. Other publications advancing the concept of curation in the UK applied the terms loosely for a number of years. For example, a publication formalizing many of the original 2003 Jisc report recommendations states: “data curation concerns the long-term management of data, from its initial collection to its deposition into an archive.”<a title=\"\" href=\"#_edn27\">[27]</a> The following year, digital curation was more “broadly interpreted” as being “about maintaining and adding value to, a trusted body of digital information for current and future use.”<a title=\"\" href=\"#_edn28\">[28]</a> Summarizing many different uses and definitions of digital curation, Yakel’s definition of <i>digital curation</i> is explicit about its place within the information professions. She refers to it as “the active involvement of information professionals in the management, including the preservation, of digital data for future use.”<a title=\"\" href=\"#_edn29\">[29]</a>\r\n\r\nYakel’s publication came out the same year that we offered a definition of data curation for the Data Curation Education Program (DCEP), funded by the Institute of Museum and Library Services (IMLS) at the Graduate School of Library and Information Science (GSLIS), University of Illinois at Urbana-Champaign. The DCEP definition states that data curation is “the active and ongoing management of data throughout its entire lifecycle of interest and usefulness to scholarship.”<a title=\"\" href=\"#_edn30\">[30]</a> This definition guided development of the Specialization in Data Curation in the GSLIS master’s program and has been applied consistently in DCEP initiatives across the sciences and the humanities, including an annual Summer Institute on Data Curation. The distinction between this definition and those of digital curation is subtle, but important. The focus of data curation is on the “interest and usefulness” of data to scholarship, and this emphasizes the traditional mission of research libraries to provide information to support research and the production of new knowledge.\r\n\r\nDigital curation is, or has become, a term that better accommodates a broader range of digital material. It does not indicate what is being curated nor does it necessarily imply which communities can be purposefully served by curatorial activities. Data curation, on the other hand, relates directly to data that is produced and used by scholarly communities, and it facilitates the reuse and repurposing of data to meet new research needs. As Renear and Muñoz aptly explained in the introduction to a DCEP workshop held at the annual Digital Humanities conference, “Data curation addresses the challenge of maintaining digital information that is produced in the course of research in a manner that preserves its meaning and usefulness as a potential input for further research.”<a title=\"\" href=\"#_edn31\">[31]</a> Their emphasis, echoing Cragin et al., is on the scholarship and research enabled by the effective curation of digital data resources.<a title=\"\" href=\"#_edn32\">[32]</a>\r\n\r\nAlthough far from complete, this account of the concept of curation provides important contextual background for the next section, where we discuss DCEP’s pedagogical approach to data curation education. As noted above, the principle of “purposeful curation” has been the guiding concept for DCEP and the Specialization in Data Curation. This area focuses exclusively on the curation of research data for scholarly and scientific communities, covering the complex theoretical and practical problems that span eScience and digital humanities.\r\n\r\n<b>Purposeful Work with Data: Beyond Stewardship</b>\r\n\r\nThe “purposeful curation” concept guiding local educational efforts was more formally articulated in response to a paper that asserted, “library science has not demonstrated that it has the theoretical foundations and knowledge base that are capable of providing the framework for handling digital entities.”<a title=\"\" href=\"#_edn33\">[33]</a> We argued the contrary: Because of its commitment to the “needs of users to access and use information of value over the long term,” library and information science (LIS) is uniquely positioned to provide the kind of foundation needed for systems and services to manage digital content, especially research data.<a title=\"\" href=\"#_edn34\">[34]</a> Further, we explained that our aim in educating data curators was not only to prepare them to build and maintain data collections but also to be responsible for the “associated indexing systems, metadata standards, ontologies, and retrieval systems” that will make it possible for research data to work in concert with existing digital libraries, archives, and repositories. Data curation efforts that embrace this orientation to user communities and their needs within and across disciplines will be equipped to enable innovative research in the sciences and humanities with curated data for “experiments in scientific laboratories, the interpretation of texts by scholars in special collections, the development of exhibits in museums, and other purposeful work with data over time.”<a title=\"\" href=\"#_edn35\">[35]</a>\r\n\r\nThis conception of curation goes beyond the roles Zorich originally envisioned,<a title=\"\" href=\"#_edn36\">[36]</a> attending to data quality, authentication, security, and associated documentation and tools. It is markedly more active and extends beyond assuring reliable data access, to adding value to support and advance research capabilities. The alignment with the research process is the primary feature that distinguishes data curation from data stewardship. Data stewardship is about management of a shared resource, often embodied by one person or a designated group.<a title=\"\" href=\"#_edn37\">[37]</a> It is clearly essential to the preservation and persistence of robust data collections, but it is a function of “managing data” that implies a less active, fixed maintenance of data over time.<a title=\"\" href=\"#_edn38\">[38]</a> Curation, on the other hand, is concerned with availability <i>and </i>future use of data, including the enhancement, extension, and improvement of data products for reuse beyond a single scholarly community.\r\n\r\nAt the same time, it is essential to recognize that the locally developed processes of data management and stewardship within specific communities are valuable sources of practical knowledge and current practice. The specialization needs to be applicable across domains, and the rate of change in research with digital data is a continual challenge for integrating best practices into the curriculum. Case studies on data management, processing, enhancement, and sharing in scientific and humanities domains have proven to be some of the best material for teaching applied aspects of data curation. Likewise, for repository-based data curation expertise, we depend on our partnerships with national data centers and data services operations in research libraries for coverage of state-of-the-art practices. Increasingly these partners are also serving as hosts for internships and other field experiences for students to work alongside more experienced curators.\r\n\r\n<b>Foundations of Curation</b>\r\n\r\nThe core of the curriculum is a single foundational course grounded in concepts and functions that underpin the curation of research data in practice. The course draws on principles from both LIS and archival science, as well as current trends and practice within research domains and professional work in data repositories. Of the six areas within the core, three are fairly common to information management systems, especially when dealing with digital content: interoperable technical infrastructure, policy development, and intellectual property. The remaining three areas are more closely aligned with key dimensions of LIS expertise and are central to the “purposeful curation” concept: user communities and their information behavior; collection development, management, and research services; and information organization and representation.\r\n\r\nIn the data curation curriculum these dimensions are further refined in relation to problems and practices around research data. The user dimension emphasizes <i>research cultures</i><b> </b>that impact practices of data production and sharing within the system of scholarly communication; the <i>collections</i><b> </b>dimension emphasizes heterogeneous, complex data resources and their potential for reuse across the lifecycle of data, informed by key aspects of archival science; and the <i>representation</i><b> </b>dimension emphasizes the formal characteristics of information objects that carry digital data—with a particular focus on issues of identity, ontology development, and provenance. It is important to note that these dimensions cut across some of the basic areas of knowledge and skills for data curation, such as metadata. That is, while metadata activities are generally associated with representation, effective application of metadata will adequately document aspects of research cultures related to data-collection methods. High-functioning metadata will also be guided by collection issues related to granularity of description, properties of aggregate data products, and meaningful groupings of data for discovery and integration.\r\n\r\n<i>Research cultures: data production, data sharing, and scholarly communication</i>\r\n\r\nThe curation of research data needs to be informed by a detailed understanding of how data are produced and used in conducting research and how these processes fit into the larger context of scholarly communication. As is true with information behavior more generally, data practices vary in important ways across disciplines and sub-disciplines. For example, while there are a number of successful, large-scale open data initiatives, with the Protein Data Bank and the Sloan Digital Sky Survey as canonical cases, they are the exception rather than the rule.\r\n\r\nWhile data curation is largely concerned with how data sharing within and across research communities can advance science and scholarship, most researchers do not make their data publically available and most research communities have yet to develop a culture of data sharing.<a title=\"\" href=\"#_edn39\">[39]</a> If researchers are willing to share data, the form in which they are willing to release them may provide an easy preservation target, but it may not have the most value for long-term reuse.<a title=\"\" href=\"#_edn40\">[40]</a> Moreover, actual reuse can be highly dependent on rich contextual metadata provided by data producers.<a title=\"\" href=\"#_edn41\">[41]</a>\r\n\r\nData curation is part of the more global context of scholarly communication in which research libraries, publishers, and scholars have always been the primary actors and stakeholders. As would be expected in this tradition, much attention has been focused on the data associated with specific journals or published papers. To date, there have been a few successful approaches in the “journal—underlying data” archiving model.<a title=\"\" href=\"#_edn42\">[42]</a> However, some of the most challenging curation problems and, arguably, the greatest opportunities lie in our ability to make more basic research data available and interoperable across fields.<a title=\"\" href=\"#_edn43\">[43]</a> Therefore, data curators should be trained and organizationally positioned to assess accurately which data collections are of value, and in which combinations and states other scholars would find them most useful. Data curators should be able to identify data that have high priority for both their immediate service community and broader domains of interest. This is a unique set of roles and responsibilities for the field of LIS, and it requires educated professionals who understand relationships among research areas and the potential affordances of data for new applications.\r\n\r\n<i>Collections: heterogeneous data, lifecycles, and archives</i>\r\n\r\nCollections have always been central to librarianship and archival science, and their importance will continue as the stores of data grow and become increasingly searchable and browsable. They will be essential units for planning and implementing curation objectives and resources, for supporting research communities, and supporting the reuse and repurposing of data. Variations on the traditional processes of selection, appraisal, and collection management are particularly relevant.<a title=\"\" href=\"#_edn44\">[44]</a> At various scales, from big data-driven research to smaller data-intensive research, collections have significant properties that provide intellectual, social, and organizational structures for meaningful work with data.<a title=\"\" href=\"#_edn45\">[45]</a>\r\n\r\nCollections have life cycles of usefulness to scholarship that need to be regulated through curation, including maintenance, migration, and preservation, over time. Moreover, “collection development and collection description are formative curation activities that add value for scholarly inquiry at both the collection and [larger] aggregation levels.”<a title=\"\" href=\"#_edn46\">[46]</a> As the data accessible in digital environments continue to increase at a rapid pace, sound collection development and description will be essential to presenting data for exploration and discovery. In conjunction with searching capabilities, researchers will greatly benefit from the ability to browse dense and cohesive layers of data sources that not only anticipate researchers’ known needs, but also allow them to effectively navigate through and interpret extensive bodies of openly accessible data.\r\n\r\nCollections will increasingly need to be organized within local institutional repositories and disciplinary data repositories as researchers submit data to comply with funding-agency requirements for data-management planning and data sharing. Curators will be involved as advisors and collaborators in data-management planning, for which knowledge of collections will be key. They will need to identify which versions to retain and share; align with institutional aims and capacity for preservation and access options; assess the fitness of data for deposit in domain or consortia repositories; and advise on intellectual property issues that researchers will face in attempting to comply with these mandates.\r\n\r\nMore generally, collections will be vital to providing reliable access and preservation to data products. Over the long term, we risk ending up with data dumps rather than functional libraries of relevant and usable data assets if we ignore the art of building and organizing data collections for research communities.\r\n\r\n&nbsp;\r\n\r\n<i>Representation: identity, ontologies, and provenance</i>\r\n\r\nRigorous conceptual analysis of core curatorial notions such as representation, identity, authenticity, reference, and provenance is a distinctive aspect of the DCEP approach to data curation education. Although stewardship requires verifying bit sequences and ensuring that files have not been corrupted, many curation problems turn on much more challenging issues, such as whether two files contain the same data even though they use different representation languages, encodings, or formats. A comparison of bit sequences will provide no assistance here, and so is inadequate for curation that goes beyond stewardship. What is needed is a terminological framework that clarifies these issues, as well as techniques for documentation and confirmation. Getting full value from cyberinfrastructure and computational systems requires that curators be able to refine formal terminology and document the “interpretive frames” that connect reasoning across levels of abstraction.<a title=\"\" href=\"#_edn47\">[47]</a> Similarly, precisely documenting the derivation of one dataset from another, critical for both scientific and humanities scholarship, also requires sophisticated conceptual frameworks, tools, and practices. To support curatorial education we are therefore developing general frameworks of concepts and terminology that can be used across disciplines.<a title=\"\" href=\"#_edn48\">[48]</a>\r\n\r\nA solid familiarity with semantic technologies (such as the Resource Description Framework [RDF] and the Web Ontology Language [OWL]) is increasingly important as structured terminologies and ontologies for representing scientific and cultural information are now widely used. These data organization strategies are fundamental to data curation: they help ensure that data remains meaningful; they improve software interoperability and data integration; and they support unanticipated use, as well as the mobilization of interdisciplinary approaches. Finally, even the distinctions between publication and data, and reading and analysis, are blurring; new tools are both responding to and driving changes in scholarly publishing and how researchers search, filter, scan, link, annotate, and analyze fragments of content from the literature.<a title=\"\" href=\"#_edn49\">[49]</a> For data curators there is no escape from engaging these fundamental issues of representation, identity, ontologies, and provenance.\r\n\r\n&nbsp;\r\n\r\n<b>Curation Professionals in the Workforce</b>\r\n\r\nA recent analysis of job placements for students completing the Specialization of Data Curation in the GSLIS master’s program at Illinois has been instructive for understanding the types of organizations and positions that need data professionals. The discourse in the field has emphasized that data curation expertise will need to permeate the research process at large, with curation beginning at the initial planning stages of a research project, followed by long-term data management and providing open access data for public use. ((Nicholas M. Weber, Carole L. Palmer, and Tiffany C. Chao, \"Current Trends and Future Directions in Data Curation Research and Education,\" <i>Journal of Web Librarianship</i> 6, no. 4 (2012): 305-20.)) Interestingly, our placement data show that curation professionals are filling positions in many types of organizations in roles that will, in fact, have an impact throughout the life cycle of data in the research enterprise.\r\n\r\nOf the fifty-five graduates to date, we have been able to track placement of forty-nine individuals. Thirty-three percent have taken positions in research libraries and museums. A good number of these graduates have gone to academic libraries, but some are working in national libraries, special libraries, large art museums, and other cultural heritage institutions. Twenty percent have gone to research centers, including national data centers and digital humanities and scientific research institutes, where they are more directly involved with the research applications and curation of data. Another twenty percent are in the corporate sector, which needs high-functioning data to gain competitive market advantage, but in these settings curation skills are also being blended with statistical competencies that have more traditionally been labeled as data science. The nearly fifty position titles also show how curation positions are being formalized; they range from data curator, data-management consultant, research data librarian, and digital preservation librarian to data analyst, digital asset manager, and information architect.\r\n\r\nThrough our experience with the DCEP program, the benefits of internships and practicum in data centers became evident, and field experiences are now a priority in our next phases of program development. The Data Curation Education in Research Centers (DCERC) initiative, funded by IMLS, has been a major step in building a model for integrating field experiences into MA and PhD programs through a partnership with the National Center for Atmospheric Research (NCAR), a long-standing international leader in scientific data infrastructure and services. The DCERC collaboration includes the University of Tennessee, School of Information Sciences, whose participating masters students complete the Foundations of Data Curation course at Illinois.\r\n\r\nThe NCAR internships, piloted with Illinois doctoral students and Tennessee masters students, have been explicitly designed to mentor students in both data management and the scientific research contexts. It is our belief that apprenticeships need to involve students directly in best practices at mature data centers and expose them to the actual data problems that active researchers experience; this will prepare them adequately to excel at curation in data-intensive research environments.\r\n\r\n<b>Conclusion</b>\r\n\r\nThis paper provided an overview of our approach to data curation education. It is important to note that this approach has been greatly influenced, both formally and informally, by our many collaborators and colleagues working to improve data access and research capabilities for scholarship in both the sciences and humanities. Our “purposeful curation” perspective is not meant to be comparative to other curation programs or an exhaustive, fully articulated pedagogy. However, we do feel that our student placement data, especially the high number of graduates placed across different types of research organizations, is solid evidence for the success of this particular approach.\r\n\r\nThe historical overview presented at the beginning of the paper gave an account of the concepts and definitions related to data curation based on the literature encountered through our work on the DCEP and DCERC initiatives, as both seasoned and new LIS educators and researchers. So, while we have identified a number of landmarks and trends in the conception of data curation to date, much of the story is still to be traced, interpreted, and retold. We hope that this initial effort will encourage additions, corrections, and amendments to the history of the field, and in turn lead to better sharing of both seasoned and new pedagogical approaches to what may prove to be an important turning point for the information professions.\r\n<div><br clear=\"all\" />\r\n\r\n<hr align=\"left\" size=\"1\" width=\"33%\" />\r\n\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref1\">[1]</a>\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref2\">[2]</a>\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref3\">[3]</a>\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref4\">[4]</a>\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref5\">[5]</a>\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref6\">[6]</a>\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref7\">[7]</a>\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref8\">[8]</a>\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref9\">[9]</a>\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref10\">[10]</a>\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref11\">[11]</a>\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref12\">[12]</a>\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref13\">[13]</a>\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref14\">[14]</a> Harry M. Logan, \"Electronic lexicography,\" <i>Computers and the Humanities</i> 25, no. 6 (1991): 351-61\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref15\">[15]</a> Hockey, Susan. 1992. Humanist 5.0632 CETH Inaugural Seminar 1/17. Retrieved from <a href=\"http://dhhumanist.org/Archives/Virginia/v05/0621.html\">http://dhhumanist.org/Archives/Virginia/v05/0621.html</a>.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref16\">[16]</a> For an interesting post hoc alignment, see Allen H. Renear, Molly Dolan, Kevin Trainor, and Melissa H. Cragin, \"Towards a cross‐disciplinary notion of data level in data curation,\" <i>Proceedings of the American Society for Information Science and Technology</i> 46, no. 1 (2009): 1-8.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref17\">[17]</a> William Thomas, \"Computing and the historical imagination,\" <i>A companion to digital humanities</i> (2004): 56-68.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref18\">[18]</a> Tobias Blanke, Mark Hedges, and Stuart Dunn, \"Arts and humanities e-science—Current practices and future challenges,\" <i>Future Generation Computer Systems</i> 25, no. 4 (2009): 474-80.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref19\">[19]</a> Tony Hey and Anne Trefethen, \"e-Science and its implications,\" <i>Philosophical Transactions of the Royal Society of London. Series A: Mathematical, Physical and Engineering Sciences</i> 361, no. 1809 (2003): 1809-1825.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref20\">[20]</a> Jim Gray, Alexander S. Szalay, Ani R. Thakar, Christopher Stoughton, and Jan Vandenberg, \"Online scientific data curation, publication, and archiving,\" <i>Proceedings of SPIE</i> (2002): 103-107; Jim Gray, David T. Liu, Maria Nieto-Santisteban, Alex Szalay, David J. DeWitt, and Gerd Heber, \"Scientific data management in the coming decade,\" <i>ACM SIGMOD Record</i> 34, no. 4 (2005) 34-41; Tony Hey, Stewart Tansley, and Kristin Michele Tolle, eds.<i> The fourth paradigm: data-intensive scientific discovery</i> (Redmond, WA: Microsoft Research, 2009).\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref21\">[21]</a> Gray et al., \"Online scientific data curation, publication, and archiving.\"\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref22\">[22]</a> Paulien Hogeweg, \"The roots of bioinformatics in theoretical biology,\" <i>PLoS computational biology</i> 7, no. 3 (2011): e1002021.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref23\">[23]</a> Philip Lord and Alison Macdonald, <i>e-Science Curation Report: Data curation for e-Science in the UK: an audit to establish requirements for future curation and provision</i> (Digital Archiving Consultancy Limited, 2003).\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref24\">[24]</a> Ibid., 12.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref25\">[25]</a> Neil Beagrie, \"Digital curation for science, digital libraries, and individuals,” <i>International Journal of Digital Curation</i> 1 (2006), 3-16.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref26\">[26]</a> Neil Beagrie, “The Digital Curation Centre” <i>Learned Publishing</i> 17, no. 1 (2004): 7-9.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref27\">[27]</a> Philip Lord, Alison Macdonald, Liz Lyon, and David Giaretta, \"From data deluge to data curation,\" <i>Proc 3th UK e-Science All Hands Meeting</i> (2004): 371-75.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref28\">[28]</a> David Giaretta, “DCC approach to digital curation, version 1.23,” (white paper, 2005),\r\n\r\nhttp://dev.dcc.rl.ac.uk/twiki/bin/view/Main/DCCApproachToCuration.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref29\">[29]</a> Elizabeth Yakel, \"Digital curation,\" <i>OCLC Systems &amp; Services</i> 23, no. 4 (2007): 335-340.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref30\">[30]</a> Melissa H. Cragin, P. Bryan Heidorn, Carole L. Palmer, and Linda C. Smith, \"An educational program on data curation,\" <i>American Library Association Conference, Science and Technology Section, </i>Washington, D.C., June 25, 2007. <a href=\"http://hdl.handle.net/2142/3493\">http://hdl.handle.net/2142/3493</a>\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref31\">[31]</a> Trevor Muñoz and Allen Renear, “Issues in Digital Humanities Data Curation,” (white paper, 2011), http://hdl.handle.net/2142/30852).\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref32\">[32]</a> Cragin et al., \"An educational program on data curation.\"\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref33\">[33]</a> Seamus Ross, \"Digital preservation, archival science and methodological foundations for digital libraries,\" <i>New Review of Information Networking</i> 17, no. 1 (2012): 43-68.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref34\">[34]</a> Palmer, Renear, and Cragin, “Purposeful Curation.”\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref35\">[35]</a> Ibid.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref36\">[36]</a> Zorich, \"Data management.”\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref37\">[37]</a> Karen S. Baker and Lynn Yarmey, \"Data stewardship: Environmental data curation and a web-of-repositories,\" <i>International Journal of Digital Curation</i> 4, no. 2 (2009): 12-27.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref38\">[38]</a> Cliff Jacobs and Steven J. Worley, “Data Curation in Climate and Weather: Transforming Our Ability to Improve Predictions through Global Knowledge Sharing,” <i>The International Journal of Digital Curation</i> (2009).\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref39\">[39]</a> Christine L. Borgman, \"The conundrum of sharing research data.\" <i>Journal of the American Society for Information Science and Technology</i> 63, no. 6 (2012): 1059-1078; Anne E. Thessen and David J. Patterson, \"Data issues in the life sciences,\" <i>ZooKeys</i> 150 (2011): 15; Carol Tenopir, Suzie Allard, Kimberly L. Douglass, Arsev Umur Aydinoglu, Lei Wu, Eleanor Read, Maribeth Manoff, and Mike Frame, \"Data sharing by scientists: practices and perceptions,\" <i>PLoS One</i> 6, no. 6 (2011).\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref40\">[40]</a> Melissa H. Cragin, Carole L. Palmer, Jacob R. Carlson, and Michael Witt, \"Data sharing, small science and institutional repositories,\" <i>Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences</i> 368, no. 1926 (2010): 4023-4038.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref41\">[41]</a> Matthew S. Mayernik, Jillian C. Wallis, and Christine L. Borgman, \"Unearthing the infrastructure: Humans and sensors in field-based scientific research,\" <i>Journal of Computer Supported Cooperative Work</i> (2012); Nicholas M. Weber, Karen S. Baker, Andrea K. Thomer, Tiffany C. Chao, and Carole L. Palmer, \"Value and context in data use: Domain analysis revisited,\" <i>Proceedings of the American Society for Information Science and Technology</i> 49, no. 1 (2012): 1-10; Laura A. Wynholds, Christine L. Borgman,  Jillian C. Wallis, Ashley Sands, and Sharon Traweek, \"Data, Data Use, and Scientific Inquiry: Two Case Studies of Data Practices,\" <i>ACM Press</i> (2012): 19.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref42\">[42]</a> For example, Michael C. Whitlock, Mark A. McPeek, Mark D. Rausher, Loren Rieseberg, and Allen J. Moore, \"Data archiving,\" <i>The American Naturalist</i> 175, no. 2 (2010): 145-46.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref43\">[43]</a> Hanisch, Robert, and Sayeed Choudhury, \"The Data Conservancy: Building a Sustainable System for Interdisciplinary Scientific Data Curation and Preservation,\" <i>Proceedings of the PV 2009 conference, European Space Agency</i> (2009).\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref44\">[44]</a> Angus Whyte and Andrew Wilson, <i>How to Appraise &amp; Select Research Data for Curation</i>, Digital Curation Centre, 2010, http://www.dcc.ac.uk/resources/how-guides/appraise- select-research-data.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref45\">[45]</a> Carole L. Palmer, Oksana L. Zavalina, and Katrina Fenlon, \"Beyond size and search: Building contextual mass in digital aggregations for scholarly use,\" <i>Proceedings of the American Society for Information Science and Technology</i> 47, no. 1 (2010): 1-10.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref46\">[46]</a> Katrina Fenlon, Jacob Jett, and Carole L. Palmer, \"Digital Collections and Aggregations,\" <i>DHCuration Guide</i> (2011), http://guide.dhcuration.org/collections/; Carole Palmer, “Scholarly work and the shaping of digital access,” <i>Journal of the American Society for Information Science and Technology</i> 56, no. 11 (2005).\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref47\">[47]</a> David Dubin, Karen Wickett, and Simone Sacchi, “Content, Format, and Interpretation,” <i>Proceedings of Balisage: The Markup Conference 2011</i>. Balisage Series on Markup Technologies 7 (2011), doi:10.4242/BalisageVol7.Dubin01.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref48\">[48]</a> Renear et al., \"Towards a cross‐disciplinary notion of data level in data curation\"; Simone Sacchi, Karen Wickett, Allen Renear, and David Dubin, \"A framework for applying the concept of significant properties to datasets,\" <i>Proceedings of the American Society for Information Science and Technology</i> 48, no. 1 (2011): 1-10; Karen M. Wickett, Simone Sacchi, David Dubin, and Allen H. Renear, \"Identifying Content and Levels of Representation in Scientific Data,\" <i>Proceedings of the American Society for Information Science and Technology</i> 49, no. 1 (2012): 1-10.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref49\">[49]</a> Allen H. Renear and Carole L. Palmer, \"Strategic reading, ontologies, and the future of scientific publishing,\" <i>Science</i> 325, no. 5942 (2009): 828-32.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref50\">[50]</a>\r\n\r\n</div>\r\n</div>','Foundations of Data Curation: The Pedagogy and Practice of “Purposeful Work” with Research Data','','inherit','open','open','','4819-revision-3','','','2013-06-24 06:00:44','2013-06-24 06:00:44','',4819,'http://dev.archivejournal.net/issue//uncategorized/4819-revision-3/',0,'revision','',0),(4822,10,'2013-06-24 05:55:26','2013-06-24 05:55:26','<b>Abstract</b>\r\n\r\nIncreased interest in large-scale, publicly accessible data collections has made data curation critical to the management, preservation, and improvement of research data in the social and natural sciences, as well as the humanities. This paper explicates an approach to data curation education that integrates traditional notions of curation with principles and expertise from library, archival, and computer science. We begin by tracing the emergence of data curation as both a concept and a field of practice related to, but distinct from, both digital curation and data stewardship. This historical account, while far from definitive, considers perspectives from both the sciences and the humanities. Alongside traditional LIS and archival science practices, unique aspects of curation have informed our concept of “purposeful work” with data and, in turn, our pedagogical approach to data curation for the sciences and the humanities.\r\n\r\n<b>The Genesis of <i>Data Curation</i></b>\r\n\r\nNatural history museums have long been devoted to the curation of scientific data in the form of physical specimens. Their curatorial roles and responsibilities help explain how the term <i>curation</i> came to stand for the current conception of the management and preservation of digital research data. Moreover, their focus on making data usable for research over the long term is tightly aligned with our approach to data curation education, to be discussed below, which has been driven by the principle of “purposeful curation.” ((Carole Palmer, Allen Renear, and Melissa Cragin, “Purposeful Curation: Research and Education for a Future with Working Data,” <i>Proceedings of the 4th International Digital Curation Conference, </i>2008.))<a title=\"\" href=\"#_edn1\">\r\n</a>\r\n\r\nBefore scholarly practices shifted to a digital realm or a big data paradigm, natural history museums were extending their concept of curation in anticipation of the demand for the management and enhancement of digital data. In particular, William Fry, a curator at the British Museum of Natural History, made very early observations about the need to optimize data collections for research in a digital environment. His 1965 <i>Nature </i>article, “Methods in Taxonomy,” asserts, “what is urgently needed, if numerical taxonomy is to become an accepted tool of routine identification and classification, is proof that the labour of collecting the vast quantities of data required for the statistics is rewarded by greatly increased usefulness of the results.” ((William G. Fry, “Methods in Taxonomy,” <i>Nature</i> 207 (1965): 246, doi:10.1038/207245a0.))<a title=\"\" href=\"#_edn2\">\r\n</a>\r\n\r\nFry questioned how “mathematical and computational” methods would affect the practices of curators and collection managers, forecasting the kinds of concerns we hear today about the data deluge: “While collections, the items of which can be counted in hundreds, can be adequately controlled and used by means of written guides and indices, these time-honoured methods cannot be efficient where collections must be numbered in tens or hundreds of thousands.” ((Ibid.))<a title=\"\" href=\"#_edn3\">\r\n</a>\r\n\r\nThe notion of <i>curation</i> in relation to digital research data became more common in the 1990s, although most of what we now think of as <i>data curation </i>was often labeled <i>informatics </i>in both the humanities and the sciences. A 1994 Department of Energy (DOE) report on genome informatics is notable in its attention to data access and management, as well as its description of “database curators” in both laboratories and natural history museums. However, the first published application of the term <i>data curation</i> may be found in Diane Zorich’s 1995 paper on future collections management in <i>Museum Management and Curatorship</i>. She elaborates on the concept of database curators from the 1994 DOE report, arguing for an entirely new field of information work in museums, libraries, and traditional scientific laboratory settings:\r\n<blockquote>Data sets need to be examined for consistency, long-term quality and relevance over time, and new sources of data must be identified and assessed. Changes or updates to data require authentication and verification. Tools which support object databases, such as authority lists, thesauri, data dictionaries and other documentation resources, need to be maintained, updated and distributed at regular intervals, while data security and access must be considered. All these concerns constitute the discipline of data curation.<a title=\"\" href=\"#_edn4\">[4]</a></blockquote>\r\nIn the humanities and cultural heritage communities, the curation of digital research data has been an important topic since at least the late 1980s. Again, the museum community, especially those engaged with the early web, was at the center of curation discourse. In 1987, in the first issue of <i>Archival Informatics Newsletter</i> (the external house organ for David Bearman’s company), Bearman explicitly drew the link between informatics as “an emerging usage in biomedicine” and “a philosophy of looking at the cultural information missions of archives and museums.”<a title=\"\" href=\"#_edn5\">[5]</a> In 1993, the second International Conference on Hypermedia and Interactivity in Museums (ICHIM) featured a paper by Susan Hockey, then Director of the Center for Electronic Texts in the Humanities (CETH) at Rutgers and Princeton Universities, reporting on the Text Encoding Initiative (TEI) standard for machine-readable texts initiated that year. Hockey explains the significance of efforts like the TEI to the goals of those working on “museum documentation and information handling systems,” in part because of the need for “the usefulness, development and longevity of . . . data.”<a title=\"\" href=\"#_edn6\">[6]</a>\r\n\r\nIn the same year that Zorich’s article coined the term “data curation,” the Joint Information Systems Committee (Jisc)<a title=\"\" href=\"#_edn7\">[7]</a> in the UK helped to establish the Arts and Humanities Data Service (AHDS), with the following mission: it “acquires, curates, preserves and provides access to complex digital resources created by or supporting research and teaching in Higher and Further Education and life-long learning.”<a title=\"\" href=\"#_edn8\">[8]</a> Shortly thereafter the aims of the AHDS were further refined to “collect, describe, and preserve the electronic resources which result from scholarly research in the humanities” and to further “develop a generalized and extensible framework for digital resource creation, description, preservation, and location.”<a title=\"\" href=\"#_edn9\">[9]</a> <b></b>\r\n\r\n<b>Diffuse Trajectory in the Humanities</b>\r\n\r\nInitiatives in the humanities, such as the AHDS, were undoubtedly responding to data-curation imperatives similar to those in bioinformatics and other sciences. Clear parallels are the exception, however, in a longer and more discontinuous and diffuse trajectory as the <i>digital humanities</i> progressed. Through 2001, digital research in the humanities was sometimes referred to as humanities informatics,<a title=\"\" href=\"#_edn10\">[10]</a> but <i>humanities computing </i>became the more common term for the growing field now known as digital humanities.\r\n\r\nSeveral significant strands of early computational research in humanities computing involved the development of indices, annotated linguistic corpora, and digitally encoded texts—in other words, the preparation, collection, organization, and maintenance of datasets. The widely accepted origin story of the digital humanities as a field centers on Father Roberto Busa’s project, beginning in 1949, to create a concordance to the complete works of Thomas Aquinas.<a title=\"\" href=\"#_edn11\">[11]</a> Busa’s reflection on the genesis of his own work contains an echo of Fry’s call for a curatorial response to “mathematical and computational” methods—with the challenge being the accelerated production of textual data rather than biological specimens. As Busa states, it was clear “that to process texts containing more than ten million words, I had to look for some machinery.”<a title=\"\" href=\"#_edn12\">[12]</a>\r\n\r\nTwo decades of work in concordance and index building followed from Busa’s initial achievement, as documented by Dolores M. Burton,<a title=\"\" href=\"#_edn13\">[13]</a> and a cognate track of scholarship was devoted to digital dictionaries and corpora, or “electronic lexicography.”<a title=\"\" href=\"#_edn14\">[14]</a> Databases became important in the 1980s and 1990s, evidenced by the 1992 inaugural CETH seminar devoted to a project on “Building a Humanities Database.”<a title=\"\" href=\"#_edn15\">[15]</a> Although less pronounced than with genomics or the natural museum community, the value of databases and their many applications to scholarship were beginning to be recognized.\r\n\r\nCompared to the science realm where curation activities generally remained distinct from research, humanities computing encompassed work with data that was curatorial in nature. The focus of the research community, however, tended toward information retrieval, processing, and publishing more than data curation, even with the earliest case, when Busa referred to the need “to process” data for the Aquinas concordance. There was no comparable modern tradition of stewardship or collection management as with natural history museums. Thus, humanists did not adopt the terminological framework of curation for their work with data. Instead, they applied vocabulary familiar from philology, textual editing, quantitative history, and linguistics. In digital literary studies, the development of methods for digitally encoding textual variants, for example, demonstrates an engagement with curatorial concerns such as provenance but using discipline-specific terms like “diplomatic” transcription strategies, and “editions.”<a title=\"\" href=\"#_edn16\">[16]</a> Many of the debates over findings from quantitative history related to the sufficiency or insufficiency of information collections created by scholars pursuing those analyses and to ideas of historical “evidence.”<a title=\"\" href=\"#_edn17\">[17]</a>\r\n\r\nWhile the principles and many processes involved in data curation are common across the science and humanities, there are still important differences in how and when curation work is integrated into, or provided as, a service for research. As with other areas of digital scholarship, flagship initiatives are often harbingers of future trends. The highly visible AHDS lost funding in 2008. Since that time, data curation in the humanities returned to being a more diffuse, <i>ad hoc</i> enterprise rather than a part of governmental and institutional research programs, as is more typical in the sciences.<a title=\"\" href=\"#_edn18\">[18]</a>\r\n\r\n<b>Continuity in the Sciences</b>\r\n\r\nThe 2002 paper, “Online Scientific Data Curation, Publication, and Archiving,” by computer scientist Jim Gray and collaborators was instrumental in projecting the term data curation beyond the museum and bioinformatics domains. Gray and his colleagues were developing architecture and storage environments for the Sloan Digital Sky Survey in astronomy, and they had also begun writing about a new paradigm of scientific research associated with the emergence of grid computing and a deluge of digital data.<a title=\"\" href=\"#_edn19\">[19]</a> The “fourth paradigm” referred to a new data-driven method for scientific inquiry, where analysis of expertly curated, open access data collections would complement and extend traditional methods like simulation, observation, and theoretical experimentation.<a title=\"\" href=\"#_edn20\">[20]</a> Data curation, central to this vision, was described as the annotation, preservation, and expert description of datasets, to be carried out, by and large, by librarians.<a title=\"\" href=\"#_edn21\">[21]</a>\r\n\r\nAt the same time, the UK was embracing the potential digital transformation of a national research agenda. What had been called an informatics approach in North America and continental Europe was being labeled <i>eResearch </i>and <i>eScience </i>in the UK.<a title=\"\" href=\"#_edn22\">[22]</a> A 2003 Jisc-commissioned report on the infrastructures needed to support eScience was one of the first attempts to clarify differences between preservation, archiving, and curation in relation to digital scholarship.<a title=\"\" href=\"#_edn23\">[23]</a> The report identifies data curation<i> </i>as the “activity of, managing and promoting the use of data from its point of creation, to ensure it is fit for contemporary purpose, and available for discovery and re-use.” It specifies that “archiving” is needed for “curation,” and “preservation”<i> </i>is “an aspect of archiving,” with all three “involved in managing change over time.”<a title=\"\" href=\"#_edn24\">[24]</a> To this day, the distinctions and applications of these three concepts remain imprecise, as is also the case with the terms <i>digital curation</i>, <i>data curation</i>, and <i>data stewardship. </i>In the next section we clarify some of the differences between these terms, their use, and the overall importance in understanding the unique contribution of data curation to science and scholarship.\r\n\r\n<b>Co-Evolution of Digital Curation and Data Curation</b>\r\n\r\nIn the UK, the term digital curation first appeared in a 2001 digital preservation workshop,<a title=\"\" href=\"#_edn25\">[25]</a> but later Neal Beagrie more explicitly defined it in his description of the newly formed Digital Curation Centre (DCC):\r\n<blockquote>The term “digital curation” is increasingly being used for the actions needed to maintain digital research data and other digital materials over their entire lifecycle and over time for current and future generations of users. Implicit in this definition are the processes of digital archiving and digital preservation, but it also includes all the processes needed for good data creation and management, and the capacity to add value to data to generate new sources of information and knowledge.<a title=\"\" href=\"#_edn26\">[26]</a></blockquote>\r\nThis text is nearly an exact match with the roles outlined in the 2003 Jisc report on <i>data </i>curation—evidence that early on the two concepts were thought of synonymously. Other publications advancing the concept of curation in the UK applied the terms loosely for a number of years. For example, a publication formalizing many of the original 2003 Jisc report recommendations states: “data curation concerns the long-term management of data, from its initial collection to its deposition into an archive.”<a title=\"\" href=\"#_edn27\">[27]</a> The following year, digital curation was more “broadly interpreted” as being “about maintaining and adding value to, a trusted body of digital information for current and future use.”<a title=\"\" href=\"#_edn28\">[28]</a> Summarizing many different uses and definitions of digital curation, Yakel’s definition of <i>digital curation</i> is explicit about its place within the information professions. She refers to it as “the active involvement of information professionals in the management, including the preservation, of digital data for future use.”<a title=\"\" href=\"#_edn29\">[29]</a>\r\n\r\nYakel’s publication came out the same year that we offered a definition of data curation for the Data Curation Education Program (DCEP), funded by the Institute of Museum and Library Services (IMLS) at the Graduate School of Library and Information Science (GSLIS), University of Illinois at Urbana-Champaign. The DCEP definition states that data curation is “the active and ongoing management of data throughout its entire lifecycle of interest and usefulness to scholarship.”<a title=\"\" href=\"#_edn30\">[30]</a> This definition guided development of the Specialization in Data Curation in the GSLIS master’s program and has been applied consistently in DCEP initiatives across the sciences and the humanities, including an annual Summer Institute on Data Curation. The distinction between this definition and those of digital curation is subtle, but important. The focus of data curation is on the “interest and usefulness” of data to scholarship, and this emphasizes the traditional mission of research libraries to provide information to support research and the production of new knowledge.\r\n\r\nDigital curation is, or has become, a term that better accommodates a broader range of digital material. It does not indicate what is being curated nor does it necessarily imply which communities can be purposefully served by curatorial activities. Data curation, on the other hand, relates directly to data that is produced and used by scholarly communities, and it facilitates the reuse and repurposing of data to meet new research needs. As Renear and Muñoz aptly explained in the introduction to a DCEP workshop held at the annual Digital Humanities conference, “Data curation addresses the challenge of maintaining digital information that is produced in the course of research in a manner that preserves its meaning and usefulness as a potential input for further research.”<a title=\"\" href=\"#_edn31\">[31]</a> Their emphasis, echoing Cragin et al., is on the scholarship and research enabled by the effective curation of digital data resources.<a title=\"\" href=\"#_edn32\">[32]</a>\r\n\r\nAlthough far from complete, this account of the concept of curation provides important contextual background for the next section, where we discuss DCEP’s pedagogical approach to data curation education. As noted above, the principle of “purposeful curation” has been the guiding concept for DCEP and the Specialization in Data Curation. This area focuses exclusively on the curation of research data for scholarly and scientific communities, covering the complex theoretical and practical problems that span eScience and digital humanities.\r\n\r\n<b>Purposeful Work with Data: Beyond Stewardship</b>\r\n\r\nThe “purposeful curation” concept guiding local educational efforts was more formally articulated in response to a paper that asserted, “library science has not demonstrated that it has the theoretical foundations and knowledge base that are capable of providing the framework for handling digital entities.”<a title=\"\" href=\"#_edn33\">[33]</a> We argued the contrary: Because of its commitment to the “needs of users to access and use information of value over the long term,” library and information science (LIS) is uniquely positioned to provide the kind of foundation needed for systems and services to manage digital content, especially research data.<a title=\"\" href=\"#_edn34\">[34]</a> Further, we explained that our aim in educating data curators was not only to prepare them to build and maintain data collections but also to be responsible for the “associated indexing systems, metadata standards, ontologies, and retrieval systems” that will make it possible for research data to work in concert with existing digital libraries, archives, and repositories. Data curation efforts that embrace this orientation to user communities and their needs within and across disciplines will be equipped to enable innovative research in the sciences and humanities with curated data for “experiments in scientific laboratories, the interpretation of texts by scholars in special collections, the development of exhibits in museums, and other purposeful work with data over time.”<a title=\"\" href=\"#_edn35\">[35]</a>\r\n\r\nThis conception of curation goes beyond the roles Zorich originally envisioned,<a title=\"\" href=\"#_edn36\">[36]</a> attending to data quality, authentication, security, and associated documentation and tools. It is markedly more active and extends beyond assuring reliable data access, to adding value to support and advance research capabilities. The alignment with the research process is the primary feature that distinguishes data curation from data stewardship. Data stewardship is about management of a shared resource, often embodied by one person or a designated group.<a title=\"\" href=\"#_edn37\">[37]</a> It is clearly essential to the preservation and persistence of robust data collections, but it is a function of “managing data” that implies a less active, fixed maintenance of data over time.<a title=\"\" href=\"#_edn38\">[38]</a> Curation, on the other hand, is concerned with availability <i>and </i>future use of data, including the enhancement, extension, and improvement of data products for reuse beyond a single scholarly community.\r\n\r\nAt the same time, it is essential to recognize that the locally developed processes of data management and stewardship within specific communities are valuable sources of practical knowledge and current practice. The specialization needs to be applicable across domains, and the rate of change in research with digital data is a continual challenge for integrating best practices into the curriculum. Case studies on data management, processing, enhancement, and sharing in scientific and humanities domains have proven to be some of the best material for teaching applied aspects of data curation. Likewise, for repository-based data curation expertise, we depend on our partnerships with national data centers and data services operations in research libraries for coverage of state-of-the-art practices. Increasingly these partners are also serving as hosts for internships and other field experiences for students to work alongside more experienced curators.\r\n\r\n<b>Foundations of Curation</b>\r\n\r\nThe core of the curriculum is a single foundational course grounded in concepts and functions that underpin the curation of research data in practice. The course draws on principles from both LIS and archival science, as well as current trends and practice within research domains and professional work in data repositories. Of the six areas within the core, three are fairly common to information management systems, especially when dealing with digital content: interoperable technical infrastructure, policy development, and intellectual property. The remaining three areas are more closely aligned with key dimensions of LIS expertise and are central to the “purposeful curation” concept: user communities and their information behavior; collection development, management, and research services; and information organization and representation.\r\n\r\nIn the data curation curriculum these dimensions are further refined in relation to problems and practices around research data. The user dimension emphasizes <i>research cultures</i><b> </b>that impact practices of data production and sharing within the system of scholarly communication; the <i>collections</i><b> </b>dimension emphasizes heterogeneous, complex data resources and their potential for reuse across the lifecycle of data, informed by key aspects of archival science; and the <i>representation</i><b> </b>dimension emphasizes the formal characteristics of information objects that carry digital data—with a particular focus on issues of identity, ontology development, and provenance. It is important to note that these dimensions cut across some of the basic areas of knowledge and skills for data curation, such as metadata. That is, while metadata activities are generally associated with representation, effective application of metadata will adequately document aspects of research cultures related to data-collection methods. High-functioning metadata will also be guided by collection issues related to granularity of description, properties of aggregate data products, and meaningful groupings of data for discovery and integration.\r\n\r\n<i>Research cultures: data production, data sharing, and scholarly communication</i>\r\n\r\nThe curation of research data needs to be informed by a detailed understanding of how data are produced and used in conducting research and how these processes fit into the larger context of scholarly communication. As is true with information behavior more generally, data practices vary in important ways across disciplines and sub-disciplines. For example, while there are a number of successful, large-scale open data initiatives, with the Protein Data Bank and the Sloan Digital Sky Survey as canonical cases, they are the exception rather than the rule.\r\n\r\nWhile data curation is largely concerned with how data sharing within and across research communities can advance science and scholarship, most researchers do not make their data publically available and most research communities have yet to develop a culture of data sharing.<a title=\"\" href=\"#_edn39\">[39]</a> If researchers are willing to share data, the form in which they are willing to release them may provide an easy preservation target, but it may not have the most value for long-term reuse.<a title=\"\" href=\"#_edn40\">[40]</a> Moreover, actual reuse can be highly dependent on rich contextual metadata provided by data producers.<a title=\"\" href=\"#_edn41\">[41]</a>\r\n\r\nData curation is part of the more global context of scholarly communication in which research libraries, publishers, and scholars have always been the primary actors and stakeholders. As would be expected in this tradition, much attention has been focused on the data associated with specific journals or published papers. To date, there have been a few successful approaches in the “journal—underlying data” archiving model.<a title=\"\" href=\"#_edn42\">[42]</a> However, some of the most challenging curation problems and, arguably, the greatest opportunities lie in our ability to make more basic research data available and interoperable across fields.<a title=\"\" href=\"#_edn43\">[43]</a> Therefore, data curators should be trained and organizationally positioned to assess accurately which data collections are of value, and in which combinations and states other scholars would find them most useful. Data curators should be able to identify data that have high priority for both their immediate service community and broader domains of interest. This is a unique set of roles and responsibilities for the field of LIS, and it requires educated professionals who understand relationships among research areas and the potential affordances of data for new applications.\r\n\r\n<i>Collections: heterogeneous data, lifecycles, and archives</i>\r\n\r\nCollections have always been central to librarianship and archival science, and their importance will continue as the stores of data grow and become increasingly searchable and browsable. They will be essential units for planning and implementing curation objectives and resources, for supporting research communities, and supporting the reuse and repurposing of data. Variations on the traditional processes of selection, appraisal, and collection management are particularly relevant.<a title=\"\" href=\"#_edn44\">[44]</a> At various scales, from big data-driven research to smaller data-intensive research, collections have significant properties that provide intellectual, social, and organizational structures for meaningful work with data.<a title=\"\" href=\"#_edn45\">[45]</a>\r\n\r\nCollections have life cycles of usefulness to scholarship that need to be regulated through curation, including maintenance, migration, and preservation, over time. Moreover, “collection development and collection description are formative curation activities that add value for scholarly inquiry at both the collection and [larger] aggregation levels.”<a title=\"\" href=\"#_edn46\">[46]</a> As the data accessible in digital environments continue to increase at a rapid pace, sound collection development and description will be essential to presenting data for exploration and discovery. In conjunction with searching capabilities, researchers will greatly benefit from the ability to browse dense and cohesive layers of data sources that not only anticipate researchers’ known needs, but also allow them to effectively navigate through and interpret extensive bodies of openly accessible data.\r\n\r\nCollections will increasingly need to be organized within local institutional repositories and disciplinary data repositories as researchers submit data to comply with funding-agency requirements for data-management planning and data sharing. Curators will be involved as advisors and collaborators in data-management planning, for which knowledge of collections will be key. They will need to identify which versions to retain and share; align with institutional aims and capacity for preservation and access options; assess the fitness of data for deposit in domain or consortia repositories; and advise on intellectual property issues that researchers will face in attempting to comply with these mandates.\r\n\r\nMore generally, collections will be vital to providing reliable access and preservation to data products. Over the long term, we risk ending up with data dumps rather than functional libraries of relevant and usable data assets if we ignore the art of building and organizing data collections for research communities.\r\n\r\n&nbsp;\r\n\r\n<i>Representation: identity, ontologies, and provenance</i>\r\n\r\nRigorous conceptual analysis of core curatorial notions such as representation, identity, authenticity, reference, and provenance is a distinctive aspect of the DCEP approach to data curation education. Although stewardship requires verifying bit sequences and ensuring that files have not been corrupted, many curation problems turn on much more challenging issues, such as whether two files contain the same data even though they use different representation languages, encodings, or formats. A comparison of bit sequences will provide no assistance here, and so is inadequate for curation that goes beyond stewardship. What is needed is a terminological framework that clarifies these issues, as well as techniques for documentation and confirmation. Getting full value from cyberinfrastructure and computational systems requires that curators be able to refine formal terminology and document the “interpretive frames” that connect reasoning across levels of abstraction.<a title=\"\" href=\"#_edn47\">[47]</a> Similarly, precisely documenting the derivation of one dataset from another, critical for both scientific and humanities scholarship, also requires sophisticated conceptual frameworks, tools, and practices. To support curatorial education we are therefore developing general frameworks of concepts and terminology that can be used across disciplines.<a title=\"\" href=\"#_edn48\">[48]</a>\r\n\r\nA solid familiarity with semantic technologies (such as the Resource Description Framework [RDF] and the Web Ontology Language [OWL]) is increasingly important as structured terminologies and ontologies for representing scientific and cultural information are now widely used. These data organization strategies are fundamental to data curation: they help ensure that data remains meaningful; they improve software interoperability and data integration; and they support unanticipated use, as well as the mobilization of interdisciplinary approaches. Finally, even the distinctions between publication and data, and reading and analysis, are blurring; new tools are both responding to and driving changes in scholarly publishing and how researchers search, filter, scan, link, annotate, and analyze fragments of content from the literature.<a title=\"\" href=\"#_edn49\">[49]</a> For data curators there is no escape from engaging these fundamental issues of representation, identity, ontologies, and provenance.\r\n\r\n&nbsp;\r\n\r\n<b>Curation Professionals in the Workforce</b>\r\n\r\nA recent analysis of job placements for students completing the Specialization of Data Curation in the GSLIS master’s program at Illinois has been instructive for understanding the types of organizations and positions that need data professionals. The discourse in the field has emphasized that data curation expertise will need to permeate the research process at large, with curation beginning at the initial planning stages of a research project, followed by long-term data management and providing open access data for public use.<a title=\"\" href=\"#_edn50\">[50]</a> Interestingly, our placement data show that curation professionals are filling positions in many types of organizations in roles that will, in fact, have an impact throughout the life cycle of data in the research enterprise.\r\n\r\nOf the fifty-five graduates to date, we have been able to track placement of forty-nine individuals. Thirty-three percent have taken positions in research libraries and museums. A good number of these graduates have gone to academic libraries, but some are working in national libraries, special libraries, large art museums, and other cultural heritage institutions. Twenty percent have gone to research centers, including national data centers and digital humanities and scientific research institutes, where they are more directly involved with the research applications and curation of data. Another twenty percent are in the corporate sector, which needs high-functioning data to gain competitive market advantage, but in these settings curation skills are also being blended with statistical competencies that have more traditionally been labeled as data science. The nearly fifty position titles also show how curation positions are being formalized; they range from data curator, data-management consultant, research data librarian, and digital preservation librarian to data analyst, digital asset manager, and information architect.\r\n\r\nThrough our experience with the DCEP program, the benefits of internships and practicum in data centers became evident, and field experiences are now a priority in our next phases of program development. The Data Curation Education in Research Centers (DCERC) initiative, funded by IMLS, has been a major step in building a model for integrating field experiences into MA and PhD programs through a partnership with the National Center for Atmospheric Research (NCAR), a long-standing international leader in scientific data infrastructure and services. The DCERC collaboration includes the University of Tennessee, School of Information Sciences, whose participating masters students complete the Foundations of Data Curation course at Illinois.\r\n\r\nThe NCAR internships, piloted with Illinois doctoral students and Tennessee masters students, have been explicitly designed to mentor students in both data management and the scientific research contexts. It is our belief that apprenticeships need to involve students directly in best practices at mature data centers and expose them to the actual data problems that active researchers experience; this will prepare them adequately to excel at curation in data-intensive research environments.\r\n\r\n<b>Conclusion</b>\r\n\r\nThis paper provided an overview of our approach to data curation education. It is important to note that this approach has been greatly influenced, both formally and informally, by our many collaborators and colleagues working to improve data access and research capabilities for scholarship in both the sciences and humanities. Our “purposeful curation” perspective is not meant to be comparative to other curation programs or an exhaustive, fully articulated pedagogy. However, we do feel that our student placement data, especially the high number of graduates placed across different types of research organizations, is solid evidence for the success of this particular approach.\r\n\r\nThe historical overview presented at the beginning of the paper gave an account of the concepts and definitions related to data curation based on the literature encountered through our work on the DCEP and DCERC initiatives, as both seasoned and new LIS educators and researchers. So, while we have identified a number of landmarks and trends in the conception of data curation to date, much of the story is still to be traced, interpreted, and retold. We hope that this initial effort will encourage additions, corrections, and amendments to the history of the field, and in turn lead to better sharing of both seasoned and new pedagogical approaches to what may prove to be an important turning point for the information professions.\r\n<div><br clear=\"all\" />\r\n\r\n<hr align=\"left\" size=\"1\" width=\"33%\" />\r\n\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref1\">[1]</a>\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref2\">[2]</a>\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref3\">[3]</a>\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref4\">[4]</a> Diane M. Zorich, \"Data management: Managing electronic information: Data curation in museums,\" <i>Museum Management and Curatorship</i> 14, no. 4 (1995): 431.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref5\">[5]</a> David Bearman, “What Are/Is Informatics?” <i>Archival Informatics Newsletter</i> (1987): 8.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref6\">[6]</a> Susan Hockey, “Developing Text Standards,” <i>Selected papers from the second International Conference on Hypermedia and Interactivity in Museums, Cambridge, England</i> (1993): 255, <a href=\"http://www.archimuse.com/publishing/ichim93/hockey.pdf\">http://www.archimuse.com/publishing/ichim93/hockey.pdf</a>.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref7\">[7]</a> Jisc, http://www.jisc.ac.uk/aboutus.aspx.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref8\">[8]</a> “Interview with Sheila Anderson and Hamish James, AHDS,” <i>Digital Curation Center</i>, accessed May 28, 2013, http://www.dcc.ac.uk/community/interviews/sheila-anderson-and-hamish-james.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref9\">[9]</a> Daniel Greenstein, “Serving the Arts and Humanities” <i>Ariadne 4</i> (1996), http://www.ariadne.ac.uk/issue4/ahds.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref10\">[10]</a> J. Unsworth, “A Master’s Degree in Digital Humanities: Part of the Media Studies Program at the University of Virginia,” <i>Congress of the Social Sciences and Humanities, Université Laval, Québec, Canada</i>, 2001,<i> </i><a href=\"http://people.lis.illinois.edu/~unsworth/laval.html\">http://people.lis.illinois.edu/~unsworth/laval.html</a>; M. G. Kirschenbaum, “What Is Digital humanities and What’s It Doing in English Departments?” <i>ADE Bulletin</i> 150 (2010): 1-7.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref11\">[11]</a> Susan Hockey, \"The history of humanities computing,\" <i>A companion to digital humanities</i> (2004): 3-19.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref12\">[12]</a> Roberto Busa, \"The annals of humanities computing: The index thomisticus,\" <i>Computers and the Humanities</i> 14, no. 2 (1980): 83.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref13\">[13]</a> Cited in Hockey, \"The History of Humanities Computing.”\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref14\">[14]</a> Harry M. Logan, \"Electronic lexicography,\" <i>Computers and the Humanities</i> 25, no. 6 (1991): 351-61\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref15\">[15]</a> Hockey, Susan. 1992. Humanist 5.0632 CETH Inaugural Seminar 1/17. Retrieved from <a href=\"http://dhhumanist.org/Archives/Virginia/v05/0621.html\">http://dhhumanist.org/Archives/Virginia/v05/0621.html</a>.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref16\">[16]</a> For an interesting post hoc alignment, see Allen H. Renear, Molly Dolan, Kevin Trainor, and Melissa H. Cragin, \"Towards a cross‐disciplinary notion of data level in data curation,\" <i>Proceedings of the American Society for Information Science and Technology</i> 46, no. 1 (2009): 1-8.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref17\">[17]</a> William Thomas, \"Computing and the historical imagination,\" <i>A companion to digital humanities</i> (2004): 56-68.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref18\">[18]</a> Tobias Blanke, Mark Hedges, and Stuart Dunn, \"Arts and humanities e-science—Current practices and future challenges,\" <i>Future Generation Computer Systems</i> 25, no. 4 (2009): 474-80.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref19\">[19]</a> Tony Hey and Anne Trefethen, \"e-Science and its implications,\" <i>Philosophical Transactions of the Royal Society of London. Series A: Mathematical, Physical and Engineering Sciences</i> 361, no. 1809 (2003): 1809-1825.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref20\">[20]</a> Jim Gray, Alexander S. Szalay, Ani R. Thakar, Christopher Stoughton, and Jan Vandenberg, \"Online scientific data curation, publication, and archiving,\" <i>Proceedings of SPIE</i> (2002): 103-107; Jim Gray, David T. Liu, Maria Nieto-Santisteban, Alex Szalay, David J. DeWitt, and Gerd Heber, \"Scientific data management in the coming decade,\" <i>ACM SIGMOD Record</i> 34, no. 4 (2005) 34-41; Tony Hey, Stewart Tansley, and Kristin Michele Tolle, eds.<i> The fourth paradigm: data-intensive scientific discovery</i> (Redmond, WA: Microsoft Research, 2009).\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref21\">[21]</a> Gray et al., \"Online scientific data curation, publication, and archiving.\"\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref22\">[22]</a> Paulien Hogeweg, \"The roots of bioinformatics in theoretical biology,\" <i>PLoS computational biology</i> 7, no. 3 (2011): e1002021.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref23\">[23]</a> Philip Lord and Alison Macdonald, <i>e-Science Curation Report: Data curation for e-Science in the UK: an audit to establish requirements for future curation and provision</i> (Digital Archiving Consultancy Limited, 2003).\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref24\">[24]</a> Ibid., 12.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref25\">[25]</a> Neil Beagrie, \"Digital curation for science, digital libraries, and individuals,” <i>International Journal of Digital Curation</i> 1 (2006), 3-16.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref26\">[26]</a> Neil Beagrie, “The Digital Curation Centre” <i>Learned Publishing</i> 17, no. 1 (2004): 7-9.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref27\">[27]</a> Philip Lord, Alison Macdonald, Liz Lyon, and David Giaretta, \"From data deluge to data curation,\" <i>Proc 3th UK e-Science All Hands Meeting</i> (2004): 371-75.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref28\">[28]</a> David Giaretta, “DCC approach to digital curation, version 1.23,” (white paper, 2005),\r\n\r\nhttp://dev.dcc.rl.ac.uk/twiki/bin/view/Main/DCCApproachToCuration.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref29\">[29]</a> Elizabeth Yakel, \"Digital curation,\" <i>OCLC Systems &amp; Services</i> 23, no. 4 (2007): 335-340.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref30\">[30]</a> Melissa H. Cragin, P. Bryan Heidorn, Carole L. Palmer, and Linda C. Smith, \"An educational program on data curation,\" <i>American Library Association Conference, Science and Technology Section, </i>Washington, D.C., June 25, 2007. <a href=\"http://hdl.handle.net/2142/3493\">http://hdl.handle.net/2142/3493</a>\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref31\">[31]</a> Trevor Muñoz and Allen Renear, “Issues in Digital Humanities Data Curation,” (white paper, 2011), http://hdl.handle.net/2142/30852).\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref32\">[32]</a> Cragin et al., \"An educational program on data curation.\"\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref33\">[33]</a> Seamus Ross, \"Digital preservation, archival science and methodological foundations for digital libraries,\" <i>New Review of Information Networking</i> 17, no. 1 (2012): 43-68.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref34\">[34]</a> Palmer, Renear, and Cragin, “Purposeful Curation.”\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref35\">[35]</a> Ibid.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref36\">[36]</a> Zorich, \"Data management.”\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref37\">[37]</a> Karen S. Baker and Lynn Yarmey, \"Data stewardship: Environmental data curation and a web-of-repositories,\" <i>International Journal of Digital Curation</i> 4, no. 2 (2009): 12-27.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref38\">[38]</a> Cliff Jacobs and Steven J. Worley, “Data Curation in Climate and Weather: Transforming Our Ability to Improve Predictions through Global Knowledge Sharing,” <i>The International Journal of Digital Curation</i> (2009).\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref39\">[39]</a> Christine L. Borgman, \"The conundrum of sharing research data.\" <i>Journal of the American Society for Information Science and Technology</i> 63, no. 6 (2012): 1059-1078; Anne E. Thessen and David J. Patterson, \"Data issues in the life sciences,\" <i>ZooKeys</i> 150 (2011): 15; Carol Tenopir, Suzie Allard, Kimberly L. Douglass, Arsev Umur Aydinoglu, Lei Wu, Eleanor Read, Maribeth Manoff, and Mike Frame, \"Data sharing by scientists: practices and perceptions,\" <i>PLoS One</i> 6, no. 6 (2011).\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref40\">[40]</a> Melissa H. Cragin, Carole L. Palmer, Jacob R. Carlson, and Michael Witt, \"Data sharing, small science and institutional repositories,\" <i>Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences</i> 368, no. 1926 (2010): 4023-4038.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref41\">[41]</a> Matthew S. Mayernik, Jillian C. Wallis, and Christine L. Borgman, \"Unearthing the infrastructure: Humans and sensors in field-based scientific research,\" <i>Journal of Computer Supported Cooperative Work</i> (2012); Nicholas M. Weber, Karen S. Baker, Andrea K. Thomer, Tiffany C. Chao, and Carole L. Palmer, \"Value and context in data use: Domain analysis revisited,\" <i>Proceedings of the American Society for Information Science and Technology</i> 49, no. 1 (2012): 1-10; Laura A. Wynholds, Christine L. Borgman,  Jillian C. Wallis, Ashley Sands, and Sharon Traweek, \"Data, Data Use, and Scientific Inquiry: Two Case Studies of Data Practices,\" <i>ACM Press</i> (2012): 19.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref42\">[42]</a> For example, Michael C. Whitlock, Mark A. McPeek, Mark D. Rausher, Loren Rieseberg, and Allen J. Moore, \"Data archiving,\" <i>The American Naturalist</i> 175, no. 2 (2010): 145-46.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref43\">[43]</a> Hanisch, Robert, and Sayeed Choudhury, \"The Data Conservancy: Building a Sustainable System for Interdisciplinary Scientific Data Curation and Preservation,\" <i>Proceedings of the PV 2009 conference, European Space Agency</i> (2009).\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref44\">[44]</a> Angus Whyte and Andrew Wilson, <i>How to Appraise &amp; Select Research Data for Curation</i>, Digital Curation Centre, 2010, http://www.dcc.ac.uk/resources/how-guides/appraise- select-research-data.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref45\">[45]</a> Carole L. Palmer, Oksana L. Zavalina, and Katrina Fenlon, \"Beyond size and search: Building contextual mass in digital aggregations for scholarly use,\" <i>Proceedings of the American Society for Information Science and Technology</i> 47, no. 1 (2010): 1-10.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref46\">[46]</a> Katrina Fenlon, Jacob Jett, and Carole L. Palmer, \"Digital Collections and Aggregations,\" <i>DHCuration Guide</i> (2011), http://guide.dhcuration.org/collections/; Carole Palmer, “Scholarly work and the shaping of digital access,” <i>Journal of the American Society for Information Science and Technology</i> 56, no. 11 (2005).\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref47\">[47]</a> David Dubin, Karen Wickett, and Simone Sacchi, “Content, Format, and Interpretation,” <i>Proceedings of Balisage: The Markup Conference 2011</i>. Balisage Series on Markup Technologies 7 (2011), doi:10.4242/BalisageVol7.Dubin01.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref48\">[48]</a> Renear et al., \"Towards a cross‐disciplinary notion of data level in data curation\"; Simone Sacchi, Karen Wickett, Allen Renear, and David Dubin, \"A framework for applying the concept of significant properties to datasets,\" <i>Proceedings of the American Society for Information Science and Technology</i> 48, no. 1 (2011): 1-10; Karen M. Wickett, Simone Sacchi, David Dubin, and Allen H. Renear, \"Identifying Content and Levels of Representation in Scientific Data,\" <i>Proceedings of the American Society for Information Science and Technology</i> 49, no. 1 (2012): 1-10.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref49\">[49]</a> Allen H. Renear and Carole L. Palmer, \"Strategic reading, ontologies, and the future of scientific publishing,\" <i>Science</i> 325, no. 5942 (2009): 828-32.\r\n\r\n</div>\r\n<div>\r\n\r\n<a title=\"\" href=\"#_ednref50\">[50]</a> Nicholas M. Weber, Carole L. Palmer, and Tiffany C. Chao, \"Current Trends and Future Directions in Data Curation Research and Education,\" <i>Journal of Web Librarianship</i> 6, no. 4 (2012): 305-20.\r\n\r\n</div>\r\n</div>','Foundations of Data Curation: The Pedagogy and Practice of “Purposeful Work” with Research Data','','inherit','open','open','','4819-revision-2','','','2013-06-24 05:55:26','2013-06-24 05:55:26','',4819,'http://dev.archivejournal.net/issue//uncategorized/4819-revision-2/',0,'revision','',0);
INSERT INTO `archive_posts` VALUES (4829,10,'2013-06-24 06:17:11','2013-06-24 06:17:11','<b>Abstract</b>\r\n\r\nIncreased interest in large-scale, publicly accessible data collections has made data curation critical to the management, preservation, and improvement of research data in the social and natural sciences, as well as the humanities. This paper explicates an approach to data curation education that integrates traditional notions of curation with principles and expertise from library, archival, and computer science. We begin by tracing the emergence of data curation as both a concept and a field of practice related to, but distinct from, both digital curation and data stewardship. This historical account, while far from definitive, considers perspectives from both the sciences and the humanities. Alongside traditional LIS and archival science practices, unique aspects of curation have informed our concept of “purposeful work” with data and, in turn, our pedagogical approach to data curation for the sciences and the humanities.\r\n\r\n<b>The Genesis of <i>Data Curation</i></b>\r\n\r\nNatural history museums have long been devoted to the curation of scientific data in the form of physical specimens. Their curatorial roles and responsibilities help explain how the term <i>curation</i> came to stand for the current conception of the management and preservation of digital research data. Moreover, their focus on making data usable for research over the long term is tightly aligned with our approach to data curation education, to be discussed below, which has been driven by the principle of “purposeful curation.” ((Carole Palmer, Allen Renear, and Melissa Cragin, “Purposeful Curation: Research and Education for a Future with Working Data,” <i>Proceedings of the 4th International Digital Curation Conference, </i>2008.))<a title=\"\" href=\"#_edn1\">\r\n</a>\r\n\r\nBefore scholarly practices shifted to a digital realm or a big data paradigm, natural history museums were extending their concept of curation in anticipation of the demand for the management and enhancement of digital data. In particular, William Fry, a curator at the British Museum of Natural History, made very early observations about the need to optimize data collections for research in a digital environment. His 1965 <i>Nature </i>article, “Methods in Taxonomy,” asserts, “what is urgently needed, if numerical taxonomy is to become an accepted tool of routine identification and classification, is proof that the labour of collecting the vast quantities of data required for the statistics is rewarded by greatly increased usefulness of the results.” ((William G. Fry, “Methods in Taxonomy,” <i>Nature</i> 207 (1965): 246, doi:10.1038/207245a0.))<a title=\"\" href=\"#_edn2\">\r\n</a>\r\n\r\nFry questioned how “mathematical and computational” methods would affect the practices of curators and collection managers, forecasting the kinds of concerns we hear today about the data deluge: “While collections, the items of which can be counted in hundreds, can be adequately controlled and used by means of written guides and indices, these time-honoured methods cannot be efficient where collections must be numbered in tens or hundreds of thousands.” ((Ibid.))<a title=\"\" href=\"#_edn3\">\r\n</a>\r\n\r\nThe notion of <i>curation</i> in relation to digital research data became more common in the 1990s, although most of what we now think of as <i>data curation </i>was often labeled <i>informatics </i>in both the humanities and the sciences. A 1994 Department of Energy (DOE) report on genome informatics is notable in its attention to data access and management, as well as its description of “database curators” in both laboratories and natural history museums. However, the first published application of the term <i>data curation</i> may be found in Diane Zorich’s 1995 paper on future collections management in <i>Museum Management and Curatorship</i>. She elaborates on the concept of database curators from the 1994 DOE report, arguing for an entirely new field of information work in museums, libraries, and traditional scientific laboratory settings:\r\n<blockquote>Data sets need to be examined for consistency, long-term quality and relevance over time, and new sources of data must be identified and assessed. Changes or updates to data require authentication and verification. Tools which support object databases, such as authority lists, thesauri, data dictionaries and other documentation resources, need to be maintained, updated and distributed at regular intervals, while data security and access must be considered. All these concerns constitute the discipline of data curation. ((Diane M. Zorich, \"Data management: Managing electronic information: Data curation in museums,\" <i>Museum Management and Curatorship</i> 14, no. 4 (1995): 431.))<a title=\"\" href=\"#_edn4\">\r\n</a></blockquote>\r\nIn the humanities and cultural heritage communities, the curation of digital research data has been an important topic since at least the late 1980s. Again, the museum community, especially those engaged with the early web, was at the center of curation discourse. In 1987, in the first issue of <i>Archival Informatics Newsletter</i> (the external house organ for David Bearman’s company), Bearman explicitly drew the link between informatics as “an emerging usage in biomedicine” and “a philosophy of looking at the cultural information missions of archives and museums.” ((David Bearman, “What Are/Is Informatics?” <i>Archival Informatics Newsletter</i> (1987): 8.)) In 1993, the second International Conference on Hypermedia and Interactivity in Museums (ICHIM) featured a paper by Susan Hockey, then Director of the Center for Electronic Texts in the Humanities (CETH) at Rutgers and Princeton Universities, reporting on the Text Encoding Initiative (TEI) standard for machine-readable texts initiated that year. Hockey explains the significance of efforts like the TEI to the goals of those working on “museum documentation and information handling systems,” in part because of the need for “the usefulness, development and longevity of . . . data.” ((Susan Hockey, “Developing Text Standards,” <i>Selected papers from the second International Conference on Hypermedia and Interactivity in Museums, Cambridge, England</i> (1993): 255, <a href=\"http://www.archimuse.com/publishing/ichim93/hockey.pdf\">http://www.archimuse.com/publishing/ichim93/hockey.pdf</a>.))<a title=\"\" href=\"#_edn6\">\r\n</a>\r\n\r\nIn the same year that Zorich’s article coined the term “data curation,” the Joint Information Systems Committee (Jisc) ((Jisc, http://www.jisc.ac.uk/aboutus.aspx.)) in the UK helped to establish the Arts and Humanities Data Service (AHDS), with the following mission: it “acquires, curates, preserves and provides access to complex digital resources created by or supporting research and teaching in Higher and Further Education and life-long learning.” ((“Interview with Sheila Anderson and Hamish James, AHDS,” <i>Digital Curation Center</i>, accessed May 28, 2013, http://www.dcc.ac.uk/community/interviews/sheila-anderson-and-hamish-james.)) Shortly thereafter the aims of the AHDS were further refined to “collect, describe, and preserve the electronic resources which result from scholarly research in the humanities” and to further “develop a generalized and extensible framework for digital resource creation, description, preservation, and location.” ((Daniel Greenstein, “Serving the Arts and Humanities” <i>Ariadne 4</i> (1996), http://www.ariadne.ac.uk/issue4/ahds.))<a title=\"\" href=\"#_edn9\">\r\n</a><b></b>\r\n\r\n<b>Diffuse Trajectory in the Humanities</b>\r\n\r\nInitiatives in the humanities, such as the AHDS, were undoubtedly responding to data-curation imperatives similar to those in bioinformatics and other sciences. Clear parallels are the exception, however, in a longer and more discontinuous and diffuse trajectory as the <i>digital humanities</i> progressed. Through 2001, digital research in the humanities was sometimes referred to as humanities informatics, ((J. Unsworth, “A Master’s Degree in Digital Humanities: Part of the Media Studies Program at the University of Virginia,” <i>Congress of the Social Sciences and Humanities, Université Laval, Québec, Canada</i>, 2001,<i> </i><a href=\"http://people.lis.illinois.edu/~unsworth/laval.html\">http://people.lis.illinois.edu/~unsworth/laval.html</a>; M. G. Kirschenbaum, “What Is Digital humanities and What’s It Doing in English Departments?” <i>ADE Bulletin</i> 150 (2010): 1-7.)) but <i>humanities computing </i>became the more common term for the growing field now known as digital humanities.\r\n\r\nSeveral significant strands of early computational research in humanities computing involved the development of indices, annotated linguistic corpora, and digitally encoded texts—in other words, the preparation, collection, organization, and maintenance of datasets. The widely accepted origin story of the digital humanities as a field centers on Father Roberto Busa’s project, beginning in 1949, to create a concordance to the complete works of Thomas Aquinas. ((Susan Hockey, \"The history of humanities computing,\" <i>A companion to digital humanities</i> (2004): 3-19.)) Busa’s reflection on the genesis of his own work contains an echo of Fry’s call for a curatorial response to “mathematical and computational” methods—with the challenge being the accelerated production of textual data rather than biological specimens. As Busa states, it was clear “that to process texts containing more than ten million words, I had to look for some machinery.” ((Roberto Busa, \"The annals of humanities computing: The index thomisticus,\" <i>Computers and the Humanities</i> 14, no. 2 (1980): 83.))<a title=\"\" href=\"#_edn12\">\r\n</a>\r\n\r\nTwo decades of work in concordance and index building followed from Busa’s initial achievement, as documented by Dolores M. Burton, ((Cited in Hockey, \"The History of Humanities Computing.”)) and a cognate track of scholarship was devoted to digital dictionaries and corpora, or “electronic lexicography.” ((Harry M. Logan, \"Electronic lexicography,\" <i>Computers and the Humanities</i> 25, no. 6 (1991): 351-61)) Databases became important in the 1980s and 1990s, evidenced by the 1992 inaugural CETH seminar devoted to a project on “Building a Humanities Database.” ((Hockey, Susan. 1992. Humanist 5.0632 CETH Inaugural Seminar 1/17. Retrieved from <a href=\"http://dhhumanist.org/Archives/Virginia/v05/0621.html\">http://dhhumanist.org/Archives/Virginia/v05/0621.html</a>.)) Although less pronounced than with genomics or the natural museum community, the value of databases and their many applications to scholarship were beginning to be recognized.\r\n\r\nCompared to the science realm where curation activities generally remained distinct from research, humanities computing encompassed work with data that was curatorial in nature. The focus of the research community, however, tended toward information retrieval, processing, and publishing more than data curation, even with the earliest case, when Busa referred to the need “to process” data for the Aquinas concordance. There was no comparable modern tradition of stewardship or collection management as with natural history museums. Thus, humanists did not adopt the terminological framework of curation for their work with data. Instead, they applied vocabulary familiar from philology, textual editing, quantitative history, and linguistics. In digital literary studies, the development of methods for digitally encoding textual variants, for example, demonstrates an engagement with curatorial concerns such as provenance but using discipline-specific terms like “diplomatic” transcription strategies, and “editions.” ((For an interesting post hoc alignment, see Allen H. Renear, Molly Dolan, Kevin Trainor, and Melissa H. Cragin, \"Towards a cross‐disciplinary notion of data level in data curation,\" <i>Proceedings of the American Society for Information Science and Technology</i> 46, no. 1 (2009): 1-8.)) Many of the debates over findings from quantitative history related to the sufficiency or insufficiency of information collections created by scholars pursuing those analyses and to ideas of historical “evidence.” ((William Thomas, \"Computing and the historical imagination,\" <i>A companion to digital humanities</i> (2004): 56-68.))<a title=\"\" href=\"#_edn17\">\r\n</a>\r\n\r\nWhile the principles and many processes involved in data curation are common across the science and humanities, there are still important differences in how and when curation work is integrated into, or provided as, a service for research. As with other areas of digital scholarship, flagship initiatives are often harbingers of future trends. The highly visible AHDS lost funding in 2008. Since that time, data curation in the humanities returned to being a more diffuse, <i>ad hoc</i> enterprise rather than a part of governmental and institutional research programs, as is more typical in the sciences. ((Tobias Blanke, Mark Hedges, and Stuart Dunn, \"Arts and humanities e-science—Current practices and future challenges,\" <i>Future Generation Computer Systems</i> 25, no. 4 (2009): 474-80.))<a title=\"\" href=\"#_edn18\">\r\n</a>\r\n\r\n<b>Continuity in the Sciences</b>\r\n\r\nThe 2002 paper, “Online Scientific Data Curation, Publication, and Archiving,” by computer scientist Jim Gray and collaborators was instrumental in projecting the term data curation beyond the museum and bioinformatics domains. Gray and his colleagues were developing architecture and storage environments for the Sloan Digital Sky Survey in astronomy, and they had also begun writing about a new paradigm of scientific research associated with the emergence of grid computing and a deluge of digital data. ((Tony Hey and Anne Trefethen, \"e-Science and its implications,\" <i>Philosophical Transactions of the Royal Society of London. Series A: Mathematical, Physical and Engineering Sciences</i> 361, no. 1809 (2003): 1809-1825.)) The “fourth paradigm” referred to a new data-driven method for scientific inquiry, where analysis of expertly curated, open access data collections would complement and extend traditional methods like simulation, observation, and theoretical experimentation. ((Jim Gray, Alexander S. Szalay, Ani R. Thakar, Christopher Stoughton, and Jan Vandenberg, \"Online scientific data curation, publication, and archiving,\" <i>Proceedings of SPIE</i> (2002): 103-107; Jim Gray, David T. Liu, Maria Nieto-Santisteban, Alex Szalay, David J. DeWitt, and Gerd Heber, \"Scientific data management in the coming decade,\" <i>ACM SIGMOD Record</i> 34, no. 4 (2005) 34-41; Tony Hey, Stewart Tansley, and Kristin Michele Tolle, eds.<i> The fourth paradigm: data-intensive scientific discovery</i> (Redmond, WA: Microsoft Research, 2009).)) Data curation, central to this vision, was described as the annotation, preservation, and expert description of datasets, to be carried out, by and large, by librarians. ((Gray et al., \"Online scientific data curation, publication, and archiving.\"))<a title=\"\" href=\"#_edn21\">\r\n</a>\r\n\r\nAt the same time, the UK was embracing the potential digital transformation of a national research agenda. What had been called an informatics approach in North America and continental Europe was being labeled <i>eResearch </i>and <i>eScience </i>in the UK. ((Paulien Hogeweg, \"The roots of bioinformatics in theoretical biology,\" <i>PLoS computational biology</i> 7, no. 3 (2011): e1002021.)) A 2003 Jisc-commissioned report on the infrastructures needed to support eScience was one of the first attempts to clarify differences between preservation, archiving, and curation in relation to digital scholarship. ((Philip Lord and Alison Macdonald, <i>e-Science Curation Report: Data curation for e-Science in the UK: an audit to establish requirements for future curation and provision</i> (Digital Archiving Consultancy Limited, 2003).)) The report identifies data curation<i> </i>as the “activity of, managing and promoting the use of data from its point of creation, to ensure it is fit for contemporary purpose, and available for discovery and re-use.” It specifies that “archiving” is needed for “curation,” and “preservation”<i> </i>is “an aspect of archiving,” with all three “involved in managing change over time.” ((Ibid., 12.)) To this day, the distinctions and applications of these three concepts remain imprecise, as is also the case with the terms <i>digital curation</i>, <i>data curation</i>, and <i>data stewardship. </i>In the next section we clarify some of the differences between these terms, their use, and the overall importance in understanding the unique contribution of data curation to science and scholarship.\r\n\r\n<b>Co-Evolution of Digital Curation and Data Curation</b>\r\n\r\nIn the UK, the term digital curation first appeared in a 2001 digital preservation workshop, ((Neil Beagrie, \"Digital curation for science, digital libraries, and individuals,” <i>International Journal of Digital Curation</i> 1 (2006), 3-16.)) but later Neal Beagrie more explicitly defined it in his description of the newly formed Digital Curation Centre (DCC):\r\n<blockquote>The term “digital curation” is increasingly being used for the actions needed to maintain digital research data and other digital materials over their entire lifecycle and over time for current and future generations of users. Implicit in this definition are the processes of digital archiving and digital preservation, but it also includes all the processes needed for good data creation and management, and the capacity to add value to data to generate new sources of information and knowledge. ((Neil Beagrie, “The Digital Curation Centre” <i>Learned Publishing</i> 17, no. 1 (2004): 7-9.))<a title=\"\" href=\"#_edn26\">\r\n</a></blockquote>\r\nThis text is nearly an exact match with the roles outlined in the 2003 Jisc report on <i>data </i>curation—evidence that early on the two concepts were thought of synonymously. Other publications advancing the concept of curation in the UK applied the terms loosely for a number of years. For example, a publication formalizing many of the original 2003 Jisc report recommendations states: “data curation concerns the long-term management of data, from its initial collection to its deposition into an archive.” ((Philip Lord, Alison Macdonald, Liz Lyon, and David Giaretta, \"From data deluge to data curation,\" <i>Proc 3th UK e-Science All Hands Meeting</i> (2004): 371-75.)) The following year, digital curation was more “broadly interpreted” as being “about maintaining and adding value to, a trusted body of digital information for current and future use.” ((David Giaretta, “DCC approach to digital curation, version 1.23,” (white paper, 2005), http://dev.dcc.rl.ac.uk/twiki/bin/view/Main/DCCApproachToCuration.)) Summarizing many different uses and definitions of digital curation, Yakel’s definition of <i>digital curation</i> is explicit about its place within the information professions. She refers to it as “the active involvement of information professionals in the management, including the preservation, of digital data for future use.” ((Elizabeth Yakel, \"Digital curation,\" <i>OCLC Systems &amp; Services</i> 23, no. 4 (2007): 335-340.))\r\n\r\nYakel’s publication came out the same year that we offered a definition of data curation for the Data Curation Education Program (DCEP), funded by the Institute of Museum and Library Services (IMLS) at the Graduate School of Library and Information Science (GSLIS), University of Illinois at Urbana-Champaign. The DCEP definition states that data curation is “the active and ongoing management of data throughout its entire lifecycle of interest and usefulness to scholarship.” ((Melissa H. Cragin, P. Bryan Heidorn, Carole L. Palmer, and Linda C. Smith, \"An educational program on data curation,\" <i>American Library Association Conference, Science and Technology Section, </i>Washington, D.C., June 25, 2007. <a href=\"http://hdl.handle.net/2142/3493\">http://hdl.handle.net/2142/3493</a>)) This definition guided development of the Specialization in Data Curation in the GSLIS master’s program and has been applied consistently in DCEP initiatives across the sciences and the humanities, including an annual Summer Institute on Data Curation. The distinction between this definition and those of digital curation is subtle, but important. The focus of data curation is on the “interest and usefulness” of data to scholarship, and this emphasizes the traditional mission of research libraries to provide information to support research and the production of new knowledge.\r\n\r\nDigital curation is, or has become, a term that better accommodates a broader range of digital material. It does not indicate what is being curated nor does it necessarily imply which communities can be purposefully served by curatorial activities. Data curation, on the other hand, relates directly to data that is produced and used by scholarly communities, and it facilitates the reuse and repurposing of data to meet new research needs. As Renear and Muñoz aptly explained in the introduction to a DCEP workshop held at the annual Digital Humanities conference, “Data curation addresses the challenge of maintaining digital information that is produced in the course of research in a manner that preserves its meaning and usefulness as a potential input for further research.” ((Trevor Muñoz and Allen Renear, “Issues in Digital Humanities Data Curation,” (white paper, 2011), http://hdl.handle.net/2142/30852).)) Their emphasis, echoing Cragin et al., is on the scholarship and research enabled by the effective curation of digital data resources. ((Cragin et al., \"An educational program on data curation.\"))<a title=\"\" href=\"#_edn32\">\r\n</a>\r\n\r\nAlthough far from complete, this account of the concept of curation provides important contextual background for the next section, where we discuss DCEP’s pedagogical approach to data curation education. As noted above, the principle of “purposeful curation” has been the guiding concept for DCEP and the Specialization in Data Curation. This area focuses exclusively on the curation of research data for scholarly and scientific communities, covering the complex theoretical and practical problems that span eScience and digital humanities.\r\n\r\n<b>Purposeful Work with Data: Beyond Stewardship</b>\r\n\r\nThe “purposeful curation” concept guiding local educational efforts was more formally articulated in response to a paper that asserted, “library science has not demonstrated that it has the theoretical foundations and knowledge base that are capable of providing the framework for handling digital entities.” ((Seamus Ross, \"Digital preservation, archival science and methodological foundations for digital libraries,\" <i>New Review of Information Networking</i> 17, no. 1 (2012): 43-68.)) We argued the contrary: Because of its commitment to the “needs of users to access and use information of value over the long term,” library and information science (LIS) is uniquely positioned to provide the kind of foundation needed for systems and services to manage digital content, especially research data. ((Palmer, Renear, and Cragin, “Purposeful Curation.”)) Further, we explained that our aim in educating data curators was not only to prepare them to build and maintain data collections but also to be responsible for the “associated indexing systems, metadata standards, ontologies, and retrieval systems” that will make it possible for research data to work in concert with existing digital libraries, archives, and repositories. Data curation efforts that embrace this orientation to user communities and their needs within and across disciplines will be equipped to enable innovative research in the sciences and humanities with curated data for “experiments in scientific laboratories, the interpretation of texts by scholars in special collections, the development of exhibits in museums, and other purposeful work with data over time.” ((Ibid.))<a title=\"\" href=\"#_edn35\">\r\n</a>\r\n\r\nThis conception of curation goes beyond the roles Zorich originally envisioned, ((Zorich, \"Data management.”)) attending to data quality, authentication, security, and associated documentation and tools. It is markedly more active and extends beyond assuring reliable data access, to adding value to support and advance research capabilities. The alignment with the research process is the primary feature that distinguishes data curation from data stewardship. Data stewardship is about management of a shared resource, often embodied by one person or a designated group. ((Karen S. Baker and Lynn Yarmey, \"Data stewardship: Environmental data curation and a web-of-repositories,\" <i>International Journal of Digital Curation</i> 4, no. 2 (2009): 12-27.)) It is clearly essential to the preservation and persistence of robust data collections, but it is a function of “managing data” that implies a less active, fixed maintenance of data over time. ((Cliff Jacobs and Steven J. Worley, “Data Curation in Climate and Weather: Transforming Our Ability to Improve Predictions through Global Knowledge Sharing,” <i>The International Journal of Digital Curation</i> (2009).)) Curation, on the other hand, is concerned with availability <i>and </i>future use of data, including the enhancement, extension, and improvement of data products for reuse beyond a single scholarly community.\r\n\r\nAt the same time, it is essential to recognize that the locally developed processes of data management and stewardship within specific communities are valuable sources of practical knowledge and current practice. The specialization needs to be applicable across domains, and the rate of change in research with digital data is a continual challenge for integrating best practices into the curriculum. Case studies on data management, processing, enhancement, and sharing in scientific and humanities domains have proven to be some of the best material for teaching applied aspects of data curation. Likewise, for repository-based data curation expertise, we depend on our partnerships with national data centers and data services operations in research libraries for coverage of state-of-the-art practices. Increasingly these partners are also serving as hosts for internships and other field experiences for students to work alongside more experienced curators.\r\n\r\n<b>Foundations of Curation</b>\r\n\r\nThe core of the curriculum is a single foundational course grounded in concepts and functions that underpin the curation of research data in practice. The course draws on principles from both LIS and archival science, as well as current trends and practice within research domains and professional work in data repositories. Of the six areas within the core, three are fairly common to information management systems, especially when dealing with digital content: interoperable technical infrastructure, policy development, and intellectual property. The remaining three areas are more closely aligned with key dimensions of LIS expertise and are central to the “purposeful curation” concept: user communities and their information behavior; collection development, management, and research services; and information organization and representation.\r\n\r\nIn the data curation curriculum these dimensions are further refined in relation to problems and practices around research data. The user dimension emphasizes <i>research cultures</i><b> </b>that impact practices of data production and sharing within the system of scholarly communication; the <i>collections</i><b> </b>dimension emphasizes heterogeneous, complex data resources and their potential for reuse across the lifecycle of data, informed by key aspects of archival science; and the <i>representation</i><b> </b>dimension emphasizes the formal characteristics of information objects that carry digital data—with a particular focus on issues of identity, ontology development, and provenance. It is important to note that these dimensions cut across some of the basic areas of knowledge and skills for data curation, such as metadata. That is, while metadata activities are generally associated with representation, effective application of metadata will adequately document aspects of research cultures related to data-collection methods. High-functioning metadata will also be guided by collection issues related to granularity of description, properties of aggregate data products, and meaningful groupings of data for discovery and integration.\r\n\r\n<i>Research cultures: data production, data sharing, and scholarly communication</i>\r\n\r\nThe curation of research data needs to be informed by a detailed understanding of how data are produced and used in conducting research and how these processes fit into the larger context of scholarly communication. As is true with information behavior more generally, data practices vary in important ways across disciplines and sub-disciplines. For example, while there are a number of successful, large-scale open data initiatives, with the Protein Data Bank and the Sloan Digital Sky Survey as canonical cases, they are the exception rather than the rule.\r\n\r\nWhile data curation is largely concerned with how data sharing within and across research communities can advance science and scholarship, most researchers do not make their data publically available and most research communities have yet to develop a culture of data sharing. ((Christine L. Borgman, \"The conundrum of sharing research data.\" <i>Journal of the American Society for Information Science and Technology</i> 63, no. 6 (2012): 1059-1078; Anne E. Thessen and David J. Patterson, \"Data issues in the life sciences,\" <i>ZooKeys</i> 150 (2011): 15; Carol Tenopir, Suzie Allard, Kimberly L. Douglass, Arsev Umur Aydinoglu, Lei Wu, Eleanor Read, Maribeth Manoff, and Mike Frame, \"Data sharing by scientists: practices and perceptions,\" <i>PLoS One</i> 6, no. 6 (2011).)) If researchers are willing to share data, the form in which they are willing to release them may provide an easy preservation target, but it may not have the most value for long-term reuse. ((Melissa H. Cragin, Carole L. Palmer, Jacob R. Carlson, and Michael Witt, \"Data sharing, small science and institutional repositories,\" <i>Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences</i> 368, no. 1926 (2010): 4023-4038.)) Moreover, actual reuse can be highly dependent on rich contextual metadata provided by data producers. ((Matthew S. Mayernik, Jillian C. Wallis, and Christine L. Borgman, \"Unearthing the infrastructure: Humans and sensors in field-based scientific research,\" <i>Journal of Computer Supported Cooperative Work</i> (2012); Nicholas M. Weber, Karen S. Baker, Andrea K. Thomer, Tiffany C. Chao, and Carole L. Palmer, \"Value and context in data use: Domain analysis revisited,\" <i>Proceedings of the American Society for Information Science and Technology</i> 49, no. 1 (2012): 1-10; Laura A. Wynholds, Christine L. Borgman,  Jillian C. Wallis, Ashley Sands, and Sharon Traweek, \"Data, Data Use, and Scientific Inquiry: Two Case Studies of Data Practices,\" <i>ACM Press</i> (2012): 19.))<a title=\"\" href=\"#_edn41\">\r\n</a>\r\n\r\nData curation is part of the more global context of scholarly communication in which research libraries, publishers, and scholars have always been the primary actors and stakeholders. As would be expected in this tradition, much attention has been focused on the data associated with specific journals or published papers. To date, there have been a few successful approaches in the “journal—underlying data” archiving model. ((<a title=\"\" href=\"#_ednref38\">For example, Michael C. Whitlock, Mark A. McPeek, Mark D. Rausher, Loren Rieseberg, and Allen J. Moore, \"Data archiving,\" <i>The American Naturalist</i> 175, no. 2 (2010): 145-46.</a>)) However, some of the most challenging curation problems and, arguably, the greatest opportunities lie in our ability to make more basic research data available and interoperable across fields. ((Hanisch, Robert, and Sayeed Choudhury, \"The Data Conservancy: Building a Sustainable System for Interdisciplinary Scientific Data Curation and Preservation,\" <i>Proceedings of the PV 2009 conference, European Space Agency</i> (2009).)) Therefore, data curators should be trained and organizationally positioned to assess accurately which data collections are of value, and in which combinations and states other scholars would find them most useful. Data curators should be able to identify data that have high priority for both their immediate service community and broader domains of interest. This is a unique set of roles and responsibilities for the field of LIS, and it requires educated professionals who understand relationships among research areas and the potential affordances of data for new applications.\r\n\r\n<i>Collections: heterogeneous data, lifecycles, and archives</i>\r\n\r\nCollections have always been central to librarianship and archival science, and their importance will continue as the stores of data grow and become increasingly searchable and browsable. They will be essential units for planning and implementing curation objectives and resources, for supporting research communities, and supporting the reuse and repurposing of data. Variations on the traditional processes of selection, appraisal, and collection management are particularly relevant. ((Angus Whyte and Andrew Wilson, <i>How to Appraise &amp; Select Research Data for Curation</i>, Digital Curation Centre, 2010, http://www.dcc.ac.uk/resources/how-guides/appraise- select-research-data.)) At various scales, from big data-driven research to smaller data-intensive research, collections have significant properties that provide intellectual, social, and organizational structures for meaningful work with data. ((Carole L. Palmer, Oksana L. Zavalina, and Katrina Fenlon, \"Beyond size and search: Building contextual mass in digital aggregations for scholarly use,\" <i>Proceedings of the American Society for Information Science and Technology</i> 47, no. 1 (2010): 1-10.))<a title=\"\" href=\"#_edn45\">\r\n</a>\r\n\r\nCollections have life cycles of usefulness to scholarship that need to be regulated through curation, including maintenance, migration, and preservation, over time. Moreover, “collection development and collection description are formative curation activities that add value for scholarly inquiry at both the collection and [larger] aggregation levels.” ((Katrina Fenlon, Jacob Jett, and Carole L. Palmer, \"Digital Collections and Aggregations,\" <i>DHCuration Guide</i> (2011), http://guide.dhcuration.org/collections/; Carole Palmer, “Scholarly work and the shaping of digital access,” <i>Journal of the American Society for Information Science and Technology</i> 56, no. 11 (2005).)) As the data accessible in digital environments continue to increase at a rapid pace, sound collection development and description will be essential to presenting data for exploration and discovery. In conjunction with searching capabilities, researchers will greatly benefit from the ability to browse dense and cohesive layers of data sources that not only anticipate researchers’ known needs, but also allow them to effectively navigate through and interpret extensive bodies of openly accessible data.\r\n\r\nCollections will increasingly need to be organized within local institutional repositories and disciplinary data repositories as researchers submit data to comply with funding-agency requirements for data-management planning and data sharing. Curators will be involved as advisors and collaborators in data-management planning, for which knowledge of collections will be key. They will need to identify which versions to retain and share; align with institutional aims and capacity for preservation and access options; assess the fitness of data for deposit in domain or consortia repositories; and advise on intellectual property issues that researchers will face in attempting to comply with these mandates.\r\n\r\nMore generally, collections will be vital to providing reliable access and preservation to data products. Over the long term, we risk ending up with data dumps rather than functional libraries of relevant and usable data assets if we ignore the art of building and organizing data collections for research communities.\r\n\r\n<i>Representation: identity, ontologies, and provenance</i>\r\n\r\nRigorous conceptual analysis of core curatorial notions such as representation, identity, authenticity, reference, and provenance is a distinctive aspect of the DCEP approach to data curation education. Although stewardship requires verifying bit sequences and ensuring that files have not been corrupted, many curation problems turn on much more challenging issues, such as whether two files contain the same data even though they use different representation languages, encodings, or formats. A comparison of bit sequences will provide no assistance here, and so is inadequate for curation that goes beyond stewardship. What is needed is a terminological framework that clarifies these issues, as well as techniques for documentation and confirmation. Getting full value from cyberinfrastructure and computational systems requires that curators be able to refine formal terminology and document the “interpretive frames” that connect reasoning across levels of abstraction. ((David Dubin, Karen Wickett, and Simone Sacchi, “Content, Format, and Interpretation,” <i>Proceedings of Balisage: The Markup Conference 2011</i>. Balisage Series on Markup Technologies 7 (2011), doi:10.4242/BalisageVol7.Dubin01.)) Similarly, precisely documenting the derivation of one dataset from another, critical for both scientific and humanities scholarship, also requires sophisticated conceptual frameworks, tools, and practices. To support curatorial education we are therefore developing general frameworks of concepts and terminology that can be used across disciplines. ((Renear et al., \"Towards a cross‐disciplinary notion of data level in data curation\"; Simone Sacchi, Karen Wickett, Allen Renear, and David Dubin, \"A framework for applying the concept of significant properties to datasets,\" <i>Proceedings of the American Society for Information Science and Technology</i> 48, no. 1 (2011): 1-10; Karen M. Wickett, Simone Sacchi, David Dubin, and Allen H. Renear, \"Identifying Content and Levels of Representation in Scientific Data,\" <i>Proceedings of the American Society for Information Science and Technology</i> 49, no. 1 (2012): 1-10.))<a title=\"\" href=\"#_edn48\">\r\n</a>\r\n\r\nA solid familiarity with semantic technologies (such as the Resource Description Framework [RDF] and the Web Ontology Language [OWL]) is increasingly important as structured terminologies and ontologies for representing scientific and cultural information are now widely used. These data organization strategies are fundamental to data curation: they help ensure that data remains meaningful; they improve software interoperability and data integration; and they support unanticipated use, as well as the mobilization of interdisciplinary approaches. Finally, even the distinctions between publication and data, and reading and analysis, are blurring; new tools are both responding to and driving changes in scholarly publishing and how researchers search, filter, scan, link, annotate, and analyze fragments of content from the literature. ((Allen H. Renear and Carole L. Palmer, \"Strategic reading, ontologies, and the future of scientific publishing,\" <i>Science</i> 325, no. 5942 (2009): 828-32.)) For data curators there is no escape from engaging these fundamental issues of representation, identity, ontologies, and provenance.\r\n\r\n<b>Curation Professionals in the Workforce</b>\r\n\r\nA recent analysis of job placements for students completing the Specialization of Data Curation in the GSLIS master’s program at Illinois has been instructive for understanding the types of organizations and positions that need data professionals. The discourse in the field has emphasized that data curation expertise will need to permeate the research process at large, with curation beginning at the initial planning stages of a research project, followed by long-term data management and providing open access data for public use. ((Nicholas M. Weber, Carole L. Palmer, and Tiffany C. Chao, \"Current Trends and Future Directions in Data Curation Research and Education,\" <i>Journal of Web Librarianship</i> 6, no. 4 (2012): 305-20.)) Interestingly, our placement data show that curation professionals are filling positions in many types of organizations in roles that will, in fact, have an impact throughout the life cycle of data in the research enterprise.\r\n\r\nOf the fifty-five graduates to date, we have been able to track placement of forty-nine individuals. Thirty-three percent have taken positions in research libraries and museums. A good number of these graduates have gone to academic libraries, but some are working in national libraries, special libraries, large art museums, and other cultural heritage institutions. Twenty percent have gone to research centers, including national data centers and digital humanities and scientific research institutes, where they are more directly involved with the research applications and curation of data. Another twenty percent are in the corporate sector, which needs high-functioning data to gain competitive market advantage, but in these settings curation skills are also being blended with statistical competencies that have more traditionally been labeled as data science. The nearly fifty position titles also show how curation positions are being formalized; they range from data curator, data-management consultant, research data librarian, and digital preservation librarian to data analyst, digital asset manager, and information architect.\r\n\r\nThrough our experience with the DCEP program, the benefits of internships and practicum in data centers became evident, and field experiences are now a priority in our next phases of program development. The Data Curation Education in Research Centers (DCERC) initiative, funded by IMLS, has been a major step in building a model for integrating field experiences into MA and PhD programs through a partnership with the National Center for Atmospheric Research (NCAR), a long-standing international leader in scientific data infrastructure and services. The DCERC collaboration includes the University of Tennessee, School of Information Sciences, whose participating masters students complete the Foundations of Data Curation course at Illinois.\r\n\r\nThe NCAR internships, piloted with Illinois doctoral students and Tennessee masters students, have been explicitly designed to mentor students in both data management and the scientific research contexts. It is our belief that apprenticeships need to involve students directly in best practices at mature data centers and expose them to the actual data problems that active researchers experience; this will prepare them adequately to excel at curation in data-intensive research environments.\r\n\r\n<b>Conclusion</b>\r\n\r\nThis paper provided an overview of our approach to data curation education. It is important to note that this approach has been greatly influenced, both formally and informally, by our many collaborators and colleagues working to improve data access and research capabilities for scholarship in both the sciences and humanities. Our “purposeful curation” perspective is not meant to be comparative to other curation programs or an exhaustive, fully articulated pedagogy. However, we do feel that our student placement data, especially the high number of graduates placed across different types of research organizations, is solid evidence for the success of this particular approach.\r\n\r\nThe historical overview presented at the beginning of the paper gave an account of the concepts and definitions related to data curation based on the literature encountered through our work on the DCEP and DCERC initiatives, as both seasoned and new LIS educators and researchers. So, while we have identified a number of landmarks and trends in the conception of data curation to date, much of the story is still to be traced, interpreted, and retold. We hope that this initial effort will encourage additions, corrections, and amendments to the history of the field, and in turn lead to better sharing of both seasoned and new pedagogical approaches to what may prove to be an important turning point for the information professions.\r\n<div>\r\n<div>\r\n\r\n&nbsp;\r\n\r\n</div>\r\n<div></div>\r\n</div>','Foundations of Data Curation: The Pedagogy and Practice of “Purposeful Work” with Research Data','','inherit','open','open','','4819-revision-5','','','2013-06-24 06:17:11','2013-06-24 06:17:11','',4819,'http://dev.archivejournal.net/issue//uncategorized/4819-revision-5/',0,'revision','',0),(4831,10,'2013-06-24 06:38:58','2013-06-24 06:38:58','<em>Based on our experiences in the academic library, archives, and data curation communities, we present an informal discussion of the relationships between these branches of information science. In this conversational exchange, we decipher concepts of data curation for librarians and archivists while also translating library and archival theory and tradition for the data environment. Beginning with basic questions about the day-to-day realities of managing scientific data in comparison to digital library collections, we discuss roles and practices, seeking both to identify common goals and functions as well as to explore where and how our cultures diverge. The whole is greater than the sum of its parts, and together our fields support the diverse and ever-changing needs of researchers and information consumers in distinct but complementary ways. </em>\r\n<p style=\"text-align: left;\"><strong>Seeing a Family Resemblence</strong></p>\r\n<p style=\"text-align: left;\">Kristen: In 2006, when I decided to go to library school to be an archivist, Lynn was working at Scripps Institution of Oceanography as an information manager. I wasn’t totally clear on what her job was, but I knew it involved data. The first time one of my library school professors brought up “metadata” in class I got excited: “Lynn always talks about metadata!” Since I took my position as Digital Services Librarian at the University of Scranton in 2008, I have come across more and more data issues in both the archival side of my job (digital collections) and in the librarian side of my job (supporting digital scholarship). I started calling Lynn for help.</p>\r\n\r\n<blockquote>Lynn: When I started library school, one of the most exciting aspects for me was learning about this mature, sophisticated ecosystem that already existed for gathering, describing, categorizing, and managing information. There was a system of roles, infrastructure, services, and expertise that conceptually mapped so well to the data world. Kristen would send me archives articles that really resonated with my data issues. It became clear that our respective realms of archives, libraries, and data are fundamentally linked.</blockquote>\r\nK: We quickly noticed, though, that we often have different philosophies about information management and that we tend to use different vocabulary to describe what we do. As we started to untangle the complex relationships between archives, libraries, and data, we found value in each other’s knowledge and expertise.\r\n<blockquote>L: I see data curation as a discipline that cuts across the Library and Information Sciences field. Data curation combines skills from librarianship, archives, information literacy, metadata, technical services, and many other areas. By identifying and articulating similarities and differences between data curation and recognized aspects of LIS, we can plan better for more integrated systems, services, and roles.</blockquote>\r\nK: One of the common (though admittedly simplistic) distinctions drawn between archivists and librarians is a difference in how we prioritize our goals. Both professions are interested in information access and preservation, but librarians prioritize immediate, affordable access while archivists prioritize long-term preservation. Where does data curation fit in? Do your goals as a curator of scientific data differ from the goals of librarians and archivists?\r\n<blockquote>L: The broad goal of data curation is to support scientific research through enabling long-term reuse of data. On the ground, that means data curators work across multiple levels: from defining and supporting strategic metadata creation early in the research cycle, through documentation about research processing, to capturing research “products” and preserving them for reuse. It seems like this is a blend between library and archives goals with support services, immediate access, and preservation all included in data curation. Given that we share the same ultimate goal of making information accessible now and into the future, I think the data community can learn a lot from both the archives and library communities.</blockquote>\r\n<strong>Containers, Content, and Context</strong>\r\n\r\nK: Likewise, I think archivists and librarians have a lot to learn from data curators. For starters, I’m not sure I understand what “data” curation really is. When I think “data,” I think of numbers in a spreadsheet. Beyond that, I don’t have a good mental picture of what data looks like.\r\n<blockquote>L: A good working definition of “data” for LIS professionals is “workable/usable chunks of content,” whether values in a printed journal article table, numbers in a spreadsheet, pixels in an image, etc. For example, you can think of a digital humanities scholar viewing the text inside a book as data. But I think your question hints at a broader difference between library and data work—data are the content, libraries are usually more interested with the container. I think it\'s a granularity issue.</blockquote>\r\nK: That\'s a good point. At my library, the way we manage our collections, and the way that users access our collections, does center on physical or digital “containers.” Our books are stored in a different place than our microfilm, for example, and our streaming media is stored in a different place than the text and image files in my digital collections. I think some of my confusion about data curation stems from not understanding what kind of “container” your data is in. What formats do data usually come in? What kinds of files do data curators need to manage and preserve?\r\n<blockquote>L: Data come in many containers, from different types of files to databases and paper logbooks. In some ways we need to manage and preserve all of them. From a scientific perspective, though, it doesn’t matter what kind of container is used, so we have a lot more flexibility in moving content around. There are exceptions to this rule, but in general it is the content—the measurements, observations, model predictions, and values, for instance—that is important.</blockquote>\r\nK: Doesn\'t format play a role in long-term access, though? For archivists, format is a major concern in digital preservation planning. We worry about how to preserve different kinds of files over time in the face of software and hardware obsolescence.\r\n<blockquote>L: In data, the bigger question is “what functionality do we need to offer?” Long-term format decisions will lean heavily on that answer. While we absolutely need to preserve access and are looking for strategies for avoiding obsolescence, the primary aim of scientific data curation is to enable future use of the data, not necessarily to enable access to the original scientist’s files. Carrying forward the data format and container is not nearly as crucial as capturing the data context (for example, the conditions under which the data were collected).</blockquote>\r\nK: Preserving context is a priority for archivists as well, but it seems like we have different understandings of what “context” is or should be. Archivists want to be able to ensure that future users can access the content of archival documents, but we also want to preserve the “look and feel” of the information environment in which the file was created. To me, file format is a part of the context in which a record was created.\r\n<blockquote>L: There is a trade-off here for scientific data; sometimes context can get in the way. For instance, we often see Excel files with multiple tables per sheet, color-coded cells, and notes mixed with values. While all of that formatting can show the process used by the original researcher and may be valuable to a science historian, other researchers looking to reuse the data need to manually sift through the file to find the content they need.</blockquote>\r\nK: That’s an interesting difference from traditional archival practice. In order to capture the context in which records were created, archivists typically organize our collections based on provenance (what office or person they came from), and we usually maintain original order, even if that makes individual documents more difficult to find—that is, even if that makes the collection less functional or less accessible to the end user. That said, one of the things I like about working with digitized materials is that I have more freedom with arrangement. I can organize my digital collections in a more accessible way, noting in the metadata how the original, physical documents are arranged. What aspects of context do you try to capture for your data?\r\n<blockquote>L: With scientific data, the scientist and the scientist’s intent are important aspects of the data context. For field scientists, they (and sometimes only they) know what actually happened out in the field, and what oddities might emerge during data processing (for example, “That reflectance value looks strange. Remember on that cruise, though, the captain was new to the ship and wasn’t very good at keeping the boat steady while we deployed? It might be a shadow signature”). Maybe the researcher switched their sampling plan partway through the study because their experience told them that the really interesting thing was happening slightly outside of the planned area. Their data are a reflection of all of the physical, intellectual, and instinctual decisions made, capturing parts of the resulting experience. All of that context is often essential to interpreting the data, but it can’t be easily included in metadata. Our standards aren’t yet mature enough to be able to communicate to an end user the context in which the data were created, and data creators don’t have the habit of including that information in documentation.</blockquote>\r\n<strong>Metadata </strong>\r\n\r\nK: So it seems like both data curators and digital archivists face a common challenge of creating and capturing complex, contextual metadata in systematic, effective, and (hopefully!) standardized ways.\r\n<blockquote>L: Absolutely! I would add that metadata need to be useful, sharable, and discoverable, along with machine-, human-, and increasingly browser- and search engine-readable. I would definitely consider metadata to be an area needing more research.</blockquote>\r\nK: While we’re talking about metadata, are there “levels” of metadata in data curation? That is, archivists can describe information at the collection level, series level, item level, and even page level, but librarians don’t usually think this way—it’s more like one object (for example, one book), one bibliographic record.\r\n<blockquote>L: Levels are a hugely important part of data in the sciences. Data need description at multiple levels, though our levels and terminology are not yet well defined. Even the term “dataset” is poorly defined; the content and nature of datasets vary widely. One dataset might contain one type of data from a single field survey, while another might aggregate years of field studies with multiple data types into a dataset. “Collection,” “project,” “study,” “file,” “record,” and “granule” are other important terms relating to levels, though there is still discussion about what these mean. Despite the lack of consensus in language, data curators are ideally collecting metadata at many different levels. There is always a struggle to capture as much metadata as possible given limited resources and an evolving understanding of what metadata we actually need.</blockquote>\r\nK: There’s a similar tension between quantity and quality in digital collections. Given limited resources, is it better to make more content available more quickly, with less metadata? Or is deep and detailed metadata more valuable to potential users, even if it means that it takes us longer to publish new content? A well-known paper by Mark Greene and Dennis Meissner, called “<a title=\"More Product, Less Process\" href=\"http://archivists.metapress.com/content/c741823776k65863/fulltext.pdf\">More Product, Less Process</a>,” [PDF] ((Mark A. Greene and Dennis Meissner, “More Product, Less Process: Revamping Traditional Archival Processing,” <i>American Archivist</i> 68 (2005): 208-63.)) encouraged archivists to decrease the time they spent processing physical collections in order to maximize the quantity of archival resources available to the public, at the expense of in-depth description and intellectual control. The idea of “more product, less process” (MPLP) is often applied to digital collections as well as traditional archives. ((See, for example, Mark A. Greene, “MPLP: It’s Not Just for Processing Anymore,” <i>American Archivist</i> 73 (2010): 175-203.)) On a practical level, I determine how deeply we’ll describe a collection based on how much value I think that description will add for our users. What kind of metadata do users tend to look for in the data world?\r\n<blockquote>L: We keep metadata about a project (very high level, related to funding awards or research theme) for contextual information and for discovery, since many researchers know about projects in their fields; however, that project-level description doesn’t really help with understanding the data themselves. So we use metadata at the “dataset” level to provide context for the actual data, to help researchers who aren’t familiar with the project find what they are looking for, and to give credit to the data creators. Beyond this discovery level, metadata creation and prioritization get tricky; usability requirements start to depend on what the data (re)user is trying to do, and domain knowledge starts to become more and more helpful. I add the “(re)” here to point out that especially observational data available online have often already been used; acknowledging the original intent and use of the data is important when trying to carry forward data context.</blockquote>\r\n<strong>Creators and Users</strong>\r\n\r\nK: That brings us to the idea of “users.” All three fields are service-oriented—we want to help people—but I wonder if we are serving different “customers.” My library is open to the public, but our mission is to support the scholarly needs of the University community; that is, our students and faculty are our most important users. My digital collections, though, have a more nebulous user base. Web analytics indicate that these collections are being used off campus, but unless we get a reference question, I don\'t have a concrete idea of who those external users are or what needs they may have.\r\n<blockquote>L: This is true for data as well. Making data openly available online means we have less information about our users. We are more in line with public-library patron-privacy policies. “User” is a particularly loaded term for my project right now. So far, our main system users are data providers as opposed to data (re)users. Once our system and metadata mature a bit, we expect to be working with data (re)users as well, but for now we are mostly working with scientists originally gathering and depositing data.</blockquote>\r\nK: How do you talk to your data creators? How do they view their data?\r\n<blockquote>L: From a field-science perspective, there is often a deeply personal connection between a scientist and their data. These scientists fought tooth and nail to get funding to go into the field; they trained a group of people to help them do the data gathering; they worked long hours, often in less-than-ideal conditions, to collect the data they needed. For many researchers, each dataset is an extension of their career and understanding.</blockquote>\r\nK: I’m just starting to get questions about best practices for information management from faculty members on my campus, primarily humanities scholars seeking more effective ways to take, store, search, and organize their notes, and I suspect they feel similarly, although they may not refer to their notes as “data.” Anecdotally, they are most interested in technology as a way to improve their data collection; they seem far less concerned with (and in some cases strongly against) sharing their aggregated data with other scholars. That said, there’s been an explosion of digital humanities research using public or shared data sets (for example, textual analyses using Google’s Ngram viewer). Is this kind of data reuse happening with scientific data?\r\n<blockquote>L: I think scale has to be part of the reuse discussion. Data are reused all the time within the context of an individual researcher or strongly coordinated lab. Researchers who go out into the field regularly build long-term datasets from observations and reuse those “living” datasets over the course of a career, in some cases. In the field sciences, though, this kind of data is really difficult to analyze once you are outside of that personal or lab context. At a larger scale, some data tend to be more homogeneous and collected from the start with reuse in mind. For example, in the Earth sciences, satellite data are regularly reused in many types of research. One of the challenges in data curation is bridging between scales, between domains with complex and heterogeneous data and those with more homogeneous data. There is often a disconnect between researchers who focus on gathering unique observational data and researchers looking to reuse those observations in other research. Data creators don\'t necessarily have the same incentives as data reusers.</blockquote>\r\nK: That’s something I see in my archival work as well. There’s sometimes a disconnect between the information needs of campus departments that create content with archival value versus the departments that use our archival collections most frequently. For example, our public relations office produces wonderful publications and fantastic photographs of the campus, but in their work, photos or documents more than a few years old are no longer valuable. They need fast access to fresh content, so adding detailed descriptions or captions to those files isn’t a good use of their staff time. On the other hand, the alumni office wants to put together slideshows and exhibits for reunions, and to them, being able to search for and access a twenty-year-old photograph of a certain student (or especially a donor) is incredibly important.\r\n\r\n<strong>Roles </strong>\r\n\r\nK: So it seems like we both serve as mediators between creators and end users. What other roles do data curators play?\r\n<blockquote>L: We haven’t yet completely defined all of the components of data curation, nor who should manage each. There aren’t yet clear roles. What is clear though is that data curation can’t be done in a vacuum. To create a useful and usable data ecosystem including infrastructure, expertise, services, and longevity, we need multiple perspectives at the table. Data gathering scientists, data reuse scientists, technologists, documentation experts, administrators, data managers, data organization gurus, access experts, and preservationists all need to be part of the conversation. For now at least, I see data curators as generalists and facilitators. How does this compare to LIS roles?</blockquote>\r\nK: I think our roles really depend on our institutions and the other resources available to scholars. At major research universities, subject librarians and even entire libraries can be subject specialized, but at my (masters-level) institution, I have to wear multiple hats and fill multiple roles. I run the library\'s digital collections, but I also serve as a subject specialist for chemistry, biology, physics, and environmental science; provide information-literacy instruction; and support library initiatives in emerging technologies and digital scholarship. In the course of a single day, I might be teaching students about Google\'s search algorithm, helping a faculty member with Mendeley, describing old photos in our digital collections, and using social media to promote library services and collections.\r\n<blockquote>L: Data Information Literacy is emerging as an extension and adaptation of more traditional Information Literacy programs. Some are saying libraries should engage with this type of instruction, while others suggest that it should come from the departments. What do you think?</blockquote>\r\nK: I\'ve been thinking about data literacy a lot lately, especially considering the high visibility of data analysis during the 2012 presidential campaign. There’s clearly a need to educate end users about data, and I think librarians and departments have a role to play. Like most librarians, I emphasize the importance of evaluation in my information-literacy instruction, but at this point, I worry that I don’t know enough about data to help a student or colleague evaluate or manage it. The advantage of working in a small university is that my department can be somewhat of a one-stop shop for scholarship support, but the downside is that I don\'t have the level of in-depth expertise or experience in each role that my students and faculty might need. For example, as much as I’d like to help my chemistry faculty with their data, I feel like a librarian specializing in chemistry would have a much better understanding of their data-management needs and options.\r\n<blockquote>L: Many people share your concern, but I think the skills and perspective that you and other library and archives experts would bring to the data table would be so valuable. For instance, from a collection-development point of view, the data community could benefit from lessons learned about crafting collection-development policies and keeping them up to date over time. Evaluating data quality is immensely difficult, but a great place to start might be to look at the factors you use to judge quality for collection materials. Deaccessioning is a relatively new but important conversation in the data community. Understanding the value and mechanics of a catalog, and of multiple levels of metadata, is a really valuable skill in the data world as well. We are working on data search and access, and are running into the issues of systems not playing nicely together, differing metadata, and issues with access policies, just like in the library realm. Conversations with researchers about data end up sounding a whole lot like reference interviews. I don’t at all think that you need to have “data” in your title to be qualified to be part of the data discussion. There is so much you and others can add just based on your knowledge of the conceptual and practical LIS realms. The work of data curation is relatively new, I hope we can take the best of all of the information fields and create something even better.</blockquote>\r\n<strong>What\'s Next?</strong>\r\n\r\nK: One of the hardest things about my job is persuading stakeholders to fund and support digital projects with long-term rather than immediate benefits. There are so many competing demands on institutional resources, and the complexity and uncertainty of digital preservation makes it hard for me to articulate how investing time and money now will help us down the road. How do we convince people to value what we do?\r\n<blockquote>L: That is certainly the question for the ages! I think there are big cultural, economic, and political issues that need to be addressed, but that doesn’t mean we should wait around for a societal green light. If we had limitless funds, are we all clear on what we would create? I think that getting our own house in order is a good place to start. Let’s define and clearly articulate our evolving roles, and recognize contributions and potential relationships within our communities and in related groups. I think we still have a ways to go to know how to integrate more with our communities and promote our own value, but this is a learning process, a research process.</blockquote>\r\nK: Char Booth wrote a while back that the “outsider” perspective is one of the most important things librarians bring to the scholarly table. ((Char Booth, “Librarians as  __________: Shapeshifting at the Periphery,” <i>In the Library with the Lead Pipe</i>, July 21, 2010, http://www.inthelibrarywiththeleadpipe.org/2010/librarians-as-__________-shapeshifting-at-the-periphery/.)) Our neutrality and distance adds an important perspective to specialized research.\r\n<blockquote>L: The LIS community is not really neutral, though. We’re representing future generations of scholars; essentially, we are arguing for the greater good. The whole of scholarly knowledge is greater than the sum of its individual researcher parts, and we’re the ones trying to bring the pieces together.</blockquote>\r\nKristen and Lynn:\r\n\r\n<em>This conversation on the relationships between libraries, archives, and data curation is still in its early stages. Many of our questions need deeper exploration, and there are many topics (social media, versioning, identifier schemes, repository certification, branding, sustainability, scaling, and more) that we haven’t tackled here. Most importantly, we know there are issues, perspectives, and opportunities outside our areas of expertise (such as data curation in the humanities) that should be brought into the discussion. Far from having the last word, then, we hope instead that we\'ve given all of our librarian, archivist, and data colleagues some common ground from which to kick off your own conversations—we’ll save you a seat at the dinner table!</em>','All in the Family: A Dinner Table Conversation about Libraries, Archives, Data, and Science','','publish','open','open','','all-in-the-family-a-dinner-table-conversation-about-libraries-archives-data-and-science','','','2013-07-06 23:21:49','2013-07-06 23:21:49','',0,'http://dev.archivejournal.net/?p=4831',0,'post','',0),(4832,10,'2013-06-24 06:38:09','2013-06-24 06:38:09','<em>Based on our experiences in the academic library, archives, and data curation communities, we present an informal discussion of the relationships between these branches of information science. In this conversational exchange, we decipher concepts of data curation for librarians and archivists while also translating library and archival theory and tradition for the data environment. Beginning with basic questions about the day-to-day realities of managing scientific data in comparison to digital library collections, we discuss roles and practices, seeking both to identify common goals and functions as well as to explore where and how our cultures diverge. The whole is greater than the sum of its parts, and together our fields support the diverse and ever-changing needs of researchers and information consumers in distinct but complementary ways. </em>\n<p style=\"text-align: left;\"><strong>Seeing a Family Resemblence</strong></p>\n<p style=\"text-align: left;\">Kristen: In 2006, when I decided to go to library school to be an archivist, Lynn was working at Scripps Institution of Oceanography as an information manager. I wasn’t totally clear on what her job was, but I knew it involved data. The first time one of my library school professors brought up “metadata” in class I got excited: “Lynn always talks about metadata!” Since I took my position as Digital Services Librarian at the University of Scranton in 2008, I have come across more and more data issues in both the archival side of my job (digital collections) and in the librarian side of my job (supporting digital scholarship). I started calling Lynn for help.</p>\n\n<blockquote>Lynn: When I started library school, one of the most exciting aspects for me was learning about this mature, sophisticated ecosystem that already existed for gathering, describing, categorizing, and managing information. There was a system of roles, infrastructure, services, and expertise that conceptually mapped so well to the data world. Kristen would send me archives articles that really resonated with my data issues. It became clear that our respective realms of archives, libraries, and data are fundamentally linked.</blockquote>\nK: We quickly noticed, though, that we often have different philosophies about information management and that we tend to use different vocabulary to describe what we do. As we started to untangle the complex relationships between archives, libraries, and data, we found value in each other’s knowledge and expertise.\n<blockquote>L: I see data curation as a discipline that cuts across the Library and Information Sciences field. Data curation combines skills from librarianship, archives, information literacy, metadata, technical services, and many other areas. By identifying and articulating similarities and differences between data curation and recognized aspects of LIS, we can plan better for more integrated systems, services, and roles.</blockquote>\nK: One of the common (though admittedly simplistic) distinctions drawn between archivists and librarians is a difference in how we prioritize our goals. Both professions are interested in information access and preservation, but librarians prioritize immediate, affordable access while archivists prioritize long-term preservation. Where does data curation fit in? Do your goals as a curator of scientific data differ from the goals of librarians and archivists?\n<blockquote>L: The broad goal of data curation is to support scientific research through enabling long-term reuse of data. On the ground, that means data curators work across multiple levels: from defining and supporting strategic metadata creation early in the research cycle, through documentation about research processing, to capturing research “products” and preserving them for reuse. It seems like this is a blend between library and archives goals with support services, immediate access, and preservation all included in data curation. Given that we share the same ultimate goal of making information accessible now and into the future, I think the data community can learn a lot from both the archives and library communities.</blockquote>\n<strong>Containers, Content, and Context</strong>\n\nK: Likewise, I think archivists and librarians have a lot to learn from data curators. For starters, I’m not sure I understand what “data” curation really is. When I think “data,” I think of numbers in a spreadsheet. Beyond that, I don’t have a good mental picture of what data looks like.\n<blockquote>L: A good working definition of “data” for LIS professionals is “workable/usable chunks of content,” whether values in a printed journal article table, numbers in a spreadsheet, pixels in an image, etc. For example, you can think of a digital humanities scholar viewing the text inside a book as data. But I think your question hints at a broader difference between library and data work—data are the content, libraries are usually more interested with the container. I think it\'s a granularity issue.</blockquote>\nK: That\'s a good point. At my library, the way we manage our collections, and the way that users access our collections, does center on physical or digital “containers.” Our books are stored in a different place than our microfilm, for example, and our streaming media is stored in a different place than the text and image files in my digital collections. I think some of my confusion about data curation stems from not understanding what kind of “container” your data is in. What formats do data usually come in? What kinds of files do data curators need to manage and preserve?\n<blockquote>L: Data come in many containers, from different types of files to databases and paper logbooks. In some ways we need to manage and preserve all of them. From a scientific perspective, though, it doesn’t matter what kind of container is used, so we have a lot more flexibility in moving content around. There are exceptions to this rule, but in general it is the content—the measurements, observations, model predictions, and values, for instance—that is important.</blockquote>\nK: Doesn\'t format play a role in long-term access, though? For archivists, format is a major concern in digital preservation planning. We worry about how to preserve different kinds of files over time in the face of software and hardware obsolescence.\n<blockquote>L: In data, the bigger question is “what functionality do we need to offer?” Long-term format decisions will lean heavily on that answer. While we absolutely need to preserve access and are looking for strategies for avoiding obsolescence, the primary aim of scientific data curation is to enable future use of the data, not necessarily to enable access to the original scientist’s files. Carrying forward the data format and container is not nearly as crucial as capturing the data context (for example, the conditions under which the data were collected).</blockquote>\nK: Preserving context is a priority for archivists as well, but it seems like we have different understandings of what “context” is or should be. Archivists want to be able to ensure that future users can access the content of archival documents, but we also want to preserve the “look and feel” of the information environment in which the file was created. To me, file format is a part of the context in which a record was created.\n<blockquote>L: There is a trade-off here for scientific data; sometimes context can get in the way. For instance, we often see Excel files with multiple tables per sheet, color-coded cells, and notes mixed with values. While all of that formatting can show the process used by the original researcher and may be valuable to a science historian, other researchers looking to reuse the data need to manually sift through the file to find the content they need.</blockquote>\nK: That’s an interesting difference from traditional archival practice. In order to capture the context in which records were created, archivists typically organize our collections based on provenance (what office or person they came from), and we usually maintain original order, even if that makes individual documents more difficult to find—that is, even if that makes the collection less functional or less accessible to the end user. That said, one of the things I like about working with digitized materials is that I have more freedom with arrangement. I can organize my digital collections in a more accessible way, noting in the metadata how the original, physical documents are arranged. What aspects of context do you try to capture for your data?\n<blockquote>L: With scientific data, the scientist and the scientist’s intent are important aspects of the data context. For field scientists, they (and sometimes only they) know what actually happened out in the field, and what oddities might emerge during data processing (for example, “That reflectance value looks strange. Remember on that cruise, though, the captain was new to the ship and wasn’t very good at keeping the boat steady while we deployed? It might be a shadow signature”). Maybe the researcher switched their sampling plan partway through the study because their experience told them that the really interesting thing was happening slightly outside of the planned area. Their data are a reflection of all of the physical, intellectual, and instinctual decisions made, capturing parts of the resulting experience. All of that context is often essential to interpreting the data, but it can’t be easily included in metadata. Our standards aren’t yet mature enough to be able to communicate to an end user the context in which the data were created, and data creators don’t have the habit of including that information in documentation.</blockquote>\n<strong>Metadata </strong>\n\nK: So it seems like both data curators and digital archivists face a common challenge of creating and capturing complex, contextual metadata in systematic, effective, and (hopefully!) standardized ways.\n<blockquote>L: Absolutely! I would add that metadata need to be useful, sharable, and discoverable, along with machine-, human-, and increasingly browser- and search engine-readable. I would definitely consider metadata to be an area needing more research.</blockquote>\nK: While we’re talking about metadata, are there “levels” of metadata in data curation? That is, archivists can describe information at the collection level, series level, item level, and even page level, but librarians don’t usually think this way—it’s more like one object (for example, one book), one bibliographic record.\n<blockquote>L: Levels are a hugely important part of data in the sciences. Data need description at multiple levels, though our levels and terminology are not yet well defined. Even the term “dataset” is poorly defined; the content and nature of datasets vary widely. One dataset might contain one type of data from a single field survey, while another might aggregate years of field studies with multiple data types into a dataset. “Collection,” “project,” “study,” “file,” “record,” and “granule” are other important terms relating to levels, though there is still discussion about what these mean. Despite the lack of consensus in language, data curators are ideally collecting metadata at many different levels. There is always a struggle to capture as much metadata as possible given limited resources and an evolving understanding of what metadata we actually need.</blockquote>\nK: There’s a similar tension between quantity and quality in digital collections. Given limited resources, is it better to make more content available more quickly, with less metadata? Or is deep and detailed metadata more valuable to potential users, even if it means that it takes us longer to publish new content? A well-known paper by Mark Greene and Dennis Meissner, called “More Product, Less Process,” ((Mark A. Greene and Dennis Meissner, “<a title=\"More Product, Less Process\" href=\"http://archivists.metapress.com/content/c741823776k65863/fulltext.pdf\">More Product, Less Process: Revamping Traditional Archival Processing</a>,” <i>American Archivist</i> 68 (2005): 208-63.)) encouraged archivists to decrease the time they spent processing physical collections in order to maximize the quantity of archival resources available to the public, at the expense of in-depth description and intellectual control. The idea of “more product, less process” (MPLP) is often applied to digital collections as well as traditional archives. ((See, for example, Mark A. Greene, “MPLP: It’s Not Just for Processing Anymore,” <i>American Archivist</i> 73 (2010): 175-203.)) On a practical level, I determine how deeply we’ll describe a collection based on how much value I think that description will add for our users. What kind of metadata do users tend to look for in the data world?\n<blockquote>L: We keep metadata about a project (very high level, related to funding awards or research theme) for contextual information and for discovery, since many researchers know about projects in their fields; however, that project-level description doesn’t really help with understanding the data themselves. So we use metadata at the “dataset” level to provide context for the actual data, to help researchers who aren’t familiar with the project find what they are looking for, and to give credit to the data creators. Beyond this discovery level, metadata creation and prioritization get tricky; usability requirements start to depend on what the data (re)user is trying to do, and domain knowledge starts to become more and more helpful. I add the “(re)” here to point out that especially observational data available online have often already been used; acknowledging the original intent and use of the data is important when trying to carry forward data context.</blockquote>\n<strong>Creators and Users</strong>\n\nK: That brings us to the idea of “users.” All three fields are service-oriented—we want to help people—but I wonder if we are serving different “customers.” My library is open to the public, but our mission is to support the scholarly needs of the University community; that is, our students and faculty are our most important users. My digital collections, though, have a more nebulous user base. Web analytics indicate that these collections are being used off campus, but unless we get a reference question, I don\'t have a concrete idea of who those external users are or what needs they may have.\n<blockquote>L: This is true for data as well. Making data openly available online means we have less information about our users. We are more in line with public-library patron-privacy policies. “User” is a particularly loaded term for my project right now. So far, our main system users are data providers as opposed to data (re)users. Once our system and metadata mature a bit, we expect to be working with data (re)users as well, but for now we are mostly working with scientists originally gathering and depositing data.</blockquote>\nK: How do you talk to your data creators? How do they view their data?\n<blockquote>L: From a field-science perspective, there is often a deeply personal connection between a scientist and their data. These scientists fought tooth and nail to get funding to go into the field; they trained a group of people to help them do the data gathering; they worked long hours, often in less-than-ideal conditions, to collect the data they needed. For many researchers, each dataset is an extension of their career and understanding.</blockquote>\nK: I’m just starting to get questions about best practices for information management from faculty members on my campus, primarily humanities scholars seeking more effective ways to take, store, search, and organize their notes, and I suspect they feel similarly, although they may not refer to their notes as “data.” Anecdotally, they are most interested in technology as a way to improve their data collection; they seem far less concerned with (and in some cases strongly against) sharing their aggregated data with other scholars. That said, there’s been an explosion of digital humanities research using public or shared data sets (for example, textual analyses using Google’s Ngram viewer). Is this kind of data reuse happening with scientific data?\n<blockquote>L: I think scale has to be part of the reuse discussion. Data are reused all the time within the context of an individual researcher or strongly coordinated lab. Researchers who go out into the field regularly build long-term datasets from observations and reuse those “living” datasets over the course of a career, in some cases. In the field sciences, though, this kind of data is really difficult to analyze once you are outside of that personal or lab context. At a larger scale, some data tend to be more homogeneous and collected from the start with reuse in mind. For example, in the Earth sciences, satellite data are regularly reused in many types of research. One of the challenges in data curation is bridging between scales, between domains with complex and heterogeneous data and those with more homogeneous data. There is often a disconnect between researchers who focus on gathering unique observational data and researchers looking to reuse those observations in other research. Data creators don\'t necessarily have the same incentives as data reusers.</blockquote>\nK: That’s something I see in my archival work as well. There’s sometimes a disconnect between the information needs of campus departments that create content with archival value versus the departments that use our archival collections most frequently. For example, our public relations office produces wonderful publications and fantastic photographs of the campus, but in their work, photos or documents more than a few years old are no longer valuable. They need fast access to fresh content, so adding detailed descriptions or captions to those files isn’t a good use of their staff time. On the other hand, the alumni office wants to put together slideshows and exhibits for reunions, and to them, being able to search for and access a twenty-year-old photograph of a certain student (or especially a donor) is incredibly important.\n\n<strong>Roles </strong>\n\nK: So it seems like we both serve as mediators between creators and end users. What other roles do data curators play?\n<blockquote>L: We haven’t yet completely defined all of the components of data curation, nor who should manage each. There aren’t yet clear roles. What is clear though is that data curation can’t be done in a vacuum. To create a useful and usable data ecosystem including infrastructure, expertise, services, and longevity, we need multiple perspectives at the table. Data gathering scientists, data reuse scientists, technologists, documentation experts, administrators, data managers, data organization gurus, access experts, and preservationists all need to be part of the conversation. For now at least, I see data curators as generalists and facilitators. How does this compare to LIS roles?</blockquote>\nK: I think our roles really depend on our institutions and the other resources available to scholars. At major research universities, subject librarians and even entire libraries can be subject specialized, but at my (masters-level) institution, I have to wear multiple hats and fill multiple roles. I run the library\'s digital collections, but I also serve as a subject specialist for chemistry, biology, physics, and environmental science; provide information-literacy instruction; and support library initiatives in emerging technologies and digital scholarship. In the course of a single day, I might be teaching students about Google\'s search algorithm, helping a faculty member with Mendeley, describing old photos in our digital collections, and using social media to promote library services and collections.\n<blockquote>L: Data Information Literacy is emerging as an extension and adaptation of more traditional Information Literacy programs. Some are saying libraries should engage with this type of instruction, while others suggest that it should come from the departments. What do you think?</blockquote>\nK: I\'ve been thinking about data literacy a lot lately, especially considering the high visibility of data analysis during the 2012 presidential campaign. There’s clearly a need to educate end users about data, and I think librarians and departments have a role to play. Like most librarians, I emphasize the importance of evaluation in my information-literacy instruction, but at this point, I worry that I don’t know enough about data to help a student or colleague evaluate or manage it. The advantage of working in a small university is that my department can be somewhat of a one-stop shop for scholarship support, but the downside is that I don\'t have the level of in-depth expertise or experience in each role that my students and faculty might need. For example, as much as I’d like to help my chemistry faculty with their data, I feel like a librarian specializing in chemistry would have a much better understanding of their data-management needs and options.\n<blockquote>L: Many people share your concern, but I think the skills and perspective that you and other library and archives experts would bring to the data table would be so valuable. For instance, from a collection-development point of view, the data community could benefit from lessons learned about crafting collection-development policies and keeping them up to date over time. Evaluating data quality is immensely difficult, but a great place to start might be to look at the factors you use to judge quality for collection materials. Deaccessioning is a relatively new but important conversation in the data community. Understanding the value and mechanics of a catalog, and of multiple levels of metadata, is a really valuable skill in the data world as well. We are working on data search and access, and are running into the issues of systems not playing nicely together, differing metadata, and issues with access policies, just like in the library realm. Conversations with researchers about data end up sounding a whole lot like reference interviews. I don’t at all think that you need to have “data” in your title to be qualified to be part of the data discussion. There is so much you and others can add just based on your knowledge of the conceptual and practical LIS realms. The work of data curation is relatively new, I hope we can take the best of all of the information fields and create something even better.</blockquote>\n<strong>What\'s Next?</strong>\n\nK: One of the hardest things about my job is persuading stakeholders to fund and support digital projects with long-term rather than immediate benefits. There are so many competing demands on institutional resources, and the complexity and uncertainty of digital preservation makes it hard for me to articulate how investing time and money now will help us down the road. How do we convince people to value what we do?\n<blockquote>L: That is certainly the question for the ages! I think there are big cultural, economic, and political issues that need to be addressed, but that doesn’t mean we should wait around for a societal green light. If we had limitless funds, are we all clear on what we would create? I think that getting our own house in order is a good place to start. Let’s define and clearly articulate our evolving roles, and recognize contributions and potential relationships within our communities and in related groups. I think we still have a ways to go to know how to integrate more with our communities and promote our own value, but this is a learning process, a research process.</blockquote>\nK: Char Booth wrote a while back that the “outsider” perspective is one of the most important things librarians bring to the scholarly table. ((Char Booth, “Librarians as  __________: Shapeshifting at the Periphery,” <i>In the Library with the Lead Pipe</i>, July 21, 2010, http://www.inthelibrarywiththeleadpipe.org/2010/librarians-as-__________-shapeshifting-at-the-periphery/.)) Our neutrality and distance adds an important perspective to specialized research.\n<blockquote>L: The LIS community is not really neutral, though. We’re representing future generations of scholars; essentially, we are arguing for the greater good. The whole of scholarly knowledge is greater than the sum of its individual researcher parts, and we’re the ones trying to bring the pieces together.</blockquote>\nKristen and Lynn:\n\n<em>This conversation on the relationships between libraries, archives, and data curation is still in its early stages. Many of our questions need deeper exploration, and there are many topics (social media, versioning, identifier schemes, repository certification, branding, sustainability, scaling, and more) that we haven’t tackled here. Most importantly, we know there are issues, perspectives, and opportunities outside our areas of expertise (such as data curation in the humanities) that should be brought into the discussion. Far from having the last word, then, we hope instead that we\'ve given all of our librarian, archivist, and data colleagues some common ground from which to kick off your own conversations—we’ll save you a seat at the dinner table!</em>','All in the Family: A Dinner Table Conversation about Libraries, Archives, Data, and Science','','inherit','open','open','','4831-revision','','','2013-06-24 06:38:09','2013-06-24 06:38:09','',4831,'http://dev.archivejournal.net/issue//uncategorized/4831-revision/',0,'revision','',0),(4833,10,'2013-06-24 06:39:53','2013-06-24 06:39:53','','Kristen A. Yarmey','','publish','closed','closed','','cap-kristen-a-yarmey','','','2013-07-10 19:46:33','2013-07-10 19:46:33','',0,'http://dev.archivejournal.net/?post_type=guest-author&#038;p=4833',0,'guest-author','',0),(4834,10,'2013-06-24 06:40:41','2013-06-24 06:40:41','','Lynn R. Yarmey','','publish','closed','closed','','cap-lynn-r-yarmey','','','2013-07-10 19:47:17','2013-07-10 19:47:17','',0,'http://dev.archivejournal.net/?post_type=guest-author&#038;p=4834',0,'guest-author','',0),(4835,10,'2013-06-24 06:38:58','2013-06-24 06:38:58','<em>Based on our experiences in the academic library, archives, and data curation communities, we present an informal discussion of the relationships between these branches of information science. In this conversational exchange, we decipher concepts of data curation for librarians and archivists while also translating library and archival theory and tradition for the data environment. Beginning with basic questions about the day-to-day realities of managing scientific data in comparison to digital library collections, we discuss roles and practices, seeking both to identify common goals and functions as well as to explore where and how our cultures diverge. The whole is greater than the sum of its parts, and together our fields support the diverse and ever-changing needs of researchers and information consumers in distinct but complementary ways. </em>\r\n<p style=\"text-align: left;\"><strong>Seeing a Family Resemblence</strong></p>\r\n<p style=\"text-align: left;\">Kristen: In 2006, when I decided to go to library school to be an archivist, Lynn was working at Scripps Institution of Oceanography as an information manager. I wasn’t totally clear on what her job was, but I knew it involved data. The first time one of my library school professors brought up “metadata” in class I got excited: “Lynn always talks about metadata!” Since I took my position as Digital Services Librarian at the University of Scranton in 2008, I have come across more and more data issues in both the archival side of my job (digital collections) and in the librarian side of my job (supporting digital scholarship). I started calling Lynn for help.</p>\r\n\r\n<blockquote>Lynn: When I started library school, one of the most exciting aspects for me was learning about this mature, sophisticated ecosystem that already existed for gathering, describing, categorizing, and managing information. There was a system of roles, infrastructure, services, and expertise that conceptually mapped so well to the data world. Kristen would send me archives articles that really resonated with my data issues. It became clear that our respective realms of archives, libraries, and data are fundamentally linked.</blockquote>\r\nK: We quickly noticed, though, that we often have different philosophies about information management and that we tend to use different vocabulary to describe what we do. As we started to untangle the complex relationships between archives, libraries, and data, we found value in each other’s knowledge and expertise.\r\n<blockquote>L: I see data curation as a discipline that cuts across the Library and Information Sciences field. Data curation combines skills from librarianship, archives, information literacy, metadata, technical services, and many other areas. By identifying and articulating similarities and differences between data curation and recognized aspects of LIS, we can plan better for more integrated systems, services, and roles.</blockquote>\r\nK: One of the common (though admittedly simplistic) distinctions drawn between archivists and librarians is a difference in how we prioritize our goals. Both professions are interested in information access and preservation, but librarians prioritize immediate, affordable access while archivists prioritize long-term preservation. Where does data curation fit in? Do your goals as a curator of scientific data differ from the goals of librarians and archivists?\r\n<blockquote>L: The broad goal of data curation is to support scientific research through enabling long-term reuse of data. On the ground, that means data curators work across multiple levels: from defining and supporting strategic metadata creation early in the research cycle, through documentation about research processing, to capturing research “products” and preserving them for reuse. It seems like this is a blend between library and archives goals with support services, immediate access, and preservation all included in data curation. Given that we share the same ultimate goal of making information accessible now and into the future, I think the data community can learn a lot from both the archives and library communities.</blockquote>\r\n<strong>Containers, Content, and Context</strong>\r\n\r\nK: Likewise, I think archivists and librarians have a lot to learn from data curators. For starters, I’m not sure I understand what “data” curation really is. When I think “data,” I think of numbers in a spreadsheet. Beyond that, I don’t have a good mental picture of what data looks like.\r\n<blockquote>L: A good working definition of “data” for LIS professionals is “workable/usable chunks of content,” whether values in a printed journal article table, numbers in a spreadsheet, pixels in an image, etc. For example, you can think of a digital humanities scholar viewing the text inside a book as data. But I think your question hints at a broader difference between library and data work—data are the content, libraries are usually more interested with the container. I think it\'s a granularity issue.</blockquote>\r\nK: That\'s a good point. At my library, the way we manage our collections, and the way that users access our collections, does center on physical or digital “containers.” Our books are stored in a different place than our microfilm, for example, and our streaming media is stored in a different place than the text and image files in my digital collections. I think some of my confusion about data curation stems from not understanding what kind of “container” your data is in. What formats do data usually come in? What kinds of files do data curators need to manage and preserve?\r\n<blockquote>L: Data come in many containers, from different types of files to databases and paper logbooks. In some ways we need to manage and preserve all of them. From a scientific perspective, though, it doesn’t matter what kind of container is used, so we have a lot more flexibility in moving content around. There are exceptions to this rule, but in general it is the content—the measurements, observations, model predictions, and values, for instance—that is important.</blockquote>\r\nK: Doesn\'t format play a role in long-term access, though? For archivists, format is a major concern in digital preservation planning. We worry about how to preserve different kinds of files over time in the face of software and hardware obsolescence.\r\n<blockquote>L: In data, the bigger question is “what functionality do we need to offer?” Long-term format decisions will lean heavily on that answer. While we absolutely need to preserve access and are looking for strategies for avoiding obsolescence, the primary aim of scientific data curation is to enable future use of the data, not necessarily to enable access to the original scientist’s files. Carrying forward the data format and container is not nearly as crucial as capturing the data context (for example, the conditions under which the data were collected).</blockquote>\r\nK: Preserving context is a priority for archivists as well, but it seems like we have different understandings of what “context” is or should be. Archivists want to be able to ensure that future users can access the content of archival documents, but we also want to preserve the “look and feel” of the information environment in which the file was created. To me, file format is a part of the context in which a record was created.\r\n<blockquote>L: There is a trade-off here for scientific data; sometimes context can get in the way. For instance, we often see Excel files with multiple tables per sheet, color-coded cells, and notes mixed with values. While all of that formatting can show the process used by the original researcher and may be valuable to a science historian, other researchers looking to reuse the data need to manually sift through the file to find the content they need.</blockquote>\r\nK: That’s an interesting difference from traditional archival practice. In order to capture the context in which records were created, archivists typically organize our collections based on provenance (what office or person they came from), and we usually maintain original order, even if that makes individual documents more difficult to find—that is, even if that makes the collection less functional or less accessible to the end user. That said, one of the things I like about working with digitized materials is that I have more freedom with arrangement. I can organize my digital collections in a more accessible way, noting in the metadata how the original, physical documents are arranged. What aspects of context do you try to capture for your data?\r\n<blockquote>L: With scientific data, the scientist and the scientist’s intent are important aspects of the data context. For field scientists, they (and sometimes only they) know what actually happened out in the field, and what oddities might emerge during data processing (for example, “That reflectance value looks strange. Remember on that cruise, though, the captain was new to the ship and wasn’t very good at keeping the boat steady while we deployed? It might be a shadow signature”). Maybe the researcher switched their sampling plan partway through the study because their experience told them that the really interesting thing was happening slightly outside of the planned area. Their data are a reflection of all of the physical, intellectual, and instinctual decisions made, capturing parts of the resulting experience. All of that context is often essential to interpreting the data, but it can’t be easily included in metadata. Our standards aren’t yet mature enough to be able to communicate to an end user the context in which the data were created, and data creators don’t have the habit of including that information in documentation.</blockquote>\r\n<strong>Metadata </strong>\r\n\r\nK: So it seems like both data curators and digital archivists face a common challenge of creating and capturing complex, contextual metadata in systematic, effective, and (hopefully!) standardized ways.\r\n<blockquote>L: Absolutely! I would add that metadata need to be useful, sharable, and discoverable, along with machine-, human-, and increasingly browser- and search engine-readable. I would definitely consider metadata to be an area needing more research.</blockquote>\r\nK: While we’re talking about metadata, are there “levels” of metadata in data curation? That is, archivists can describe information at the collection level, series level, item level, and even page level, but librarians don’t usually think this way—it’s more like one object (for example, one book), one bibliographic record.\r\n<blockquote>L: Levels are a hugely important part of data in the sciences. Data need description at multiple levels, though our levels and terminology are not yet well defined. Even the term “dataset” is poorly defined; the content and nature of datasets vary widely. One dataset might contain one type of data from a single field survey, while another might aggregate years of field studies with multiple data types into a dataset. “Collection,” “project,” “study,” “file,” “record,” and “granule” are other important terms relating to levels, though there is still discussion about what these mean. Despite the lack of consensus in language, data curators are ideally collecting metadata at many different levels. There is always a struggle to capture as much metadata as possible given limited resources and an evolving understanding of what metadata we actually need.</blockquote>\r\nK: There’s a similar tension between quantity and quality in digital collections. Given limited resources, is it better to make more content available more quickly, with less metadata? Or is deep and detailed metadata more valuable to potential users, even if it means that it takes us longer to publish new content? A well-known paper by Mark Greene and Dennis Meissner, called “<a title=\"More Product, Less Process\" href=\"http://archivists.metapress.com/content/c741823776k65863/fulltext.pdf\">More Product, Less Process</a>,” [PDF]((Mark A. Greene and Dennis Meissner, “More Product, Less Process: Revamping Traditional Archival Processing,” <i>American Archivist</i> 68 (2005): 208-63.)) encouraged archivists to decrease the time they spent processing physical collections in order to maximize the quantity of archival resources available to the public, at the expense of in-depth description and intellectual control. The idea of “more product, less process” (MPLP) is often applied to digital collections as well as traditional archives. ((See, for example, Mark A. Greene, “MPLP: It’s Not Just for Processing Anymore,” <i>American Archivist</i> 73 (2010): 175-203.)) On a practical level, I determine how deeply we’ll describe a collection based on how much value I think that description will add for our users. What kind of metadata do users tend to look for in the data world?\r\n<blockquote>L: We keep metadata about a project (very high level, related to funding awards or research theme) for contextual information and for discovery, since many researchers know about projects in their fields; however, that project-level description doesn’t really help with understanding the data themselves. So we use metadata at the “dataset” level to provide context for the actual data, to help researchers who aren’t familiar with the project find what they are looking for, and to give credit to the data creators. Beyond this discovery level, metadata creation and prioritization get tricky; usability requirements start to depend on what the data (re)user is trying to do, and domain knowledge starts to become more and more helpful. I add the “(re)” here to point out that especially observational data available online have often already been used; acknowledging the original intent and use of the data is important when trying to carry forward data context.</blockquote>\r\n<strong>Creators and Users</strong>\r\n\r\nK: That brings us to the idea of “users.” All three fields are service-oriented—we want to help people—but I wonder if we are serving different “customers.” My library is open to the public, but our mission is to support the scholarly needs of the University community; that is, our students and faculty are our most important users. My digital collections, though, have a more nebulous user base. Web analytics indicate that these collections are being used off campus, but unless we get a reference question, I don\'t have a concrete idea of who those external users are or what needs they may have.\r\n<blockquote>L: This is true for data as well. Making data openly available online means we have less information about our users. We are more in line with public-library patron-privacy policies. “User” is a particularly loaded term for my project right now. So far, our main system users are data providers as opposed to data (re)users. Once our system and metadata mature a bit, we expect to be working with data (re)users as well, but for now we are mostly working with scientists originally gathering and depositing data.</blockquote>\r\nK: How do you talk to your data creators? How do they view their data?\r\n<blockquote>L: From a field-science perspective, there is often a deeply personal connection between a scientist and their data. These scientists fought tooth and nail to get funding to go into the field; they trained a group of people to help them do the data gathering; they worked long hours, often in less-than-ideal conditions, to collect the data they needed. For many researchers, each dataset is an extension of their career and understanding.</blockquote>\r\nK: I’m just starting to get questions about best practices for information management from faculty members on my campus, primarily humanities scholars seeking more effective ways to take, store, search, and organize their notes, and I suspect they feel similarly, although they may not refer to their notes as “data.” Anecdotally, they are most interested in technology as a way to improve their data collection; they seem far less concerned with (and in some cases strongly against) sharing their aggregated data with other scholars. That said, there’s been an explosion of digital humanities research using public or shared data sets (for example, textual analyses using Google’s Ngram viewer). Is this kind of data reuse happening with scientific data?\r\n<blockquote>L: I think scale has to be part of the reuse discussion. Data are reused all the time within the context of an individual researcher or strongly coordinated lab. Researchers who go out into the field regularly build long-term datasets from observations and reuse those “living” datasets over the course of a career, in some cases. In the field sciences, though, this kind of data is really difficult to analyze once you are outside of that personal or lab context. At a larger scale, some data tend to be more homogeneous and collected from the start with reuse in mind. For example, in the Earth sciences, satellite data are regularly reused in many types of research. One of the challenges in data curation is bridging between scales, between domains with complex and heterogeneous data and those with more homogeneous data. There is often a disconnect between researchers who focus on gathering unique observational data and researchers looking to reuse those observations in other research. Data creators don\'t necessarily have the same incentives as data reusers.</blockquote>\r\nK: That’s something I see in my archival work as well. There’s sometimes a disconnect between the information needs of campus departments that create content with archival value versus the departments that use our archival collections most frequently. For example, our public relations office produces wonderful publications and fantastic photographs of the campus, but in their work, photos or documents more than a few years old are no longer valuable. They need fast access to fresh content, so adding detailed descriptions or captions to those files isn’t a good use of their staff time. On the other hand, the alumni office wants to put together slideshows and exhibits for reunions, and to them, being able to search for and access a twenty-year-old photograph of a certain student (or especially a donor) is incredibly important.\r\n\r\n<strong>Roles </strong>\r\n\r\nK: So it seems like we both serve as mediators between creators and end users. What other roles do data curators play?\r\n<blockquote>L: We haven’t yet completely defined all of the components of data curation, nor who should manage each. There aren’t yet clear roles. What is clear though is that data curation can’t be done in a vacuum. To create a useful and usable data ecosystem including infrastructure, expertise, services, and longevity, we need multiple perspectives at the table. Data gathering scientists, data reuse scientists, technologists, documentation experts, administrators, data managers, data organization gurus, access experts, and preservationists all need to be part of the conversation. For now at least, I see data curators as generalists and facilitators. How does this compare to LIS roles?</blockquote>\r\nK: I think our roles really depend on our institutions and the other resources available to scholars. At major research universities, subject librarians and even entire libraries can be subject specialized, but at my (masters-level) institution, I have to wear multiple hats and fill multiple roles. I run the library\'s digital collections, but I also serve as a subject specialist for chemistry, biology, physics, and environmental science; provide information-literacy instruction; and support library initiatives in emerging technologies and digital scholarship. In the course of a single day, I might be teaching students about Google\'s search algorithm, helping a faculty member with Mendeley, describing old photos in our digital collections, and using social media to promote library services and collections.\r\n<blockquote>L: Data Information Literacy is emerging as an extension and adaptation of more traditional Information Literacy programs. Some are saying libraries should engage with this type of instruction, while others suggest that it should come from the departments. What do you think?</blockquote>\r\nK: I\'ve been thinking about data literacy a lot lately, especially considering the high visibility of data analysis during the 2012 presidential campaign. There’s clearly a need to educate end users about data, and I think librarians and departments have a role to play. Like most librarians, I emphasize the importance of evaluation in my information-literacy instruction, but at this point, I worry that I don’t know enough about data to help a student or colleague evaluate or manage it. The advantage of working in a small university is that my department can be somewhat of a one-stop shop for scholarship support, but the downside is that I don\'t have the level of in-depth expertise or experience in each role that my students and faculty might need. For example, as much as I’d like to help my chemistry faculty with their data, I feel like a librarian specializing in chemistry would have a much better understanding of their data-management needs and options.\r\n<blockquote>L: Many people share your concern, but I think the skills and perspective that you and other library and archives experts would bring to the data table would be so valuable. For instance, from a collection-development point of view, the data community could benefit from lessons learned about crafting collection-development policies and keeping them up to date over time. Evaluating data quality is immensely difficult, but a great place to start might be to look at the factors you use to judge quality for collection materials. Deaccessioning is a relatively new but important conversation in the data community. Understanding the value and mechanics of a catalog, and of multiple levels of metadata, is a really valuable skill in the data world as well. We are working on data search and access, and are running into the issues of systems not playing nicely together, differing metadata, and issues with access policies, just like in the library realm. Conversations with researchers about data end up sounding a whole lot like reference interviews. I don’t at all think that you need to have “data” in your title to be qualified to be part of the data discussion. There is so much you and others can add just based on your knowledge of the conceptual and practical LIS realms. The work of data curation is relatively new, I hope we can take the best of all of the information fields and create something even better.</blockquote>\r\n<strong>What\'s Next?</strong>\r\n\r\nK: One of the hardest things about my job is persuading stakeholders to fund and support digital projects with long-term rather than immediate benefits. There are so many competing demands on institutional resources, and the complexity and uncertainty of digital preservation makes it hard for me to articulate how investing time and money now will help us down the road. How do we convince people to value what we do?\r\n<blockquote>L: That is certainly the question for the ages! I think there are big cultural, economic, and political issues that need to be addressed, but that doesn’t mean we should wait around for a societal green light. If we had limitless funds, are we all clear on what we would create? I think that getting our own house in order is a good place to start. Let’s define and clearly articulate our evolving roles, and recognize contributions and potential relationships within our communities and in related groups. I think we still have a ways to go to know how to integrate more with our communities and promote our own value, but this is a learning process, a research process.</blockquote>\r\nK: Char Booth wrote a while back that the “outsider” perspective is one of the most important things librarians bring to the scholarly table. ((Char Booth, “Librarians as  __________: Shapeshifting at the Periphery,” <i>In the Library with the Lead Pipe</i>, July 21, 2010, http://www.inthelibrarywiththeleadpipe.org/2010/librarians-as-__________-shapeshifting-at-the-periphery/.)) Our neutrality and distance adds an important perspective to specialized research.\r\n<blockquote>L: The LIS community is not really neutral, though. We’re representing future generations of scholars; essentially, we are arguing for the greater good. The whole of scholarly knowledge is greater than the sum of its individual researcher parts, and we’re the ones trying to bring the pieces together.</blockquote>\r\nKristen and Lynn:\r\n\r\n<em>This conversation on the relationships between libraries, archives, and data curation is still in its early stages. Many of our questions need deeper exploration, and there are many topics (social media, versioning, identifier schemes, repository certification, branding, sustainability, scaling, and more) that we haven’t tackled here. Most importantly, we know there are issues, perspectives, and opportunities outside our areas of expertise (such as data curation in the humanities) that should be brought into the discussion. Far from having the last word, then, we hope instead that we\'ve given all of our librarian, archivist, and data colleagues some common ground from which to kick off your own conversations—we’ll save you a seat at the dinner table!</em>','All in the Family: A Dinner Table Conversation about Libraries, Archives, Data, and Science','','inherit','open','open','','4831-revision-2','','','2013-06-24 06:38:58','2013-06-24 06:38:58','',4831,'http://dev.archivejournal.net/issue//uncategorized/4831-revision-2/',0,'revision','',0),(4836,10,'2013-06-24 06:41:08','2013-06-24 06:41:08','<em>Based on our experiences in the academic library, archives, and data curation communities, we present an informal discussion of the relationships between these branches of information science. In this conversational exchange, we decipher concepts of data curation for librarians and archivists while also translating library and archival theory and tradition for the data environment. Beginning with basic questions about the day-to-day realities of managing scientific data in comparison to digital library collections, we discuss roles and practices, seeking both to identify common goals and functions as well as to explore where and how our cultures diverge. The whole is greater than the sum of its parts, and together our fields support the diverse and ever-changing needs of researchers and information consumers in distinct but complementary ways. </em>\r\n<p style=\"text-align: left;\"><strong>Seeing a Family Resemblence</strong></p>\r\n<p style=\"text-align: left;\">Kristen: In 2006, when I decided to go to library school to be an archivist, Lynn was working at Scripps Institution of Oceanography as an information manager. I wasn’t totally clear on what her job was, but I knew it involved data. The first time one of my library school professors brought up “metadata” in class I got excited: “Lynn always talks about metadata!” Since I took my position as Digital Services Librarian at the University of Scranton in 2008, I have come across more and more data issues in both the archival side of my job (digital collections) and in the librarian side of my job (supporting digital scholarship). I started calling Lynn for help.</p>\r\n\r\n<blockquote>Lynn: When I started library school, one of the most exciting aspects for me was learning about this mature, sophisticated ecosystem that already existed for gathering, describing, categorizing, and managing information. There was a system of roles, infrastructure, services, and expertise that conceptually mapped so well to the data world. Kristen would send me archives articles that really resonated with my data issues. It became clear that our respective realms of archives, libraries, and data are fundamentally linked.</blockquote>\r\nK: We quickly noticed, though, that we often have different philosophies about information management and that we tend to use different vocabulary to describe what we do. As we started to untangle the complex relationships between archives, libraries, and data, we found value in each other’s knowledge and expertise.\r\n<blockquote>L: I see data curation as a discipline that cuts across the Library and Information Sciences field. Data curation combines skills from librarianship, archives, information literacy, metadata, technical services, and many other areas. By identifying and articulating similarities and differences between data curation and recognized aspects of LIS, we can plan better for more integrated systems, services, and roles.</blockquote>\r\nK: One of the common (though admittedly simplistic) distinctions drawn between archivists and librarians is a difference in how we prioritize our goals. Both professions are interested in information access and preservation, but librarians prioritize immediate, affordable access while archivists prioritize long-term preservation. Where does data curation fit in? Do your goals as a curator of scientific data differ from the goals of librarians and archivists?\r\n<blockquote>L: The broad goal of data curation is to support scientific research through enabling long-term reuse of data. On the ground, that means data curators work across multiple levels: from defining and supporting strategic metadata creation early in the research cycle, through documentation about research processing, to capturing research “products” and preserving them for reuse. It seems like this is a blend between library and archives goals with support services, immediate access, and preservation all included in data curation. Given that we share the same ultimate goal of making information accessible now and into the future, I think the data community can learn a lot from both the archives and library communities.</blockquote>\r\n<strong>Containers, Content, and Context</strong>\r\n\r\nK: Likewise, I think archivists and librarians have a lot to learn from data curators. For starters, I’m not sure I understand what “data” curation really is. When I think “data,” I think of numbers in a spreadsheet. Beyond that, I don’t have a good mental picture of what data looks like.\r\n<blockquote>L: A good working definition of “data” for LIS professionals is “workable/usable chunks of content,” whether values in a printed journal article table, numbers in a spreadsheet, pixels in an image, etc. For example, you can think of a digital humanities scholar viewing the text inside a book as data. But I think your question hints at a broader difference between library and data work—data are the content, libraries are usually more interested with the container. I think it\'s a granularity issue.</blockquote>\r\nK: That\'s a good point. At my library, the way we manage our collections, and the way that users access our collections, does center on physical or digital “containers.” Our books are stored in a different place than our microfilm, for example, and our streaming media is stored in a different place than the text and image files in my digital collections. I think some of my confusion about data curation stems from not understanding what kind of “container” your data is in. What formats do data usually come in? What kinds of files do data curators need to manage and preserve?\r\n<blockquote>L: Data come in many containers, from different types of files to databases and paper logbooks. In some ways we need to manage and preserve all of them. From a scientific perspective, though, it doesn’t matter what kind of container is used, so we have a lot more flexibility in moving content around. There are exceptions to this rule, but in general it is the content—the measurements, observations, model predictions, and values, for instance—that is important.</blockquote>\r\nK: Doesn\'t format play a role in long-term access, though? For archivists, format is a major concern in digital preservation planning. We worry about how to preserve different kinds of files over time in the face of software and hardware obsolescence.\r\n<blockquote>L: In data, the bigger question is “what functionality do we need to offer?” Long-term format decisions will lean heavily on that answer. While we absolutely need to preserve access and are looking for strategies for avoiding obsolescence, the primary aim of scientific data curation is to enable future use of the data, not necessarily to enable access to the original scientist’s files. Carrying forward the data format and container is not nearly as crucial as capturing the data context (for example, the conditions under which the data were collected).</blockquote>\r\nK: Preserving context is a priority for archivists as well, but it seems like we have different understandings of what “context” is or should be. Archivists want to be able to ensure that future users can access the content of archival documents, but we also want to preserve the “look and feel” of the information environment in which the file was created. To me, file format is a part of the context in which a record was created.\r\n<blockquote>L: There is a trade-off here for scientific data; sometimes context can get in the way. For instance, we often see Excel files with multiple tables per sheet, color-coded cells, and notes mixed with values. While all of that formatting can show the process used by the original researcher and may be valuable to a science historian, other researchers looking to reuse the data need to manually sift through the file to find the content they need.</blockquote>\r\nK: That’s an interesting difference from traditional archival practice. In order to capture the context in which records were created, archivists typically organize our collections based on provenance (what office or person they came from), and we usually maintain original order, even if that makes individual documents more difficult to find—that is, even if that makes the collection less functional or less accessible to the end user. That said, one of the things I like about working with digitized materials is that I have more freedom with arrangement. I can organize my digital collections in a more accessible way, noting in the metadata how the original, physical documents are arranged. What aspects of context do you try to capture for your data?\r\n<blockquote>L: With scientific data, the scientist and the scientist’s intent are important aspects of the data context. For field scientists, they (and sometimes only they) know what actually happened out in the field, and what oddities might emerge during data processing (for example, “That reflectance value looks strange. Remember on that cruise, though, the captain was new to the ship and wasn’t very good at keeping the boat steady while we deployed? It might be a shadow signature”). Maybe the researcher switched their sampling plan partway through the study because their experience told them that the really interesting thing was happening slightly outside of the planned area. Their data are a reflection of all of the physical, intellectual, and instinctual decisions made, capturing parts of the resulting experience. All of that context is often essential to interpreting the data, but it can’t be easily included in metadata. Our standards aren’t yet mature enough to be able to communicate to an end user the context in which the data were created, and data creators don’t have the habit of including that information in documentation.</blockquote>\r\n<strong>Metadata </strong>\r\n\r\nK: So it seems like both data curators and digital archivists face a common challenge of creating and capturing complex, contextual metadata in systematic, effective, and (hopefully!) standardized ways.\r\n<blockquote>L: Absolutely! I would add that metadata need to be useful, sharable, and discoverable, along with machine-, human-, and increasingly browser- and search engine-readable. I would definitely consider metadata to be an area needing more research.</blockquote>\r\nK: While we’re talking about metadata, are there “levels” of metadata in data curation? That is, archivists can describe information at the collection level, series level, item level, and even page level, but librarians don’t usually think this way—it’s more like one object (for example, one book), one bibliographic record.\r\n<blockquote>L: Levels are a hugely important part of data in the sciences. Data need description at multiple levels, though our levels and terminology are not yet well defined. Even the term “dataset” is poorly defined; the content and nature of datasets vary widely. One dataset might contain one type of data from a single field survey, while another might aggregate years of field studies with multiple data types into a dataset. “Collection,” “project,” “study,” “file,” “record,” and “granule” are other important terms relating to levels, though there is still discussion about what these mean. Despite the lack of consensus in language, data curators are ideally collecting metadata at many different levels. There is always a struggle to capture as much metadata as possible given limited resources and an evolving understanding of what metadata we actually need.</blockquote>\r\nK: There’s a similar tension between quantity and quality in digital collections. Given limited resources, is it better to make more content available more quickly, with less metadata? Or is deep and detailed metadata more valuable to potential users, even if it means that it takes us longer to publish new content? A well-known paper by Mark Greene and Dennis Meissner, called “<a title=\"More Product, Less Process\" href=\"http://archivists.metapress.com/content/c741823776k65863/fulltext.pdf\">More Product, Less Process</a>,” [PDF]((Mark A. Greene and Dennis Meissner, “More Product, Less Process: Revamping Traditional Archival Processing,” <i>American Archivist</i> 68 (2005): 208-63.)) encouraged archivists to decrease the time they spent processing physical collections in order to maximize the quantity of archival resources available to the public, at the expense of in-depth description and intellectual control. The idea of “more product, less process” (MPLP) is often applied to digital collections as well as traditional archives. ((See, for example, Mark A. Greene, “MPLP: It’s Not Just for Processing Anymore,” <i>American Archivist</i> 73 (2010): 175-203.)) On a practical level, I determine how deeply we’ll describe a collection based on how much value I think that description will add for our users. What kind of metadata do users tend to look for in the data world?\r\n<blockquote>L: We keep metadata about a project (very high level, related to funding awards or research theme) for contextual information and for discovery, since many researchers know about projects in their fields; however, that project-level description doesn’t really help with understanding the data themselves. So we use metadata at the “dataset” level to provide context for the actual data, to help researchers who aren’t familiar with the project find what they are looking for, and to give credit to the data creators. Beyond this discovery level, metadata creation and prioritization get tricky; usability requirements start to depend on what the data (re)user is trying to do, and domain knowledge starts to become more and more helpful. I add the “(re)” here to point out that especially observational data available online have often already been used; acknowledging the original intent and use of the data is important when trying to carry forward data context.</blockquote>\r\n<strong>Creators and Users</strong>\r\n\r\nK: That brings us to the idea of “users.” All three fields are service-oriented—we want to help people—but I wonder if we are serving different “customers.” My library is open to the public, but our mission is to support the scholarly needs of the University community; that is, our students and faculty are our most important users. My digital collections, though, have a more nebulous user base. Web analytics indicate that these collections are being used off campus, but unless we get a reference question, I don\'t have a concrete idea of who those external users are or what needs they may have.\r\n<blockquote>L: This is true for data as well. Making data openly available online means we have less information about our users. We are more in line with public-library patron-privacy policies. “User” is a particularly loaded term for my project right now. So far, our main system users are data providers as opposed to data (re)users. Once our system and metadata mature a bit, we expect to be working with data (re)users as well, but for now we are mostly working with scientists originally gathering and depositing data.</blockquote>\r\nK: How do you talk to your data creators? How do they view their data?\r\n<blockquote>L: From a field-science perspective, there is often a deeply personal connection between a scientist and their data. These scientists fought tooth and nail to get funding to go into the field; they trained a group of people to help them do the data gathering; they worked long hours, often in less-than-ideal conditions, to collect the data they needed. For many researchers, each dataset is an extension of their career and understanding.</blockquote>\r\nK: I’m just starting to get questions about best practices for information management from faculty members on my campus, primarily humanities scholars seeking more effective ways to take, store, search, and organize their notes, and I suspect they feel similarly, although they may not refer to their notes as “data.” Anecdotally, they are most interested in technology as a way to improve their data collection; they seem far less concerned with (and in some cases strongly against) sharing their aggregated data with other scholars. That said, there’s been an explosion of digital humanities research using public or shared data sets (for example, textual analyses using Google’s Ngram viewer). Is this kind of data reuse happening with scientific data?\r\n<blockquote>L: I think scale has to be part of the reuse discussion. Data are reused all the time within the context of an individual researcher or strongly coordinated lab. Researchers who go out into the field regularly build long-term datasets from observations and reuse those “living” datasets over the course of a career, in some cases. In the field sciences, though, this kind of data is really difficult to analyze once you are outside of that personal or lab context. At a larger scale, some data tend to be more homogeneous and collected from the start with reuse in mind. For example, in the Earth sciences, satellite data are regularly reused in many types of research. One of the challenges in data curation is bridging between scales, between domains with complex and heterogeneous data and those with more homogeneous data. There is often a disconnect between researchers who focus on gathering unique observational data and researchers looking to reuse those observations in other research. Data creators don\'t necessarily have the same incentives as data reusers.</blockquote>\r\nK: That’s something I see in my archival work as well. There’s sometimes a disconnect between the information needs of campus departments that create content with archival value versus the departments that use our archival collections most frequently. For example, our public relations office produces wonderful publications and fantastic photographs of the campus, but in their work, photos or documents more than a few years old are no longer valuable. They need fast access to fresh content, so adding detailed descriptions or captions to those files isn’t a good use of their staff time. On the other hand, the alumni office wants to put together slideshows and exhibits for reunions, and to them, being able to search for and access a twenty-year-old photograph of a certain student (or especially a donor) is incredibly important.\r\n\r\n<strong>Roles </strong>\r\n\r\nK: So it seems like we both serve as mediators between creators and end users. What other roles do data curators play?\r\n<blockquote>L: We haven’t yet completely defined all of the components of data curation, nor who should manage each. There aren’t yet clear roles. What is clear though is that data curation can’t be done in a vacuum. To create a useful and usable data ecosystem including infrastructure, expertise, services, and longevity, we need multiple perspectives at the table. Data gathering scientists, data reuse scientists, technologists, documentation experts, administrators, data managers, data organization gurus, access experts, and preservationists all need to be part of the conversation. For now at least, I see data curators as generalists and facilitators. How does this compare to LIS roles?</blockquote>\r\nK: I think our roles really depend on our institutions and the other resources available to scholars. At major research universities, subject librarians and even entire libraries can be subject specialized, but at my (masters-level) institution, I have to wear multiple hats and fill multiple roles. I run the library\'s digital collections, but I also serve as a subject specialist for chemistry, biology, physics, and environmental science; provide information-literacy instruction; and support library initiatives in emerging technologies and digital scholarship. In the course of a single day, I might be teaching students about Google\'s search algorithm, helping a faculty member with Mendeley, describing old photos in our digital collections, and using social media to promote library services and collections.\r\n<blockquote>L: Data Information Literacy is emerging as an extension and adaptation of more traditional Information Literacy programs. Some are saying libraries should engage with this type of instruction, while others suggest that it should come from the departments. What do you think?</blockquote>\r\nK: I\'ve been thinking about data literacy a lot lately, especially considering the high visibility of data analysis during the 2012 presidential campaign. There’s clearly a need to educate end users about data, and I think librarians and departments have a role to play. Like most librarians, I emphasize the importance of evaluation in my information-literacy instruction, but at this point, I worry that I don’t know enough about data to help a student or colleague evaluate or manage it. The advantage of working in a small university is that my department can be somewhat of a one-stop shop for scholarship support, but the downside is that I don\'t have the level of in-depth expertise or experience in each role that my students and faculty might need. For example, as much as I’d like to help my chemistry faculty with their data, I feel like a librarian specializing in chemistry would have a much better understanding of their data-management needs and options.\r\n<blockquote>L: Many people share your concern, but I think the skills and perspective that you and other library and archives experts would bring to the data table would be so valuable. For instance, from a collection-development point of view, the data community could benefit from lessons learned about crafting collection-development policies and keeping them up to date over time. Evaluating data quality is immensely difficult, but a great place to start might be to look at the factors you use to judge quality for collection materials. Deaccessioning is a relatively new but important conversation in the data community. Understanding the value and mechanics of a catalog, and of multiple levels of metadata, is a really valuable skill in the data world as well. We are working on data search and access, and are running into the issues of systems not playing nicely together, differing metadata, and issues with access policies, just like in the library realm. Conversations with researchers about data end up sounding a whole lot like reference interviews. I don’t at all think that you need to have “data” in your title to be qualified to be part of the data discussion. There is so much you and others can add just based on your knowledge of the conceptual and practical LIS realms. The work of data curation is relatively new, I hope we can take the best of all of the information fields and create something even better.</blockquote>\r\n<strong>What\'s Next?</strong>\r\n\r\nK: One of the hardest things about my job is persuading stakeholders to fund and support digital projects with long-term rather than immediate benefits. There are so many competing demands on institutional resources, and the complexity and uncertainty of digital preservation makes it hard for me to articulate how investing time and money now will help us down the road. How do we convince people to value what we do?\r\n<blockquote>L: That is certainly the question for the ages! I think there are big cultural, economic, and political issues that need to be addressed, but that doesn’t mean we should wait around for a societal green light. If we had limitless funds, are we all clear on what we would create? I think that getting our own house in order is a good place to start. Let’s define and clearly articulate our evolving roles, and recognize contributions and potential relationships within our communities and in related groups. I think we still have a ways to go to know how to integrate more with our communities and promote our own value, but this is a learning process, a research process.</blockquote>\r\nK: Char Booth wrote a while back that the “outsider” perspective is one of the most important things librarians bring to the scholarly table. ((Char Booth, “Librarians as  __________: Shapeshifting at the Periphery,” <i>In the Library with the Lead Pipe</i>, July 21, 2010, http://www.inthelibrarywiththeleadpipe.org/2010/librarians-as-__________-shapeshifting-at-the-periphery/.)) Our neutrality and distance adds an important perspective to specialized research.\r\n<blockquote>L: The LIS community is not really neutral, though. We’re representing future generations of scholars; essentially, we are arguing for the greater good. The whole of scholarly knowledge is greater than the sum of its individual researcher parts, and we’re the ones trying to bring the pieces together.</blockquote>\r\nKristen and Lynn:\r\n\r\n<em>This conversation on the relationships between libraries, archives, and data curation is still in its early stages. Many of our questions need deeper exploration, and there are many topics (social media, versioning, identifier schemes, repository certification, branding, sustainability, scaling, and more) that we haven’t tackled here. Most importantly, we know there are issues, perspectives, and opportunities outside our areas of expertise (such as data curation in the humanities) that should be brought into the discussion. Far from having the last word, then, we hope instead that we\'ve given all of our librarian, archivist, and data colleagues some common ground from which to kick off your own conversations—we’ll save you a seat at the dinner table!</em>','All in the Family: A Dinner Table Conversation about Libraries, Archives, Data, and Science','','inherit','open','open','','4831-revision-3','','','2013-06-24 06:41:08','2013-06-24 06:41:08','',4831,'http://dev.archivejournal.net/issue//uncategorized/4831-revision-3/',0,'revision','',0),(4837,10,'2013-06-24 06:41:56','2013-06-24 06:41:56','<em>Based on our experiences in the academic library, archives, and data curation communities, we present an informal discussion of the relationships between these branches of information science. In this conversational exchange, we decipher concepts of data curation for librarians and archivists while also translating library and archival theory and tradition for the data environment. Beginning with basic questions about the day-to-day realities of managing scientific data in comparison to digital library collections, we discuss roles and practices, seeking both to identify common goals and functions as well as to explore where and how our cultures diverge. The whole is greater than the sum of its parts, and together our fields support the diverse and ever-changing needs of researchers and information consumers in distinct but complementary ways. </em>\r\n<p style=\"text-align: left;\"><strong>Seeing a Family Resemblence</strong></p>\r\n<p style=\"text-align: left;\">Kristen: In 2006, when I decided to go to library school to be an archivist, Lynn was working at Scripps Institution of Oceanography as an information manager. I wasn’t totally clear on what her job was, but I knew it involved data. The first time one of my library school professors brought up “metadata” in class I got excited: “Lynn always talks about metadata!” Since I took my position as Digital Services Librarian at the University of Scranton in 2008, I have come across more and more data issues in both the archival side of my job (digital collections) and in the librarian side of my job (supporting digital scholarship). I started calling Lynn for help.</p>\r\n\r\n<blockquote>Lynn: When I started library school, one of the most exciting aspects for me was learning about this mature, sophisticated ecosystem that already existed for gathering, describing, categorizing, and managing information. There was a system of roles, infrastructure, services, and expertise that conceptually mapped so well to the data world. Kristen would send me archives articles that really resonated with my data issues. It became clear that our respective realms of archives, libraries, and data are fundamentally linked.</blockquote>\r\nK: We quickly noticed, though, that we often have different philosophies about information management and that we tend to use different vocabulary to describe what we do. As we started to untangle the complex relationships between archives, libraries, and data, we found value in each other’s knowledge and expertise.\r\n<blockquote>L: I see data curation as a discipline that cuts across the Library and Information Sciences field. Data curation combines skills from librarianship, archives, information literacy, metadata, technical services, and many other areas. By identifying and articulating similarities and differences between data curation and recognized aspects of LIS, we can plan better for more integrated systems, services, and roles.</blockquote>\r\nK: One of the common (though admittedly simplistic) distinctions drawn between archivists and librarians is a difference in how we prioritize our goals. Both professions are interested in information access and preservation, but librarians prioritize immediate, affordable access while archivists prioritize long-term preservation. Where does data curation fit in? Do your goals as a curator of scientific data differ from the goals of librarians and archivists?\r\n<blockquote>L: The broad goal of data curation is to support scientific research through enabling long-term reuse of data. On the ground, that means data curators work across multiple levels: from defining and supporting strategic metadata creation early in the research cycle, through documentation about research processing, to capturing research “products” and preserving them for reuse. It seems like this is a blend between library and archives goals with support services, immediate access, and preservation all included in data curation. Given that we share the same ultimate goal of making information accessible now and into the future, I think the data community can learn a lot from both the archives and library communities.</blockquote>\r\n<strong>Containers, Content, and Context</strong>\r\n\r\nK: Likewise, I think archivists and librarians have a lot to learn from data curators. For starters, I’m not sure I understand what “data” curation really is. When I think “data,” I think of numbers in a spreadsheet. Beyond that, I don’t have a good mental picture of what data looks like.\r\n<blockquote>L: A good working definition of “data” for LIS professionals is “workable/usable chunks of content,” whether values in a printed journal article table, numbers in a spreadsheet, pixels in an image, etc. For example, you can think of a digital humanities scholar viewing the text inside a book as data. But I think your question hints at a broader difference between library and data work—data are the content, libraries are usually more interested with the container. I think it\'s a granularity issue.</blockquote>\r\nK: That\'s a good point. At my library, the way we manage our collections, and the way that users access our collections, does center on physical or digital “containers.” Our books are stored in a different place than our microfilm, for example, and our streaming media is stored in a different place than the text and image files in my digital collections. I think some of my confusion about data curation stems from not understanding what kind of “container” your data is in. What formats do data usually come in? What kinds of files do data curators need to manage and preserve?\r\n<blockquote>L: Data come in many containers, from different types of files to databases and paper logbooks. In some ways we need to manage and preserve all of them. From a scientific perspective, though, it doesn’t matter what kind of container is used, so we have a lot more flexibility in moving content around. There are exceptions to this rule, but in general it is the content—the measurements, observations, model predictions, and values, for instance—that is important.</blockquote>\r\nK: Doesn\'t format play a role in long-term access, though? For archivists, format is a major concern in digital preservation planning. We worry about how to preserve different kinds of files over time in the face of software and hardware obsolescence.\r\n<blockquote>L: In data, the bigger question is “what functionality do we need to offer?” Long-term format decisions will lean heavily on that answer. While we absolutely need to preserve access and are looking for strategies for avoiding obsolescence, the primary aim of scientific data curation is to enable future use of the data, not necessarily to enable access to the original scientist’s files. Carrying forward the data format and container is not nearly as crucial as capturing the data context (for example, the conditions under which the data were collected).</blockquote>\r\nK: Preserving context is a priority for archivists as well, but it seems like we have different understandings of what “context” is or should be. Archivists want to be able to ensure that future users can access the content of archival documents, but we also want to preserve the “look and feel” of the information environment in which the file was created. To me, file format is a part of the context in which a record was created.\r\n<blockquote>L: There is a trade-off here for scientific data; sometimes context can get in the way. For instance, we often see Excel files with multiple tables per sheet, color-coded cells, and notes mixed with values. While all of that formatting can show the process used by the original researcher and may be valuable to a science historian, other researchers looking to reuse the data need to manually sift through the file to find the content they need.</blockquote>\r\nK: That’s an interesting difference from traditional archival practice. In order to capture the context in which records were created, archivists typically organize our collections based on provenance (what office or person they came from), and we usually maintain original order, even if that makes individual documents more difficult to find—that is, even if that makes the collection less functional or less accessible to the end user. That said, one of the things I like about working with digitized materials is that I have more freedom with arrangement. I can organize my digital collections in a more accessible way, noting in the metadata how the original, physical documents are arranged. What aspects of context do you try to capture for your data?\r\n<blockquote>L: With scientific data, the scientist and the scientist’s intent are important aspects of the data context. For field scientists, they (and sometimes only they) know what actually happened out in the field, and what oddities might emerge during data processing (for example, “That reflectance value looks strange. Remember on that cruise, though, the captain was new to the ship and wasn’t very good at keeping the boat steady while we deployed? It might be a shadow signature”). Maybe the researcher switched their sampling plan partway through the study because their experience told them that the really interesting thing was happening slightly outside of the planned area. Their data are a reflection of all of the physical, intellectual, and instinctual decisions made, capturing parts of the resulting experience. All of that context is often essential to interpreting the data, but it can’t be easily included in metadata. Our standards aren’t yet mature enough to be able to communicate to an end user the context in which the data were created, and data creators don’t have the habit of including that information in documentation.</blockquote>\r\n<strong>Metadata </strong>\r\n\r\nK: So it seems like both data curators and digital archivists face a common challenge of creating and capturing complex, contextual metadata in systematic, effective, and (hopefully!) standardized ways.\r\n<blockquote>L: Absolutely! I would add that metadata need to be useful, sharable, and discoverable, along with machine-, human-, and increasingly browser- and search engine-readable. I would definitely consider metadata to be an area needing more research.</blockquote>\r\nK: While we’re talking about metadata, are there “levels” of metadata in data curation? That is, archivists can describe information at the collection level, series level, item level, and even page level, but librarians don’t usually think this way—it’s more like one object (for example, one book), one bibliographic record.\r\n<blockquote>L: Levels are a hugely important part of data in the sciences. Data need description at multiple levels, though our levels and terminology are not yet well defined. Even the term “dataset” is poorly defined; the content and nature of datasets vary widely. One dataset might contain one type of data from a single field survey, while another might aggregate years of field studies with multiple data types into a dataset. “Collection,” “project,” “study,” “file,” “record,” and “granule” are other important terms relating to levels, though there is still discussion about what these mean. Despite the lack of consensus in language, data curators are ideally collecting metadata at many different levels. There is always a struggle to capture as much metadata as possible given limited resources and an evolving understanding of what metadata we actually need.</blockquote>\r\nK: There’s a similar tension between quantity and quality in digital collections. Given limited resources, is it better to make more content available more quickly, with less metadata? Or is deep and detailed metadata more valuable to potential users, even if it means that it takes us longer to publish new content? A well-known paper by Mark Greene and Dennis Meissner, called “<a title=\"More Product, Less Process\" href=\"http://archivists.metapress.com/content/c741823776k65863/fulltext.pdf\">More Product, Less Process</a>,” [PDF] ((Mark A. Greene and Dennis Meissner, “More Product, Less Process: Revamping Traditional Archival Processing,” <i>American Archivist</i> 68 (2005): 208-63.)) encouraged archivists to decrease the time they spent processing physical collections in order to maximize the quantity of archival resources available to the public, at the expense of in-depth description and intellectual control. The idea of “more product, less process” (MPLP) is often applied to digital collections as well as traditional archives. ((See, for example, Mark A. Greene, “MPLP: It’s Not Just for Processing Anymore,” <i>American Archivist</i> 73 (2010): 175-203.)) On a practical level, I determine how deeply we’ll describe a collection based on how much value I think that description will add for our users. What kind of metadata do users tend to look for in the data world?\r\n<blockquote>L: We keep metadata about a project (very high level, related to funding awards or research theme) for contextual information and for discovery, since many researchers know about projects in their fields; however, that project-level description doesn’t really help with understanding the data themselves. So we use metadata at the “dataset” level to provide context for the actual data, to help researchers who aren’t familiar with the project find what they are looking for, and to give credit to the data creators. Beyond this discovery level, metadata creation and prioritization get tricky; usability requirements start to depend on what the data (re)user is trying to do, and domain knowledge starts to become more and more helpful. I add the “(re)” here to point out that especially observational data available online have often already been used; acknowledging the original intent and use of the data is important when trying to carry forward data context.</blockquote>\r\n<strong>Creators and Users</strong>\r\n\r\nK: That brings us to the idea of “users.” All three fields are service-oriented—we want to help people—but I wonder if we are serving different “customers.” My library is open to the public, but our mission is to support the scholarly needs of the University community; that is, our students and faculty are our most important users. My digital collections, though, have a more nebulous user base. Web analytics indicate that these collections are being used off campus, but unless we get a reference question, I don\'t have a concrete idea of who those external users are or what needs they may have.\r\n<blockquote>L: This is true for data as well. Making data openly available online means we have less information about our users. We are more in line with public-library patron-privacy policies. “User” is a particularly loaded term for my project right now. So far, our main system users are data providers as opposed to data (re)users. Once our system and metadata mature a bit, we expect to be working with data (re)users as well, but for now we are mostly working with scientists originally gathering and depositing data.</blockquote>\r\nK: How do you talk to your data creators? How do they view their data?\r\n<blockquote>L: From a field-science perspective, there is often a deeply personal connection between a scientist and their data. These scientists fought tooth and nail to get funding to go into the field; they trained a group of people to help them do the data gathering; they worked long hours, often in less-than-ideal conditions, to collect the data they needed. For many researchers, each dataset is an extension of their career and understanding.</blockquote>\r\nK: I’m just starting to get questions about best practices for information management from faculty members on my campus, primarily humanities scholars seeking more effective ways to take, store, search, and organize their notes, and I suspect they feel similarly, although they may not refer to their notes as “data.” Anecdotally, they are most interested in technology as a way to improve their data collection; they seem far less concerned with (and in some cases strongly against) sharing their aggregated data with other scholars. That said, there’s been an explosion of digital humanities research using public or shared data sets (for example, textual analyses using Google’s Ngram viewer). Is this kind of data reuse happening with scientific data?\r\n<blockquote>L: I think scale has to be part of the reuse discussion. Data are reused all the time within the context of an individual researcher or strongly coordinated lab. Researchers who go out into the field regularly build long-term datasets from observations and reuse those “living” datasets over the course of a career, in some cases. In the field sciences, though, this kind of data is really difficult to analyze once you are outside of that personal or lab context. At a larger scale, some data tend to be more homogeneous and collected from the start with reuse in mind. For example, in the Earth sciences, satellite data are regularly reused in many types of research. One of the challenges in data curation is bridging between scales, between domains with complex and heterogeneous data and those with more homogeneous data. There is often a disconnect between researchers who focus on gathering unique observational data and researchers looking to reuse those observations in other research. Data creators don\'t necessarily have the same incentives as data reusers.</blockquote>\r\nK: That’s something I see in my archival work as well. There’s sometimes a disconnect between the information needs of campus departments that create content with archival value versus the departments that use our archival collections most frequently. For example, our public relations office produces wonderful publications and fantastic photographs of the campus, but in their work, photos or documents more than a few years old are no longer valuable. They need fast access to fresh content, so adding detailed descriptions or captions to those files isn’t a good use of their staff time. On the other hand, the alumni office wants to put together slideshows and exhibits for reunions, and to them, being able to search for and access a twenty-year-old photograph of a certain student (or especially a donor) is incredibly important.\r\n\r\n<strong>Roles </strong>\r\n\r\nK: So it seems like we both serve as mediators between creators and end users. What other roles do data curators play?\r\n<blockquote>L: We haven’t yet completely defined all of the components of data curation, nor who should manage each. There aren’t yet clear roles. What is clear though is that data curation can’t be done in a vacuum. To create a useful and usable data ecosystem including infrastructure, expertise, services, and longevity, we need multiple perspectives at the table. Data gathering scientists, data reuse scientists, technologists, documentation experts, administrators, data managers, data organization gurus, access experts, and preservationists all need to be part of the conversation. For now at least, I see data curators as generalists and facilitators. How does this compare to LIS roles?</blockquote>\r\nK: I think our roles really depend on our institutions and the other resources available to scholars. At major research universities, subject librarians and even entire libraries can be subject specialized, but at my (masters-level) institution, I have to wear multiple hats and fill multiple roles. I run the library\'s digital collections, but I also serve as a subject specialist for chemistry, biology, physics, and environmental science; provide information-literacy instruction; and support library initiatives in emerging technologies and digital scholarship. In the course of a single day, I might be teaching students about Google\'s search algorithm, helping a faculty member with Mendeley, describing old photos in our digital collections, and using social media to promote library services and collections.\r\n<blockquote>L: Data Information Literacy is emerging as an extension and adaptation of more traditional Information Literacy programs. Some are saying libraries should engage with this type of instruction, while others suggest that it should come from the departments. What do you think?</blockquote>\r\nK: I\'ve been thinking about data literacy a lot lately, especially considering the high visibility of data analysis during the 2012 presidential campaign. There’s clearly a need to educate end users about data, and I think librarians and departments have a role to play. Like most librarians, I emphasize the importance of evaluation in my information-literacy instruction, but at this point, I worry that I don’t know enough about data to help a student or colleague evaluate or manage it. The advantage of working in a small university is that my department can be somewhat of a one-stop shop for scholarship support, but the downside is that I don\'t have the level of in-depth expertise or experience in each role that my students and faculty might need. For example, as much as I’d like to help my chemistry faculty with their data, I feel like a librarian specializing in chemistry would have a much better understanding of their data-management needs and options.\r\n<blockquote>L: Many people share your concern, but I think the skills and perspective that you and other library and archives experts would bring to the data table would be so valuable. For instance, from a collection-development point of view, the data community could benefit from lessons learned about crafting collection-development policies and keeping them up to date over time. Evaluating data quality is immensely difficult, but a great place to start might be to look at the factors you use to judge quality for collection materials. Deaccessioning is a relatively new but important conversation in the data community. Understanding the value and mechanics of a catalog, and of multiple levels of metadata, is a really valuable skill in the data world as well. We are working on data search and access, and are running into the issues of systems not playing nicely together, differing metadata, and issues with access policies, just like in the library realm. Conversations with researchers about data end up sounding a whole lot like reference interviews. I don’t at all think that you need to have “data” in your title to be qualified to be part of the data discussion. There is so much you and others can add just based on your knowledge of the conceptual and practical LIS realms. The work of data curation is relatively new, I hope we can take the best of all of the information fields and create something even better.</blockquote>\r\n<strong>What\'s Next?</strong>\r\n\r\nK: One of the hardest things about my job is persuading stakeholders to fund and support digital projects with long-term rather than immediate benefits. There are so many competing demands on institutional resources, and the complexity and uncertainty of digital preservation makes it hard for me to articulate how investing time and money now will help us down the road. How do we convince people to value what we do?\r\n<blockquote>L: That is certainly the question for the ages! I think there are big cultural, economic, and political issues that need to be addressed, but that doesn’t mean we should wait around for a societal green light. If we had limitless funds, are we all clear on what we would create? I think that getting our own house in order is a good place to start. Let’s define and clearly articulate our evolving roles, and recognize contributions and potential relationships within our communities and in related groups. I think we still have a ways to go to know how to integrate more with our communities and promote our own value, but this is a learning process, a research process.</blockquote>\r\nK: Char Booth wrote a while back that the “outsider” perspective is one of the most important things librarians bring to the scholarly table. ((Char Booth, “Librarians as  __________: Shapeshifting at the Periphery,” <i>In the Library with the Lead Pipe</i>, July 21, 2010, http://www.inthelibrarywiththeleadpipe.org/2010/librarians-as-__________-shapeshifting-at-the-periphery/.)) Our neutrality and distance adds an important perspective to specialized research.\r\n<blockquote>L: The LIS community is not really neutral, though. We’re representing future generations of scholars; essentially, we are arguing for the greater good. The whole of scholarly knowledge is greater than the sum of its individual researcher parts, and we’re the ones trying to bring the pieces together.</blockquote>\r\nKristen and Lynn:\r\n\r\n<em>This conversation on the relationships between libraries, archives, and data curation is still in its early stages. Many of our questions need deeper exploration, and there are many topics (social media, versioning, identifier schemes, repository certification, branding, sustainability, scaling, and more) that we haven’t tackled here. Most importantly, we know there are issues, perspectives, and opportunities outside our areas of expertise (such as data curation in the humanities) that should be brought into the discussion. Far from having the last word, then, we hope instead that we\'ve given all of our librarian, archivist, and data colleagues some common ground from which to kick off your own conversations—we’ll save you a seat at the dinner table!</em>','All in the Family: A Dinner Table Conversation about Libraries, Archives, Data, and Science','','inherit','open','open','','4831-revision-4','','','2013-06-24 06:41:56','2013-06-24 06:41:56','',4831,'http://dev.archivejournal.net/issue//uncategorized/4831-revision-4/',0,'revision','',0),(4838,3,'2013-06-28 19:39:28','2013-06-28 19:39:28','<em>Based on our experiences in the academic library, archives, and data curation communities, we present an informal discussion of the relationships between these branches of information science. In this conversational exchange, we decipher concepts of data curation for librarians and archivists while also translating library and archival theory and tradition for the data environment. Beginning with basic questions about the day-to-day realities of managing scientific data in comparison to digital library collections, we discuss roles and practices, seeking both to identify common goals and functions as well as to explore where and how our cultures diverge. The whole is greater than the sum of its parts, and together our fields support the diverse and ever-changing needs of researchers and information consumers in distinct but complementary ways. </em>\r\n<p style=\"text-align: left;\"><strong>Seeing a Family Resemblence</strong></p>\r\n<p style=\"text-align: left;\">Kristen: In 2006, when I decided to go to library school to be an archivist, Lynn was working at Scripps Institution of Oceanography as an information manager. I wasn’t totally clear on what her job was, but I knew it involved data. The first time one of my library school professors brought up “metadata” in class I got excited: “Lynn always talks about metadata!” Since I took my position as Digital Services Librarian at the University of Scranton in 2008, I have come across more and more data issues in both the archival side of my job (digital collections) and in the librarian side of my job (supporting digital scholarship). I started calling Lynn for help.</p>\r\n\r\n<blockquote>Lynn: When I started library school, one of the most exciting aspects for me was learning about this mature, sophisticated ecosystem that already existed for gathering, describing, categorizing, and managing information. There was a system of roles, infrastructure, services, and expertise that conceptually mapped so well to the data world. Kristen would send me archives articles that really resonated with my data issues. It became clear that our respective realms of archives, libraries, and data are fundamentally linked.</blockquote>\r\nK: We quickly noticed, though, that we often have different philosophies about information management and that we tend to use different vocabulary to describe what we do. As we started to untangle the complex relationships between archives, libraries, and data, we found value in each other’s knowledge and expertise.\r\n<blockquote>L: I see data curation as a discipline that cuts across the Library and Information Sciences field. Data curation combines skills from librarianship, archives, information literacy, metadata, technical services, and many other areas. By identifying and articulating similarities and differences between data curation and recognized aspects of LIS, we can plan better for more integrated systems, services, and roles.</blockquote>\r\nK: One of the common (though admittedly simplistic) distinctions drawn between archivists and librarians is a difference in how we prioritize our goals. Both professions are interested in information access and preservation, but librarians prioritize immediate, affordable access while archivists prioritize long-term preservation. Where does data curation fit in? Do your goals as a curator of scientific data differ from the goals of librarians and archivists?\r\n<blockquote>L: The broad goal of data curation is to support scientific research through enabling long-term reuse of data. On the ground, that means data curators work across multiple levels: from defining and supporting strategic metadata creation early in the research cycle, through documentation about research processing, to capturing research “products” and preserving them for reuse. It seems like this is a blend between library and archives goals with support services, immediate access, and preservation all included in data curation. Given that we share the same ultimate goal of making information accessible now and into the future, I think the data community can learn a lot from both the archives and library communities.</blockquote>\r\n<strong>Containers, Content, and Context</strong>\r\n\r\nK: Likewise, I think archivists and librarians have a lot to learn from data curators. For starters, I’m not sure I understand what “data” curation really is. When I think “data,” I think of numbers in a spreadsheet. Beyond that, I don’t have a good mental picture of what data looks like.\r\n<blockquote>L: A good working definition of “data” for LIS professionals is “workable/usable chunks of content,” whether values in a printed journal article table, numbers in a spreadsheet, pixels in an image, etc. For example, you can think of a digital humanities scholar viewing the text inside a book as data. But I think your question hints at a broader difference between library and data work—data are the content, libraries are usually more interested with the container. I think it\'s a granularity issue.</blockquote>\r\nK: That\'s a good point. At my library, the way we manage our collections, and the way that users access our collections, does center on physical or digital “containers.” Our books are stored in a different place than our microfilm, for example, and our streaming media is stored in a different place than the text and image files in my digital collections. I think some of my confusion about data curation stems from not understanding what kind of “container” your data is in. What formats do data usually come in? What kinds of files do data curators need to manage and preserve?\r\n<blockquote>L: Data come in many containers, from different types of files to databases and paper logbooks. In some ways we need to manage and preserve all of them. From a scientific perspective, though, it doesn’t matter what kind of container is used, so we have a lot more flexibility in moving content around. There are exceptions to this rule, but in general it is the content—the measurements, observations, model predictions, and values, for instance—that is important.</blockquote>\r\nK: Doesn\'t format play a role in long-term access, though? For archivists, format is a major concern in digital preservation planning. We worry about how to preserve different kinds of files over time in the face of software and hardware obsolescence.\r\n<blockquote>L: In data, the bigger question is “what functionality do we need to offer?” Long-term format decisions will lean heavily on that answer. While we absolutely need to preserve access and are looking for strategies for avoiding obsolescence, the primary aim of scientific data curation is to enable future use of the data, not necessarily to enable access to the original scientist’s files. Carrying forward the data format and container is not nearly as crucial as capturing the data context (for example, the conditions under which the data were collected).</blockquote>\r\nK: Preserving context is a priority for archivists as well, but it seems like we have different understandings of what “context” is or should be. Archivists want to be able to ensure that future users can access the content of archival documents, but we also want to preserve the “look and feel” of the information environment in which the file was created. To me, file format is a part of the context in which a record was created.\r\n<blockquote>L: There is a trade-off here for scientific data; sometimes context can get in the way. For instance, we often see Excel files with multiple tables per sheet, color-coded cells, and notes mixed with values. While all of that formatting can show the process used by the original researcher and may be valuable to a science historian, other researchers looking to reuse the data need to manually sift through the file to find the content they need.</blockquote>\r\nK: That’s an interesting difference from traditional archival practice. In order to capture the context in which records were created, archivists typically organize our collections based on provenance (what office or person they came from), and we usually maintain original order, even if that makes individual documents more difficult to find—that is, even if that makes the collection less functional or less accessible to the end user. That said, one of the things I like about working with digitized materials is that I have more freedom with arrangement. I can organize my digital collections in a more accessible way, noting in the metadata how the original, physical documents are arranged. What aspects of context do you try to capture for your data?\r\n<blockquote>L: With scientific data, the scientist and the scientist’s intent are important aspects of the data context. For field scientists, they (and sometimes only they) know what actually happened out in the field, and what oddities might emerge during data processing (for example, “That reflectance value looks strange. Remember on that cruise, though, the captain was new to the ship and wasn’t very good at keeping the boat steady while we deployed? It might be a shadow signature”). Maybe the researcher switched their sampling plan partway through the study because their experience told them that the really interesting thing was happening slightly outside of the planned area. Their data are a reflection of all of the physical, intellectual, and instinctual decisions made, capturing parts of the resulting experience. All of that context is often essential to interpreting the data, but it can’t be easily included in metadata. Our standards aren’t yet mature enough to be able to communicate to an end user the context in which the data were created, and data creators don’t have the habit of including that information in documentation.</blockquote>\r\n<strong>Metadata </strong>\r\n\r\nK: So it seems like both data curators and digital archivists face a common challenge of creating and capturing complex, contextual metadata in systematic, effective, and (hopefully!) standardized ways.\r\n<blockquote>L: Absolutely! I would add that metadata need to be useful, sharable, and discoverable, along with machine-, human-, and increasingly browser- and search engine-readable. I would definitely consider metadata to be an area needing more research.</blockquote>\r\nK: While we’re talking about metadata, are there “levels” of metadata in data curation? That is, archivists can describe information at the collection level, series level, item level, and even page level, but librarians don’t usually think this way—it’s more like one object (for example, one book), one bibliographic record.\r\n<blockquote>L: Levels are a hugely important part of data in the sciences. Data need description at multiple levels, though our levels and terminology are not yet well defined. Even the term “dataset” is poorly defined; the content and nature of datasets vary widely. One dataset might contain one type of data from a single field survey, while another might aggregate years of field studies with multiple data types into a dataset. “Collection,” “project,” “study,” “file,” “record,” and “granule” are other important terms relating to levels, though there is still discussion about what these mean. Despite the lack of consensus in language, data curators are ideally collecting metadata at many different levels. There is always a struggle to capture as much metadata as possible given limited resources and an evolving understanding of what metadata we actually need.</blockquote>\r\nK: There’s a similar tension between quantity and quality in digital collections. Given limited resources, is it better to make more content available more quickly, with less metadata? Or is deep and detailed metadata more valuable to potential users, even if it means that it takes us longer to publish new content? A well-known paper by Mark Greene and Dennis Meissner, called “<a title=\"More Product, Less Process\" href=\"http://archivists.metapress.com/content/c741823776k65863/fulltext.pdf\">More Product, Less Process</a>,” [PDF] ((Mark A. Greene and Dennis Meissner, “More Product, Less Process: Revamping Traditional Archival Processing,” <i>American Archivist</i> 68 (2005): 208-63.)) encouraged archivists to decrease the time they spent processing physical collections in order to maximize the quantity of archival resources available to the public, at the expense of in-depth description and intellectual control. The idea of “more product, less process” (MPLP) is often applied to digital collections as well as traditional archives. ((See, for example, Mark A. Greene, “MPLP: It’s Not Just for Processing Anymore,” <i>American Archivist</i> 73 (2010): 175-203.)) On a practical level, I determine how deeply we’ll describe a collection based on how much value I think that description will add for our users. What kind of metadata do users tend to look for in the data world?\r\n<blockquote>L: We keep metadata about a project (very high level, related to funding awards or research theme) for contextual information and for discovery, since many researchers know about projects in their fields; however, that project-level description doesn’t really help with understanding the data themselves. So we use metadata at the “dataset” level to provide context for the actual data, to help researchers who aren’t familiar with the project find what they are looking for, and to give credit to the data creators. Beyond this discovery level, metadata creation and prioritization get tricky; usability requirements start to depend on what the data (re)user is trying to do, and domain knowledge starts to become more and more helpful. I add the “(re)” here to point out that especially observational data available online have often already been used; acknowledging the original intent and use of the data is important when trying to carry forward data context.</blockquote>\r\n<strong>Creators and Users</strong>\r\n\r\nK: That brings us to the idea of “users.” All three fields are service-oriented—we want to help people—but I wonder if we are serving different “customers.” My library is open to the public, but our mission is to support the scholarly needs of the University community; that is, our students and faculty are our most important users. My digital collections, though, have a more nebulous user base. Web analytics indicate that these collections are being used off campus, but unless we get a reference question, I don\'t have a concrete idea of who those external users are or what needs they may have.\r\n<blockquote>L: This is true for data as well. Making data openly available online means we have less information about our users. We are more in line with public-library patron-privacy policies. “User” is a particularly loaded term for my project right now. So far, our main system users are data providers as opposed to data (re)users. Once our system and metadata mature a bit, we expect to be working with data (re)users as well, but for now we are mostly working with scientists originally gathering and depositing data.</blockquote>\r\nK: How do you talk to your data creators? How do they view their data?\r\n<blockquote>L: From a field-science perspective, there is often a deeply personal connection between a scientist and their data. These scientists fought tooth and nail to get funding to go into the field; they trained a group of people to help them do the data gathering; they worked long hours, often in less-than-ideal conditions, to collect the data they needed. For many researchers, each dataset is an extension of their career and understanding.</blockquote>\r\nK: I’m just starting to get questions about best practices for information management from faculty members on my campus, primarily humanities scholars seeking more effective ways to take, store, search, and organize their notes, and I suspect they feel similarly, although they may not refer to their notes as “data.” Anecdotally, they are most interested in technology as a way to improve their data collection; they seem far less concerned with (and in some cases strongly against) sharing their aggregated data with other scholars. That said, there’s been an explosion of digital humanities research using public or shared data sets (for example, textual analyses using Google’s Ngram viewer). Is this kind of data reuse happening with scientific data?\r\n<blockquote>L: I think scale has to be part of the reuse discussion. Data are reused all the time within the context of an individual researcher or strongly coordinated lab. Researchers who go out into the field regularly build long-term datasets from observations and reuse those “living” datasets over the course of a career, in some cases. In the field sciences, though, this kind of data is really difficult to analyze once you are outside of that personal or lab context. At a larger scale, some data tend to be more homogeneous and collected from the start with reuse in mind. For example, in the Earth sciences, satellite data are regularly reused in many types of research. One of the challenges in data curation is bridging between scales, between domains with complex and heterogeneous data and those with more homogeneous data. There is often a disconnect between researchers who focus on gathering unique observational data and researchers looking to reuse those observations in other research. Data creators don\'t necessarily have the same incentives as data reusers.</blockquote>\r\nK: That’s something I see in my archival work as well. There’s sometimes a disconnect between the information needs of campus departments that create content with archival value versus the departments that use our archival collections most frequently. For example, our public relations office produces wonderful publications and fantastic photographs of the campus, but in their work, photos or documents more than a few years old are no longer valuable. They need fast access to fresh content, so adding detailed descriptions or captions to those files isn’t a good use of their staff time. On the other hand, the alumni office wants to put together slideshows and exhibits for reunions, and to them, being able to search for and access a twenty-year-old photograph of a certain student (or especially a donor) is incredibly important.\r\n\r\n<strong>Roles </strong>\r\n\r\nK: So it seems like we both serve as mediators between creators and end users. What other roles do data curators play?\r\n<blockquote>L: We haven’t yet completely defined all of the components of data curation, nor who should manage each. There aren’t yet clear roles. What is clear though is that data curation can’t be done in a vacuum. To create a useful and usable data ecosystem including infrastructure, expertise, services, and longevity, we need multiple perspectives at the table. Data gathering scientists, data reuse scientists, technologists, documentation experts, administrators, data managers, data organization gurus, access experts, and preservationists all need to be part of the conversation. For now at least, I see data curators as generalists and facilitators. How does this compare to LIS roles?</blockquote>\r\nK: I think our roles really depend on our institutions and the other resources available to scholars. At major research universities, subject librarians and even entire libraries can be subject specialized, but at my (masters-level) institution, I have to wear multiple hats and fill multiple roles. I run the library\'s digital collections, but I also serve as a subject specialist for chemistry, biology, physics, and environmental science; provide information-literacy instruction; and support library initiatives in emerging technologies and digital scholarship. In the course of a single day, I might be teaching students about Google\'s search algorithm, helping a faculty member with Mendeley, describing old photos in our digital collections, and using social media to promote library services and collections.\r\n<blockquote>L: Data Information Literacy is emerging as an extension and adaptation of more traditional Information Literacy programs. Some are saying libraries should engage with this type of instruction, while others suggest that it should come from the departments. What do you think?</blockquote>\r\nK: I\'ve been thinking about data literacy a lot lately, especially considering the high visibility of data analysis during the 2012 presidential campaign. There’s clearly a need to educate end users about data, and I think librarians and departments have a role to play. Like most librarians, I emphasize the importance of evaluation in my information-literacy instruction, but at this point, I worry that I don’t know enough about data to help a student or colleague evaluate or manage it. The advantage of working in a small university is that my department can be somewhat of a one-stop shop for scholarship support, but the downside is that I don\'t have the level of in-depth expertise or experience in each role that my students and faculty might need. For example, as much as I’d like to help my chemistry faculty with their data, I feel like a librarian specializing in chemistry would have a much better understanding of their data-management needs and options.\r\n<blockquote>L: Many people share your concern, but I think the skills and perspective that you and other library and archives experts would bring to the data table would be so valuable. For instance, from a collection-development point of view, the data community could benefit from lessons learned about crafting collection-development policies and keeping them up to date over time. Evaluating data quality is immensely difficult, but a great place to start might be to look at the factors you use to judge quality for collection materials. Deaccessioning is a relatively new but important conversation in the data community. Understanding the value and mechanics of a catalog, and of multiple levels of metadata, is a really valuable skill in the data world as well. We are working on data search and access, and are running into the issues of systems not playing nicely together, differing metadata, and issues with access policies, just like in the library realm. Conversations with researchers about data end up sounding a whole lot like reference interviews. I don’t at all think that you need to have “data” in your title to be qualified to be part of the data discussion. There is so much you and others can add just based on your knowledge of the conceptual and practical LIS realms. The work of data curation is relatively new, I hope we can take the best of all of the information fields and create something even better.</blockquote>\r\n<strong>What\'s Next?</strong>\r\n\r\nK: One of the hardest things about my job is persuading stakeholders to fund and support digital projects with long-term rather than immediate benefits. There are so many competing demands on institutional resources, and the complexity and uncertainty of digital preservation makes it hard for me to articulate how investing time and money now will help us down the road. How do we convince people to value what we do?\r\n<blockquote>L: That is certainly the question for the ages! I think there are big cultural, economic, and political issues that need to be addressed, but that doesn’t mean we should wait around for a societal green light. If we had limitless funds, are we all clear on what we would create? I think that getting our own house in order is a good place to start. Let’s define and clearly articulate our evolving roles, and recognize contributions and potential relationships within our communities and in related groups. I think we still have a ways to go to know how to integrate more with our communities and promote our own value, but this is a learning process, a research process.</blockquote>\r\nK: Char Booth wrote a while back that the “outsider” perspective is one of the most important things librarians bring to the scholarly table. ((Char Booth, “Librarians as  __________: Shapeshifting at the Periphery,” <i>In the Library with the Lead Pipe</i>, July 21, 2010, http://www.inthelibrarywiththeleadpipe.org/2010/librarians-as-__________-shapeshifting-at-the-periphery/.)) Our neutrality and distance adds an important perspective to specialized research.\r\n<blockquote>L: The LIS community is not really neutral, though. We’re representing future generations of scholars; essentially, we are arguing for the greater good. The whole of scholarly knowledge is greater than the sum of its individual researcher parts, and we’re the ones trying to bring the pieces together.</blockquote>\r\nKristen and Lynn:\r\n\r\n<em>This conversation on the relationships between libraries, archives, and data curation is still in its early stages. Many of our questions need deeper exploration, and there are many topics (social media, versioning, identifier schemes, repository certification, branding, sustainability, scaling, and more) that we haven’t tackled here. Most importantly, we know there are issues, perspectives, and opportunities outside our areas of expertise (such as data curation in the humanities) that should be brought into the discussion. Far from having the last word, then, we hope instead that we\'ve given all of our librarian, archivist, and data colleagues some common ground from which to kick off your own conversations—we’ll save you a seat at the dinner table!</em>','All in the Family: A Dinner Table Conversation about Libraries, Archives, Data, and Science','','inherit','open','open','','4831-autosave','','','2013-06-28 19:39:28','2013-06-28 19:39:28','',4831,'http://dev.archivejournal.net/issue//uncategorized/4831-autosave/',0,'revision','',0),(4840,3,'2013-06-18 05:27:51','2013-06-18 05:27:51','<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Notes + Queries</em> consists of short essays that share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial Team</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"160px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Managing Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Technical Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Contributing Editors</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.<a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" alt=\"Creative Commons License\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" /></a>\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\nISSN 2166-1189\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\n<a href=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\"><img class=\"wp-image-4753 alignleft\" alt=\"CLIR Logo 5.27\" src=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\" width=\"39\" height=\"39\" /></a><i></i>\r\n\r\n<em>Archive Journal </em>is currently supported in part by funds from the Council on Library and Information Resources (CLIR).\r\n\r\n&nbsp;\r\n\r\n<em>Archive Journal</em> has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','3549-revision-12','','','2013-06-18 05:27:51','2013-06-18 05:27:51','',3549,'http://dev.archivejournal.net/issue//uncategorized/3549-revision-12/',0,'revision','',0),(4842,3,'2013-06-24 16:35:53','2013-06-24 16:35:53','<h3><a name=\"mission\"></a>Mission</h3>\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\n\n<h3><a name=\"content\"></a>Journal Content</h3>\n<p class=\"textblock\">The journal consists of three content areas:</p>\n\n<ul>\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\n	<li><em>Notes + Queries</em> consists of short essays that share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\n</ul>\n&nbsp;\n<h3><a name=\"editors\"></a>Editorial Team</h3>\n<table>\n<thead>\n<tr>\n<td width=\"160px\"></td>\n<td></td>\n<td></td>\n</tr>\n<tr>\n<td colspan=\"3\">\n<h2>Editor</h2>\n</td>\n</tr>\n<tr>\n<td class=\"name\">Lauren Coats</td>\n<td>.......</td>\n<td>Assistant Professor of English (LSU)</td>\n</tr>\n<tr>\n<td colspan=\"3\">\n<h2>Managing Editor</h2>\n</td>\n</tr>\n<tr>\n<td class=\"name\">Gabrielle Dean</td>\n<td>.......</td>\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\n</tr>\n<tr>\n<td colspan=\"3\">\n<h2>Technical Editor</h2>\n</td>\n</tr>\n<tr>\n<td class=\"name\">Daniel Chamberlain</td>\n<td>.......</td>\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\n</tr>\n<tr>\n<td colspan=\"3\">\n<h2>Contributing Editors</h2>\n</td>\n</tr>\n<tr>\n<td class=\"name\">Cecily Marcus</td>\n<td>.......</td>\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\n</tr>\n<tr>\n<td class=\"name\">Laurie N. Taylor</td>\n<td>.......</td>\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\n</tr>\n<tr>\n<td colspan=\"3\">\n<h2>Editorial Board</h2>\n</td>\n</tr>\n<tr>\n<td class=\"name\">Wendy Hui Kyong Chun</td>\n<td>.......</td>\n<td>Professor of Modern Culture and Media (Brown University)</td>\n</tr>\n<tr>\n<td class=\"name\">Dan Cohen</td>\n<td>.......</td>\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\n</tr>\n<tr>\n<td class=\"name\">Sharon Farb</td>\n<td>.......</td>\n<td>Associate University Librarian (UCLA)</td>\n</tr>\n<tr>\n<td class=\"name\">Kathleen Fitzpatrick</td>\n<td>.......</td>\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\n</tr>\n<tr>\n<td class=\"name\">Julia Flanders</td>\n<td>.......</td>\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\n</tr>\n<tr>\n<td class=\"name\">Amanda French</td>\n<td>.......</td>\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\n</tr>\n<tr>\n<td class=\"name\">Chuck Henry</td>\n<td>.......</td>\n<td>President, Council on Library and Information Resources (CLIR)</td>\n</tr>\n<tr>\n<td class=\"name\">Patricia Hswe</td>\n<td>.......</td>\n<td>Digital Collections Curator (Penn State University)</td>\n</tr>\n<tr>\n<td class=\"name\">Tara McPherson</td>\n<td>.......</td>\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\n</tr>\n<tr>\n<td class=\"name\">Kenneth M. Price</td>\n<td>.......</td>\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\n</tr>\n<tr>\n<td class=\"name\">Elliott Shore</td>\n<td>.......</td>\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\n</tr>\n<tr>\n<td class=\"name\">Richard Szary</td>\n<td>.......</td>\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\n</tr>\n<tr>\n<td class=\"name\">Ed Whitley</td>\n<td>.......</td>\n<td>Associate Professor of English (Lehigh University)</td>\n</tr>\n<tr>\n<td class=\"name\">John Willinsky</td>\n<td>.......</td>\n<td>Khosla Family Professor of Education (Stanford University)</td>\n</tr>\n</thead>\n</table>\n&nbsp;\n<h3><a name=\"submissions\"></a>Submissions</h3>\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\n\n&nbsp;\n<h3><a name=\"review\"></a>Peer Review</h3>\nAll materials in <em>Archive Journal</em> are peer-reviewed.\n\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\n\nOur review process consists of editorial and open review in the following stages:\n<ul>\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\n</ul>\n&nbsp;\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\n\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.<a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" alt=\"Creative Commons License\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" /></a>\n\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\n\n&nbsp;\n<h3><a name=\"publication\"></a>Publication</h3>\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\n\nISSN 2166-1189\n\n&nbsp;\n<h3><a name=\"support\"></a>Support</h3>\n&nbsp;\n\n<em>Archive Journal </em>is currently supported in part by funds from the Council on Library and Information Resources (CLIR).<em><a href=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\">        <img class=\"alignnone size-full wp-image-4839\" alt=\"CLIR Logo 5.27\" src=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\" width=\"53\" height=\"53\" /></a></em>\n\n&nbsp;\n\n<em>Archive Journal</em> was founded and has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','3549-revision-14','','','2013-06-24 16:35:53','2013-06-24 16:35:53','',3549,'http://dev.archivejournal.net/issue//uncategorized/3549-revision-14/',0,'revision','',0),(4844,3,'2013-06-24 16:36:56','2013-06-24 16:36:56','<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Notes + Queries</em> consists of short essays that share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial Team</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"160px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Managing Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Technical Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Contributing Editors</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.     <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" alt=\"Creative Commons License\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" /></a>\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\nISSN 2166-1189\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\n&nbsp;\r\n\r\n<em>Archive Journal </em>is currently supported in part by funds from the Council on Library and Information Resources (CLIR).     <em><a href=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\"><img class=\"alignnone  wp-image-4839\" alt=\"CLIR Logo 5.27\" src=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\" width=\"32\" height=\"32\" /></a></em>\r\n\r\n&nbsp;\r\n\r\n<em>Archive Journal</em> was founded and has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','3549-revision-16','','','2013-06-24 16:36:56','2013-06-24 16:36:56','',3549,'http://dev.archivejournal.net/issue//uncategorized/3549-revision-16/',0,'revision','',0),(4843,3,'2013-06-24 16:36:02','2013-06-24 16:36:02','<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Notes + Queries</em> consists of short essays that share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial Team</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"160px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Managing Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Technical Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Contributing Editors</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.<a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" alt=\"Creative Commons License\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" /></a>\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\nISSN 2166-1189\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\n&nbsp;\r\n\r\n<em>Archive Journal </em>is currently supported in part by funds from the Council on Library and Information Resources (CLIR).<em><a href=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\">        <img class=\"alignnone size-full wp-image-4839\" alt=\"CLIR Logo 5.27\" src=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\" width=\"53\" height=\"53\" /></a></em>\r\n\r\n&nbsp;\r\n\r\n<em>Archive Journal</em> was founded and has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','3549-revision-15','','','2013-06-24 16:36:02','2013-06-24 16:36:02','',3549,'http://dev.archivejournal.net/issue//uncategorized/3549-revision-15/',0,'revision','',0),(4845,3,'2013-06-24 16:40:59','2013-06-24 16:40:59','<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Notes + Queries</em> consists of short essays that share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial &amp; Advisory Boards</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"160px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Team</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h4>Editor</h4>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Managing Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Technical Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Contributing Editors</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.     <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" alt=\"Creative Commons License\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" /></a>\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\nISSN 2166-1189\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\n&nbsp;\r\n\r\n<em>Archive Journal </em>is currently supported in part by funds from the Council on Library and Information Resources (CLIR).     <em><a href=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\"><img class=\"alignnone  wp-image-4839\" alt=\"CLIR Logo 5.27\" src=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\" width=\"32\" height=\"32\" /></a></em>\r\n\r\n&nbsp;\r\n\r\n<em>Archive Journal</em> was founded and has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','3549-revision-17','','','2013-06-24 16:40:59','2013-06-24 16:40:59','',3549,'http://dev.archivejournal.net/issue//uncategorized/3549-revision-17/',0,'revision','',0),(4848,3,'2013-06-24 16:50:56','2013-06-24 16:50:56','<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Notes + Queries</em> consists of short essays that share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial &amp; Advisory Boards</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"160px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Team</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Managing Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Technical Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<h6>Social Media Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Jane Carr</td>\r\n<td>.......</td>\r\n<td>affiliation</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Contributing Editor</h6>\r\n</td>\r\n</tr>\r\n\r\n\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n\r\n</thead>\r\n</table>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Advisory Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Executive Director (Digital Public Library of America)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>Executive Director (Association of Research Libraries)</td>\r\n</tr>\r\n\r\n\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.     <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" alt=\"Creative Commons License\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" /></a>\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\nISSN 2166-1189\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\n&nbsp;\r\n\r\n<em>Archive Journal </em>is currently supported in part by funds from the Council on Library and Information Resources (CLIR).     <em><a href=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\"><img class=\"alignnone  wp-image-4839\" alt=\"CLIR Logo 5.27\" src=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\" width=\"32\" height=\"32\" /></a></em>\r\n\r\n&nbsp;\r\n\r\n<em>Archive Journal</em> was founded and has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','3549-revision-20','','','2013-06-24 16:50:56','2013-06-24 16:50:56','',3549,'http://dev.archivejournal.net/issue//uncategorized/3549-revision-20/',0,'revision','',0),(4846,3,'2013-06-24 16:42:23','2013-06-24 16:42:23','<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Notes + Queries</em> consists of short essays that share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial &amp; Advisory Boards</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"160px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Team</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h1>Editor</h1>><h5>Editor</h5><h6>Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Managing Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Technical Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Contributing Editors</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.     <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" alt=\"Creative Commons License\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" /></a>\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\nISSN 2166-1189\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\n&nbsp;\r\n\r\n<em>Archive Journal </em>is currently supported in part by funds from the Council on Library and Information Resources (CLIR).     <em><a href=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\"><img class=\"alignnone  wp-image-4839\" alt=\"CLIR Logo 5.27\" src=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\" width=\"32\" height=\"32\" /></a></em>\r\n\r\n&nbsp;\r\n\r\n<em>Archive Journal</em> was founded and has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','3549-revision-18','','','2013-06-24 16:42:23','2013-06-24 16:42:23','',3549,'http://dev.archivejournal.net/issue//uncategorized/3549-revision-18/',0,'revision','',0),(4847,3,'2013-06-24 16:42:42','2013-06-24 16:42:42','<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Notes + Queries</em> consists of short essays that share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial &amp; Advisory Boards</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"160px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Team</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h1>Editor</h1><h5>Editor</h5><h6>Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Managing Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Technical Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Contributing Editors</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.     <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" alt=\"Creative Commons License\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" /></a>\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\nISSN 2166-1189\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\n&nbsp;\r\n\r\n<em>Archive Journal </em>is currently supported in part by funds from the Council on Library and Information Resources (CLIR).     <em><a href=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\"><img class=\"alignnone  wp-image-4839\" alt=\"CLIR Logo 5.27\" src=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\" width=\"32\" height=\"32\" /></a></em>\r\n\r\n&nbsp;\r\n\r\n<em>Archive Journal</em> was founded and has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','3549-revision-19','','','2013-06-24 16:42:42','2013-06-24 16:42:42','',3549,'http://dev.archivejournal.net/issue//uncategorized/3549-revision-19/',0,'revision','',0),(4849,3,'2013-06-24 16:51:16','2013-06-24 16:51:16','<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Notes + Queries</em> consists of short essays that share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial &amp; Advisory Boards</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"160px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Team</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Managing Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Technical Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<h6>Social Media Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Jane Carr</td>\r\n<td>.......</td>\r\n<td>affiliation</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Contributing Editor</h6>\r\n</td>\r\n</tr>\r\n\r\n\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n\r\n</thead>\r\n</table>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Advisory Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Executive Director (Digital Public Library of America)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>Executive Director (Association of Research Libraries)</td>\r\n</tr>\r\n\r\n\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.     <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" alt=\"Creative Commons License\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" /></a>\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\nISSN 2166-1189\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\n&nbsp;\r\n\r\n<em>Archive Journal </em>is currently supported in part by funds from the Council on Library and Information Resources (CLIR).     <em><a href=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\"><img class=\"alignnone  wp-image-4839\" alt=\"CLIR Logo 5.27\" src=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\" width=\"32\" height=\"32\" /></a></em>\r\n\r\n&nbsp;\r\n\r\n<em>Archive Journal</em> was founded and has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','3549-revision-21','','','2013-06-24 16:51:16','2013-06-24 16:51:16','',3549,'http://dev.archivejournal.net/issue//uncategorized/3549-revision-21/',0,'revision','',0),(4850,3,'2013-06-24 16:54:22','2013-06-24 16:54:22','<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Notes + Queries</em> consists of short essays that share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial &amp; Advisory Boards</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"160px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Team</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Managing Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Contributing Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Social Media Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Jane Carr</td>\r\n<td>.......</td>\r\n<td>affiliation</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Technical Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n\r\n\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n\r\n</thead>\r\n</table>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Advisory Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Executive Director (Digital Public Library of America)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>Executive Director (Association of Research Libraries)</td>\r\n</tr>\r\n\r\n\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.     <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" alt=\"Creative Commons License\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" /></a>\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\nISSN 2166-1189\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\n&nbsp;\r\n\r\n<em>Archive Journal </em>is currently supported in part by funds from the Council on Library and Information Resources (CLIR).     <em><a href=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\"><img class=\"alignnone  wp-image-4839\" alt=\"CLIR Logo 5.27\" src=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\" width=\"32\" height=\"32\" /></a></em>\r\n\r\n&nbsp;\r\n\r\n<em>Archive Journal</em> was founded and has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','3549-revision-22','','','2013-06-24 16:54:22','2013-06-24 16:54:22','',3549,'http://dev.archivejournal.net/issue//uncategorized/3549-revision-22/',0,'revision','',0),(4851,3,'2013-06-24 16:55:49','2013-06-24 16:55:49','<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Notes + Queries</em> consists of short essays that share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial &amp; Advisory Boards</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"160px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Team</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Managing Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Contributing Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Social Media Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Jane Carr</td>\r\n<td>.......</td>\r\n<td>affiliation</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Technical Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n\r\n\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Advisory Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Executive Director (Digital Public Library of America)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>Executive Director (Association of Research Libraries)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.     <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" alt=\"Creative Commons License\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" /></a>\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\nISSN 2166-1189\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\n&nbsp;\r\n\r\n<em>Archive Journal </em>is currently supported in part by funds from the Council on Library and Information Resources (CLIR).     <em><a href=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\"><img class=\"alignnone  wp-image-4839\" alt=\"CLIR Logo 5.27\" src=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\" width=\"32\" height=\"32\" /></a></em>\r\n\r\n&nbsp;\r\n\r\n<em>Archive Journal</em> was founded and has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','3549-revision-23','','','2013-06-24 16:55:49','2013-06-24 16:55:49','',3549,'http://dev.archivejournal.net/issue//uncategorized/3549-revision-23/',0,'revision','',0),(4853,3,'2013-06-24 17:00:44','2013-06-24 17:00:44','<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Notes + Queries</em> consists of short essays that share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial &amp; Advisory Boards</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"160px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Team</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Managing Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Contributing Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Social Media Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Jane Carr</td>\r\n<td>.......</td>\r\n<td>affiliation</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Technical Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Korey Jackson</td>\r\n<td>.......</td>\r\n<td>ACLS Public Fellow and Project Analyst &amp; Coordinator (Anvil Academic)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Advisory Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Executive Director (Digital Public Library of America)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>Executive Director (Association of Research Libraries)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n\r\n<a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" alt=\"Creative Commons License\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" /></a>\r\n\r\n<em>Archive</em> <em>Journal </em>has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\nISSN 2166-1189\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\n&nbsp;\r\n\r\n<em>Archive Journal </em>is currently supported in part by funds from the Council on Library and Information Resources (CLIR).     <em><a href=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\"><img class=\"alignnone  wp-image-4839\" alt=\"CLIR Logo 5.27\" src=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\" width=\"32\" height=\"32\" /></a></em>\r\n\r\n&nbsp;\r\n\r\n<em>Archive Journal</em> has been generously supported with grants from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','3549-revision-25','','','2013-06-24 17:00:44','2013-06-24 17:00:44','',3549,'http://dev.archivejournal.net/issue//uncategorized/3549-revision-25/',0,'revision','',0),(4852,3,'2013-06-24 16:58:04','2013-06-24 16:58:04','<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Notes + Queries</em> consists of short essays that share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial &amp; Advisory Boards</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"160px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Team</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Managing Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Contributing Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Social Media Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Jane Carr</td>\r\n<td>.......</td>\r\n<td>affiliation</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Technical Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n\r\n\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Korey Jackson</td>\r\n<td>.......</td>\r\n<td>ACLS Public Fellow and Project Analyst & Coordinator (Anvil Academic)\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Advisory Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Executive Director (Digital Public Library of America)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>Executive Director (Association of Research Libraries)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.     <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" alt=\"Creative Commons License\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" /></a>\r\n\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\nISSN 2166-1189\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\n&nbsp;\r\n\r\n<em>Archive Journal </em>is currently supported in part by funds from the Council on Library and Information Resources (CLIR).     <em><a href=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\"><img class=\"alignnone  wp-image-4839\" alt=\"CLIR Logo 5.27\" src=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\" width=\"32\" height=\"32\" /></a></em>\r\n\r\n&nbsp;\r\n\r\n<em>Archive Journal</em> was founded and has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','3549-revision-24','','','2013-06-24 16:58:04','2013-06-24 16:58:04','',3549,'http://dev.archivejournal.net/issue//uncategorized/3549-revision-24/',0,'revision','',0),(4854,3,'2013-06-24 17:01:34','2013-06-24 17:01:34','<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Notes + Queries</em> consists of short essays that share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial &amp; Advisory Boards</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"160px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Team</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Managing Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Contributing Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Social Media Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Jane Carr</td>\r\n<td>.......</td>\r\n<td>affiliation</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Technical Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Korey Jackson</td>\r\n<td>.......</td>\r\n<td>ACLS Public Fellow and Project Analyst &amp; Coordinator (Anvil Academic)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Advisory Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Executive Director (Digital Public Library of America)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>Executive Director (Association of Research Libraries)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n\r\n<a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" alt=\"Creative Commons License\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" /></a>\r\n\r\n<em>Archive</em> <em>Journal </em>has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\nISSN 2166-1189\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\n&nbsp;\r\n\r\n<em>Archive Journal </em>is currently supported in part by funds from the Council on Library and Information Resources (CLIR).     <em><a href=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\"><img class=\"alignnone  wp-image-4839\" alt=\"CLIR Logo 5.27\" src=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\" width=\"32\" height=\"32\" /></a></em>\r\n\r\n&nbsp;\r\n\r\n<em>Archive Journal</em> has been generously supported with grants from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','3549-revision-26','','','2013-06-24 17:01:34','2013-06-24 17:01:34','',3549,'http://dev.archivejournal.net/issue//uncategorized/3549-revision-26/',0,'revision','',0),(4855,3,'2013-06-24 17:06:05','2013-06-24 17:06:05','<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Notes + Queries</em> consists of short essays that share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial &amp; Advisory Boards</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"160px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Team</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Managing Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Contributing Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Social Media Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Jane Carr</td>\r\n<td>.......</td>\r\n<td>affiliation</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Technical Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lisa Darms</td>\r\n<td>.......</td>\r\n<td>Senior Archivist, Fales Library & Special Collections (NYU)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kate Eichorn</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of Culture and Media Studies (The New School University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Korey Jackson</td>\r\n<td>.......</td>\r\n<td>ACLS Public Fellow and Project Analyst &amp; Coordinator (Anvil Academic)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Peter Wosh</td>\r\n<td>.......</td>\r\n<td>Clinical Associate Professor of History; Director, Archives/Public History Program (NYU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Advisory Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Executive Director (Digital Public Library of America)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>Executive Director (Association of Research Libraries)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n\r\n<a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" alt=\"Creative Commons License\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" /></a>\r\n\r\n<em>Archive</em> <em>Journal </em>has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\nISSN 2166-1189\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\n&nbsp;\r\n\r\n<em>Archive Journal </em>is currently supported in part by funds from the Council on Library and Information Resources (CLIR).     <em><a href=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\"><img class=\"alignnone  wp-image-4839\" alt=\"CLIR Logo 5.27\" src=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\" width=\"32\" height=\"32\" /></a></em>\r\n\r\n&nbsp;\r\n\r\n<em>Archive Journal</em> has been generously supported with grants from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','3549-revision-27','','','2013-06-24 17:06:05','2013-06-24 17:06:05','',3549,'http://dev.archivejournal.net/issue//uncategorized/3549-revision-27/',0,'revision','',0),(4856,3,'2013-06-24 17:06:24','2013-06-24 17:06:24','<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Notes + Queries</em> consists of short essays that share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial &amp; Advisory Boards</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"160px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Team</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Managing Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Contributing Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Social Media Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Jane Carr</td>\r\n<td>.......</td>\r\n<td>affiliation</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Technical Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lisa Darms</td>\r\n<td>.......</td>\r\n<td>Senior Archivist, Fales Library & Special Collections (NYU)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kate Eichorn</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of Culture and Media Studies (The New School University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Korey Jackson</td>\r\n<td>.......</td>\r\n<td>ACLS Public Fellow and Project Analyst &amp; Coordinator (Anvil Academic)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Peter Wosh</td>\r\n<td>.......</td>\r\n<td>Clinical Associate Professor of History; Director, Archives/Public History Program (NYU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Advisory Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Executive Director (Digital Public Library of America)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>Executive Director (Association of Research Libraries)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n\r\n<a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" alt=\"Creative Commons License\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" /></a>\r\n\r\n<em>Archive</em> <em>Journal </em>has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\nISSN 2166-1189\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\n&nbsp;\r\n\r\n<em>Archive Journal </em>is currently supported in part by funds from the Council on Library and Information Resources (CLIR).     <em><a href=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\"><img class=\"alignnone  wp-image-4839\" alt=\"CLIR Logo 5.27\" src=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\" width=\"32\" height=\"32\" /></a></em>\r\n\r\n&nbsp;\r\n\r\n<em>Archive Journal</em> has been generously supported with grants from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','3549-revision-28','','','2013-06-24 17:06:24','2013-06-24 17:06:24','',3549,'http://dev.archivejournal.net/issue//uncategorized/3549-revision-28/',0,'revision','',0),(4857,3,'2013-06-24 17:08:53','2013-06-24 17:08:53','<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li><em>Notes + Queries</em> consists of short essays that share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial &amp; Advisory Boards</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"160px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Team</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Managing Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Contributing Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Social Media Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Jane Carr</td>\r\n<td>.......</td>\r\n<td>affiliation</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h6>Technical Editor</h6>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lisa Darms</td>\r\n<td>.......</td>\r\n<td>Senior Archivist, Fales Library &amp; Special Collections (NYU)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kate Eichorn</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of Culture and Media Studies (The New School University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Korey Jackson</td>\r\n<td>.......</td>\r\n<td>ACLS Public Fellow and Project Analyst &amp; Coordinator (Anvil Academic)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Peter Wosh</td>\r\n<td>.......</td>\r\n<td>Clinical Associate Professor of History; Director, Archives/Public History Program (NYU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Advisory Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Executive Director (Digital Public Library of America)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>Executive Director (Association of Research Libraries)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n\r\n<a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" alt=\"Creative Commons License\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" /></a>\r\n\r\n<em>Archive</em> <em>Journal </em>has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\nISSN 2166-1189\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\n&nbsp;\r\n\r\n<em><a href=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\"><img class=\"alignnone  wp-image-4839\" alt=\"CLIR Logo 5.27\" src=\"http://dev.archivejournal.net/wp-content/uploads/2010/11/CLIR-Logo-5.27.jpg\" width=\"32\" height=\"32\" /></a></em>\r\n\r\n<em>Archive Journal </em>is currently supported in part by funds from the Council on Library and Information Resources (CLIR).\r\n\r\n<em>Archive Journal</em> has been generously supported with grants from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','3549-revision-29','','','2013-06-24 17:08:53','2013-06-24 17:08:53','',3549,'http://dev.archivejournal.net/issue//uncategorized/3549-revision-29/',0,'revision','',0),