
--
-- Table structure for table `archive_posts`
--

CREATE TABLE `archive_posts` (
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  `post_excerpt` text NOT NULL,
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  `comment_count` bigint(20) NOT NULL DEFAULT '0',
  PRIMARY KEY (`ID`),
  KEY `post_name` (`post_name`),
  KEY `type_status_date` (`post_type`,`post_status`,`post_date`,`ID`),
  KEY `post_parent` (`post_parent`),
  KEY `post_author` (`post_author`)
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--
-- Dumping data for table `archive_posts`
--

INSERT INTO `archive_posts` VALUES (224,2,'2011-02-09 01:09:35','2011-02-09 01:09:35','','CastleHours2OpenStripped150','','inherit','open','open','','castlehours2openstripped150','','','2011-02-09 01:09:35','2011-02-09 01:09:35','',222,'http://dev.archivejournal.net/wp-content/uploads/2011/02/CastleHours2OpenStripped150.jpg',0,'attachment','image/jpeg',0),(248,2,'2011-02-09 21:45:43','2011-02-09 21:45:43','','meg-school-pic','','inherit','open','open','','meg-school-pic','','','2011-02-09 21:45:43','2011-02-09 21:45:43','',235,'http://dev.archivejournal.net/wp-content/uploads/2011/02/meg-school-pic.jpg',0,'attachment','image/jpeg',0),(364,13,'2011-04-19 14:18:04','2011-04-19 14:18:04','','archives-remixed-gdean','','inherit','open','open','','archives-remixed-gdean','','','2011-04-19 14:18:04','2011-04-19 14:18:04','',0,'http://dev.archivejournal.net/wp-content/uploads/2011/04/archives-remixed-gdean.png',0,'attachment','image/png',0),(369,13,'2011-04-19 15:10:24','2011-04-19 15:10:24','','fig 2 kaplan','Photocopy of Alice Yaeger Kaplan’s “Working in the Archives.”','inherit','open','open','','fig-2-kaplan','','','2011-04-19 15:10:24','2011-04-19 15:10:24','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-2-kaplan.jpg',0,'attachment','image/jpeg',0),(372,13,'2011-04-19 15:15:40','2011-04-19 15:15:40','','fig 3 Derrida','Print out of Jacque Derrida’s “Archive Fever” from Diacritics.; and Carolyn Steedman’s Dust: The Archive and Cultural History (2001).','inherit','open','open','','fig-3-derrida','','','2011-04-19 15:15:40','2011-04-19 15:15:40','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-3-Derrida.jpg',0,'attachment','image/jpeg',0),(373,13,'2011-04-19 15:16:25','2011-04-19 15:16:25','','fig 4 steedman','Library copy of Carolyn Steedman’s Dust. ((Jacques Derrida, “Archive Fever: A Freudian Impression,” Diacritics 25.2 (Summer 1995): 9-63. Web. 1 Dec. 2010. Carolyn Steedman, Dust: The Archive and Cultural History (New Brunswick: Rutgers University Press, 2001).)) ','inherit','open','open','','fig-4-steedman','','','2011-04-19 15:16:25','2011-04-19 15:16:25','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-4-steedman.jpg',0,'attachment','image/jpeg',0),(378,13,'2011-04-19 16:06:08','2011-04-19 16:06:08','','fig-1-fake','','inherit','open','open','','fig-1-fake','','','2011-04-19 16:06:08','2011-04-19 16:06:08','',0,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-1-fake.jpg',0,'attachment','image/jpeg',0),(393,13,'2011-04-21 06:02:55','2011-04-21 06:02:55','','fig 5 cdjc','','inherit','open','open','','fig-5-cdjc','','','2011-04-21 06:02:55','2011-04-21 06:02:55','',0,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-5-cdjc.jpg',0,'attachment','image/jpeg',0),(394,13,'2011-04-21 06:04:21','2011-04-21 06:04:21','','fig 6 alpha index','','inherit','open','open','','fig-6-alpha-index','','','2011-04-21 06:04:21','2011-04-21 06:04:21','',0,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-6-alpha-index.jpg',0,'attachment','image/jpeg',0),(395,13,'2011-04-21 06:05:53','2011-04-21 06:05:53','','fig 6 alpha index','Figure 4. Alphabetical index from Alphabetical Catalouge (“desiderata”).','inherit','open','open','','fig-6-alpha-index-2','','','2011-04-21 06:05:53','2011-04-21 06:05:53','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-6-alpha-index1.jpg',0,'attachment','image/jpeg',0),(396,13,'2011-04-21 06:06:24','2011-04-21 06:06:24','','fig 7 print cat','Figure 5. Reprinted volumes of the Catalogue of the Library of the Peabody Institute (1883).','inherit','open','open','','fig-7-print-cat','','','2011-04-21 06:06:24','2011-04-21 06:06:24','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-7-print-cat.jpg',0,'attachment','image/jpeg',0),(397,13,'2011-04-21 06:06:46','2011-04-21 06:06:46','','fig 8 card cat','Figure 6. One of two card catalogues in the Peabody.','inherit','open','open','','fig-8-card-cat','','','2011-04-21 06:06:46','2011-04-21 06:06:46','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-8-card-cat.jpg',0,'attachment','image/jpeg',0),(398,13,'2011-04-21 06:07:15','2011-04-21 06:07:15','','fig 9 index detail','Figure 7. Detail of subject index from Alphabetical Catalouge No. 2 (“desiderata”).','inherit','open','open','','fig-9-index-detail','','','2011-04-21 06:07:15','2011-04-21 06:07:15','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-9-index-detail.jpg',0,'attachment','image/jpeg',0),(399,13,'2011-04-21 06:07:51','2011-04-21 06:07:51','','fig 10 annual report detail','Figure 8. Detail from First Annual Report showing chart of books read, with special mention of fiction.','inherit','open','open','','fig-10-annual-report-detail','','','2011-04-21 06:07:51','2011-04-21 06:07:51','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-10-annual-report-detail.jpg',0,'attachment','image/jpeg',0),(400,13,'2011-04-21 06:08:10','2011-04-21 06:08:10','','fig 11 ddc cards','Figure 9. Dewey cards for “gift books.”','inherit','open','open','','fig-11-ddc-cards','','','2011-04-21 06:08:10','2011-04-21 06:08:10','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-11-ddc-cards.jpg',0,'attachment','image/jpeg',0),(401,13,'2011-04-21 06:08:29','2011-04-21 06:08:29','','fig 12 r&r','Figure 10. The Rough and Ready Annual in the stacks.','inherit','open','open','','fig-12-rr','','','2011-04-21 06:08:29','2011-04-21 06:08:29','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-12-rr.jpg',0,'attachment','image/jpeg',0),(402,13,'2011-04-21 06:09:25','2011-04-21 06:09:25','','fig 13 orange','Figure 11. Orange Blossoms in the stacks.','inherit','open','open','','fig-13-orange','','','2011-04-21 06:09:25','2011-04-21 06:09:25','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-13-orange.jpg',0,'attachment','image/jpeg',0),(403,13,'2011-04-21 06:09:51','2011-04-21 06:09:51','','fig 14 rbr','Figure 12. The rare book room.','inherit','open','open','','fig-14-rbr','','','2011-04-21 06:09:51','2011-04-21 06:09:51','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-14-rbr.jpg',0,'attachment','image/jpeg',0),(404,13,'2011-04-21 06:10:10','2011-04-21 06:10:10','','fig 15 parlor','Figure 13. The Parlor Annual in the stacks.','inherit','open','open','','fig-15-parlor','','','2011-04-21 06:10:10','2011-04-21 06:10:10','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-15-parlor.jpg',0,'attachment','image/jpeg',0),(405,13,'2011-04-21 06:10:29','2011-04-21 06:10:29','','fig 16 slips','Figure 14. Call slips and flags.','inherit','open','open','','fig-16-slips','','','2011-04-21 06:10:29','2011-04-21 06:10:29','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-16-slips.jpg',0,'attachment','image/jpeg',0),(406,13,'2011-04-21 06:10:49','2011-04-21 06:10:49','','fig 17 new reader','Figure 15. Inscription in The New American Reader.','inherit','open','open','','fig-17-new-reader','','','2011-04-21 06:10:49','2011-04-21 06:10:49','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-17-new-reader.jpg',0,'attachment','image/jpeg',0),(407,13,'2011-04-21 06:11:18','2011-04-21 06:11:18','','fig 18 skylight','Figure 16. The skylight in the George Peabody Library.','inherit','open','open','','fig-18-skylight','','','2011-04-21 06:11:18','2011-04-21 06:11:18','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-18-skylight.jpg',0,'attachment','image/jpeg',0),(408,13,'2011-04-21 06:11:39','2011-04-21 06:11:39','','fig 19 alcove','Figure 17. Alcove in the George Peabody Library.','inherit','open','open','','fig-19-alcove','','','2011-04-21 06:11:39','2011-04-21 06:11:39','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-19-alcove.jpg',0,'attachment','image/jpeg',0),(409,13,'2011-04-21 06:12:02','2011-04-21 06:12:02','','fig 20 station','Figure 18. Photography station in the George Peabody Library.','inherit','open','open','','fig-20-station','','','2011-04-21 06:12:02','2011-04-21 06:12:02','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-20-station.jpg',0,'attachment','image/jpeg',0),(423,13,'2011-04-21 06:27:26','2011-04-21 06:27:26','','fig 5 cdjc','Figure 3. Website for the Centre de documentation juive contemporain.','inherit','open','open','','fig-5-cdjc-2','','','2011-04-21 06:27:26','2011-04-21 06:27:26','',2199,'http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-5-cdjc1.jpg',0,'attachment','image/jpeg',0),(556,13,'2011-04-28 04:46:25','2011-04-28 04:46:25','','walt-whitman-portrait','','inherit','open','open','','walt-whitman-2','','','2011-04-28 04:46:25','2011-04-28 04:46:25','',0,'http://dev.archivejournal.net/wp-content/uploads/2010/12/walt-whitman.png',0,'attachment','image/png',0),(651,13,'2011-04-30 23:27:15','2011-04-30 23:27:15','','castle-book','','inherit','open','open','','castle-book','','','2011-04-30 23:27:15','2011-04-30 23:27:15','',222,'http://dev.archivejournal.net/wp-content/uploads/2011/02/castle-book1.png',0,'attachment','image/png',0),(676,13,'2011-05-02 00:56:44','2011-05-02 00:56:44','','castle-book_thumb','','inherit','open','open','','castle-book_thumb','','','2011-05-02 00:56:44','2011-05-02 00:56:44','',222,'http://dev.archivejournal.net/wp-content/uploads/2011/02/castle-book_thumb.jpg',0,'attachment','image/jpeg',0),(679,13,'2011-05-02 02:24:19','2011-05-02 02:24:19','','Archive Finder','','inherit','open','open','','archive-finder_map','','','2011-05-02 02:24:19','2011-05-02 02:24:19','',0,'http://dev.archivejournal.net/wp-content/uploads/2010/12/archive-finder_map.jpg',0,'attachment','image/jpeg',0),(850,13,'2011-09-12 04:38:20','2011-09-12 04:38:20','','ww','','inherit','open','open','','ww','','','2011-09-12 04:38:20','2011-09-12 04:38:20','',336,'http://dev.archivejournal.net/wp-content/uploads/2011/04/ww.png',0,'attachment','image/png',0),(854,13,'2011-09-12 04:59:38','2011-09-12 04:59:38','','ww','','inherit','open','open','','ww-2','','','2011-09-12 04:59:38','2011-09-12 04:59:38','',336,'http://dev.archivejournal.net/wp-content/uploads/2011/04/ww1.png',0,'attachment','image/png',0),(855,13,'2011-09-12 05:00:46','2011-09-12 05:00:46','','ww','','inherit','open','open','','ww-3','','','2011-09-12 05:00:46','2011-09-12 05:00:46','',336,'http://dev.archivejournal.net/wp-content/uploads/2011/04/ww2.png',0,'attachment','image/png',0),(860,13,'2011-09-20 05:55:17','2011-09-20 05:55:17','','360','','inherit','open','open','','360','','','2011-09-20 05:55:17','2011-09-20 05:55:17','',336,'http://dev.archivejournal.net/wp-content/uploads/2011/04/360.png',0,'attachment','image/png',0),(957,13,'2012-02-09 07:53:20','2012-02-09 07:53:20','','uf_student  action photo_barnett 3','James (Jimmy) Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings’  “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890.  Photo credit: Joe Kaleita, University of Florida Libraries. ','inherit','open','open','','uf_student-action-photo_barnett-3','','','2012-02-09 07:53:20','2012-02-09 07:53:20','',946,'http://dev.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-3.jpg',0,'attachment','image/jpeg',0),(958,13,'2012-02-09 07:53:23','2012-02-09 07:53:23','','uf_student work_image 2','John Carrère and Thomas Hastings.  “Part Plan of Fourth Floor. Architectural drawings of the Hotel Ponce de Leon, St. Augustine, Florida.” 96”x40”. ','inherit','open','open','','uf_student-work_image-2','','','2012-02-09 07:53:23','2012-02-09 07:53:23','',946,'http://dev.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-2.jpg',0,'attachment','image/jpeg',0),(959,13,'2012-02-09 07:53:26','2012-02-09 07:53:26','','uf_student work_image 1','An example of the results of Barnett’s work digitizing and preserving a large-scale architectural drawing.  John Carrère and Thomas Hastings.  “Ground Plan, Presbyterian Church, St. Augustine, Fla.”  c. 1889-1890. ','inherit','open','open','','uf_student-work_image-1','','','2012-02-09 07:53:26','2012-02-09 07:53:26','',946,'http://dev.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-1.jpg',0,'attachment','image/jpeg',0),(968,13,'2012-02-09 08:15:31','2012-02-09 08:15:31','','barnett','','inherit','open','open','','barnett','','','2012-02-09 08:15:31','2012-02-09 08:15:31','',967,'http://dev.archivejournal.net/wp-content/uploads/2012/02/barnett.jpg',0,'attachment','image/jpeg',0),(969,13,'2012-02-09 08:17:39','2012-02-09 08:17:39','','uf_student  action photo_barnett 6','','inherit','open','open','','uf_student-action-photo_barnett-6','','','2012-02-09 08:17:39','2012-02-09 08:17:39','',967,'http://dev.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-6.jpg',0,'attachment','image/jpeg',0),(977,13,'2012-02-09 09:17:49','2012-02-09 09:17:49','','uf_leader headshot_nemmers','','inherit','open','open','','uf_leader-headshot_nemmers','','','2012-02-09 09:17:49','2012-02-09 09:17:49','',976,'http://dev.archivejournal.net/wp-content/uploads/2012/02/uf_leader-headshot_nemmers.jpg',0,'attachment','image/jpeg',0),(1185,13,'2012-02-11 08:12:21','2012-02-11 08:12:21','','walters_student-action-photo_dowdle','Elizabeth Dowdle (in striped shirt) with Capitoline Amazon, marble (Roman copy after Kresilas, Greek, active ca. 450 BC - 420 BC).','inherit','open','open','','walters_student-action-photo_dowdle','','','2012-02-11 08:12:21','2012-02-11 08:12:21','',1152,'http://dev.archivejournal.net/wp-content/uploads/2012/02/walters_student-action-photo_dowdle.jpg',0,'attachment','image/jpeg',0),(1189,13,'2012-02-11 08:17:18','2012-02-11 08:17:18','','walters_student action photo_devos','Dakota DeVos (pointing at books) with Antiphonary for Abbess of Sainte-Marie of Beaupré, ink on parchment (Flemish, 1290).','inherit','open','open','','walters_student-action-photo_devos','','','2012-02-11 08:17:18','2012-02-11 08:17:18','',1128,'http://dev.archivejournal.net/wp-content/uploads/2012/02/walters_student-action-photo_devos.jpg',0,'attachment','image/jpeg',0),(1193,13,'2012-02-11 08:24:33','2012-02-11 08:24:33','','walters_student action photo_tkacs','Joan Tkcas (on far right, in brown) and Casket with Scenes of Romances, ivory and bone with modern iron mounts (French, 1330-1350).','inherit','open','open','','walters_student-action-photo_tkacs','','','2012-02-11 08:24:33','2012-02-11 08:24:33','',1126,'http://dev.archivejournal.net/wp-content/uploads/2012/02/walters_student-action-photo_tkacs.jpg',0,'attachment','image/jpeg',0),(1220,13,'2012-02-11 18:09:45','2012-02-11 18:09:45','','rodini','','inherit','open','open','','rodini','','','2012-02-11 18:09:45','2012-02-11 18:09:45','',1132,'http://dev.archivejournal.net/wp-content/uploads/2012/02/rodini.jpg',0,'attachment','image/jpeg',0),(1223,13,'2012-02-11 18:17:02','2012-02-11 18:17:02','','szerba','','inherit','open','open','','szerba','','','2012-02-11 18:17:02','2012-02-11 18:17:02','',1123,'http://dev.archivejournal.net/wp-content/uploads/2012/02/szerba.jpg',0,'attachment','image/jpeg',0),(1241,13,'2012-02-11 19:20:28','2012-02-11 19:20:28','','walters_project image','','inherit','open','open','','walters_project-image','','','2012-02-11 19:20:28','2012-02-11 19:20:28','',1130,'http://dev.archivejournal.net/wp-content/uploads/2012/02/walters_project-image.jpg',0,'attachment','image/jpeg',0),(1244,13,'2012-02-11 19:36:02','2012-02-11 19:36:02','','jhu_student photo_smith','','inherit','open','open','','jhu_student-photo_smith','','','2012-02-11 19:36:02','2012-02-11 19:36:02','',1059,'http://dev.archivejournal.net/wp-content/uploads/2012/02/jhu_student-photo_smith.jpg',0,'attachment','image/jpeg',0),(1247,13,'2012-02-11 19:40:06','2012-02-11 19:40:06','','jhu_teacher photo_hinderer','','inherit','open','open','','jhu_teacher-photo_hinderer','','','2012-02-11 19:40:06','2012-02-11 19:40:06','',1062,'http://dev.archivejournal.net/wp-content/uploads/2012/02/jhu_teacher-photo_hinderer.jpg',0,'attachment','image/jpeg',0),(1253,13,'2012-02-11 19:50:07','2012-02-11 19:50:07','','jhu_project photo_afro','Unprocessed boxes of archival material, Baltimore Afro-American Newspapers, 2008.','inherit','open','open','','jhu_project-photo_afro','','','2012-02-11 19:50:07','2012-02-11 19:50:07','',1064,'http://dev.archivejournal.net/wp-content/uploads/2012/02/jhu_project-photo_afro.jpg',0,'attachment','image/jpeg',0),(1258,13,'2012-02-11 19:53:16','2012-02-11 19:53:16','','jhu_student project photo 1_gado','The Gado 2 Robotic Scanner scanning photos at the <em>Afro-American Newspapers</em> archive. ','inherit','open','open','','jhu_student-project-photo-1_gado','','','2012-02-11 19:53:16','2012-02-11 19:53:16','',1057,'http://dev.archivejournal.net/wp-content/uploads/2012/02/jhu_student-project-photo-1_gado.jpg',0,'attachment','image/jpeg',0),(1273,13,'2012-02-11 20:23:34','2012-02-11 20:23:34','','goucher_student action photo_kendall','Sarah Kendall working with the Burke copy of the American first edition of Austen\'s Emma in the former Rare Book Collection Seminar Room (December 2007).','inherit','open','open','','goucher_student-action-photo_kendall','','','2012-02-11 20:23:34','2012-02-11 20:23:34','',1053,'http://dev.archivejournal.net/wp-content/uploads/2012/02/goucher_student-action-photo_kendall.jpg',0,'attachment','image/jpeg',0),(1275,13,'2012-02-11 20:32:48','2012-02-11 20:32:48','','goucher_student action photo_brand','Cassie Brand working in the former Rare Book Collection Seminar Room (December 2007) with an early Chaucer edition from Special Collections (Ed. John Urry, London: Printed for Bernard Lintot, 1721). ','inherit','open','open','','goucher_student-action-photo_brand','','','2012-02-11 20:32:48','2012-02-11 20:32:48','',1051,'http://dev.archivejournal.net/wp-content/uploads/2012/02/goucher_student-action-photo_brand.jpg',0,'attachment','image/jpeg',0),(1279,13,'2012-02-11 20:35:48','2012-02-11 20:35:48','','goucher_instructor image_sanders','','inherit','open','open','','goucher_instructor-image_sanders','','','2012-02-11 20:35:48','2012-02-11 20:35:48','',1049,'http://dev.archivejournal.net/wp-content/uploads/2012/02/goucher_instructor-image_sanders.jpg',0,'attachment','image/jpeg',0),(1284,13,'2012-02-11 20:38:37','2012-02-11 20:38:37','','goucher_student action photo_brand','','inherit','open','open','','goucher_student-action-photo_brand-2','','','2012-02-11 20:38:37','2012-02-11 20:38:37','',1051,'http://dev.archivejournal.net/wp-content/uploads/2012/02/goucher_student-action-photo_brand1.jpg',0,'attachment','image/jpeg',0),(1286,13,'2012-02-11 20:39:02','2012-02-11 20:39:02','','goucher_student action photo_kendall','','inherit','open','open','','goucher_student-action-photo_kendall-2','','','2012-02-11 20:39:02','2012-02-11 20:39:02','',1053,'http://dev.archivejournal.net/wp-content/uploads/2012/02/goucher_student-action-photo_kendall1.jpg',0,'attachment','image/jpeg',0),(1314,13,'2012-02-11 22:11:45','2012-02-11 22:11:45','','goucher_student work image1_kendall','Title page of the Burke Collection copy of the American first edition of Jane Austen\'s Emma (Philadelphia: M. Carey; for sale by Wells & Lilly, Boston, 1816).','inherit','open','open','','goucher_student-work-image1_kendall','','','2012-02-11 22:11:45','2012-02-11 22:11:45','',1300,'http://dev.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image1_kendall.jpg',0,'attachment','image/jpeg',0),(1316,13,'2012-02-11 22:17:29','2012-02-11 22:17:29','','goucher_student work image3_kendall','Siegfried Sassoon\'s letter to Percy Muir, antiquarian book dealer, regarding Sassoon\'s sale of the American first edition of Emma to Frank J. Hogan (dated December 3, 1941).  The letter was discovered inside the front cover of the Burke Collection copy.','inherit','open','open','','goucher_student-work-image3_kendall','','','2012-02-11 22:17:29','2012-02-11 22:17:29','',1300,'http://dev.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image3_kendall.jpg',0,'attachment','image/jpeg',0),(1319,13,'2012-02-11 22:20:20','2012-02-11 22:20:20','','goucher_student work image2_kendall','Front pastedown and first flyleaf of the Burke Collection copy of the American first edition of Emma (1816), with the book plates of the Countess of Dalhousie, Frank J. Hogan, and Alberta H. Burke.','inherit','open','open','','goucher_student-work-image2_kendall','','','2012-02-11 22:20:20','2012-02-11 22:20:20','',1300,'http://dev.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image2_kendall.jpg',0,'attachment','image/jpeg',0),(1341,13,'2012-02-11 23:00:39','2012-02-11 23:00:39','','goucher_student work image3_brand','Scrapbook page showing in situ location of the U. S. Naval Academy June 2, 1921 Farewell Ball dance card with other balls\' cards, press clippings, trolley ticket stubs, and other memorabilia  from the scrapbook of Mary Lee Keith.','inherit','open','open','','goucher_student-work-image3_brand','','','2012-02-11 23:00:39','2012-02-11 23:00:39','',1326,'http://dev.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image3_brand.jpg',0,'attachment','image/jpeg',0),(1343,13,'2012-02-11 23:02:51','2012-02-11 23:02:51','','goucher_student work image1_brand','Front cover of the U. S. 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','inherit','open','open','','lehigh_student-work_image3','','','2012-02-12 02:27:58','2012-02-12 02:27:58','',0,'http://dev.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image3.jpg',0,'attachment','image/jpeg',0),(1391,13,'2012-02-12 02:28:01','2012-02-12 02:28:01','','lehigh_student work_image4','Photograph of the Class of 1948’s 15th reunion (1963).  Reproduced by permission from Special Collections, Lehigh University Libraries.','inherit','open','open','','lehigh_student-work_image4','','','2012-02-12 02:28:01','2012-02-12 02:28:01','',0,'http://dev.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image4.jpg',0,'attachment','image/jpeg',0),(1392,13,'2012-02-12 02:28:04','2012-02-12 02:28:04','','lehigh_student work_image5','Cartoon by Gene Mater in The Brown & White (September 14, 1971). Image courtesy of Lehigh University Digital Library. ','inherit','open','open','','lehigh_student-work_image5','','','2012-02-12 02:28:04','2012-02-12 02:28:04','',0,'http://dev.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image5.jpg',0,'attachment','image/jpeg',0),(1393,13,'2012-02-12 02:28:06','2012-02-12 02:28:06','','lehigh_student work_image6','Student Gene Mater speaking out at a student event (Epitome 1970, p.40).  Reproduced by permission from Special Collections, Lehigh University Libraries.','inherit','open','open','','lehigh_student-work_image6','','','2012-02-12 02:28:06','2012-02-12 02:28:06','',0,'http://dev.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image6.jpg',0,'attachment','image/jpeg',0),(1394,13,'2012-02-12 02:28:10','2012-02-12 02:28:10','','lehigh_student work_image7','Some students were clearly for coeducation, assembling and speaking out at rallies.  (The Brown & White, April 18, 1969).  Image courtesy of Lehigh University Digital Library.	','inherit','open','open','','lehigh_student-work_image7','','','2012-02-12 02:28:10','2012-02-12 02:28:10','',0,'http://dev.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image7.jpg',0,'attachment','image/jpeg',0),(1410,13,'2012-02-12 03:23:45','2012-02-12 03:23:45','','lehigh_student work_image2','Alpha Lambda Omega fraternity member list from Epitome, Lehigh’s yearbook (1970, p. 233). Reproduced by permission from Special Collections, Lehigh University Libraries.','inherit','open','open','','lehigh_student-work_image2','','','2012-02-12 03:23:45','2012-02-12 03:23:45','',0,'http://dev.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image2.jpg',0,'attachment','image/jpeg',0),(1461,13,'2012-02-15 04:59:52','2012-02-15 04:59:52','','cwarwick','','inherit','open','open','','cwarwick','','','2012-02-15 04:59:52','2012-02-15 04:59:52','',336,'http://dev.archivejournal.net/wp-content/uploads/2011/04/cwarwick.jpg',0,'attachment','image/jpeg',0),(1462,13,'2012-02-15 04:59:53','2012-02-15 04:59:53','','emcgonagill','','inherit','open','open','','emcgonagill','','','2012-02-15 04:59:53','2012-02-15 04:59:53','',336,'http://dev.archivejournal.net/wp-content/uploads/2011/04/emcgonagill.jpg',0,'attachment','image/jpeg',0),(1463,13,'2012-02-15 04:59:54','2012-02-15 04:59:54','','ewhitley','','inherit','open','open','','ewhitley','','','2012-02-15 04:59:54','2012-02-15 04:59:54','',336,'http://dev.archivejournal.net/wp-content/uploads/2011/04/ewhitley.jpg',0,'attachment','image/jpeg',0),(1464,13,'2012-02-15 04:59:55','2012-02-15 04:59:55','','kprice','','inherit','open','open','','kprice','','','2012-02-15 04:59:55','2012-02-15 04:59:55','',336,'http://dev.archivejournal.net/wp-content/uploads/2011/04/kprice.jpg',0,'attachment','image/jpeg',0),(1465,13,'2012-02-15 04:59:55','2012-02-15 04:59:55','','mgreene','','inherit','open','open','','mgreene-2','','','2012-02-15 04:59:55','2012-02-15 04:59:55','',336,'http://dev.archivejournal.net/wp-content/uploads/2011/04/mgreene.jpg',0,'attachment','image/jpeg',0),(1601,13,'2012-02-17 07:45:52','2012-02-17 07:45:52','','vodou','','inherit','open','open','','vodou','','','2012-02-17 07:45:52','2012-02-17 07:45:52','',1500,'http://dev.archivejournal.net/wp-content/uploads/2012/02/vodou.png',0,'attachment','image/png',0),(1959,10,'2012-07-27 10:04:43','2012-07-27 10:04:43','','Amazon Tour','','inherit','open','open','','amazon','','','2012-07-27 10:04:43','2012-07-27 10:04:43','',1957,'http://dev.archivejournal.net/wp-content/uploads/2012/07/amazon.png',0,'attachment','image/png',0),(1969,10,'2012-07-27 10:16:55','2012-07-27 10:16:55','','casket','','inherit','open','open','','casket','','','2012-07-27 10:16:55','2012-07-27 10:16:55','',1967,'http://dev.archivejournal.net/wp-content/uploads/2012/07/casket.png',0,'attachment','image/png',0),(1970,10,'2012-07-27 10:18:49','2012-07-27 10:18:49','','casket','','inherit','open','open','','casket-2','','','2012-07-27 10:18:49','2012-07-27 10:18:49','',1967,'http://dev.archivejournal.net/wp-content/uploads/2012/07/casket1.png',0,'attachment','image/png',0),(1973,10,'2012-07-27 10:22:30','2012-07-27 10:22:30','','amazon','','inherit','open','open','','amazon-2','','','2012-07-27 10:22:30','2012-07-27 10:22:30','',1957,'http://dev.archivejournal.net/wp-content/uploads/2012/07/amazon1.png',0,'attachment','image/png',0),(1977,10,'2012-07-27 10:26:37','2012-07-27 10:26:37','','beaupre','','inherit','open','open','','beaupre','','','2012-07-27 10:26:37','2012-07-27 10:26:37','',1975,'http://dev.archivejournal.net/wp-content/uploads/2012/07/beaupre.png',0,'attachment','image/png',0),(2005,14,'2012-09-06 02:17:02','2012-09-06 02:17:02','','civil-war-letter','','inherit','open','open','','code-letter1-810x1024','','','2012-09-06 02:17:02','2012-09-06 02:17:02','',235,'http://dev.archivejournal.net/wp-content/uploads/2011/02/code-letter1-810x10241.jpg',0,'attachment','image/jpeg',0),(2008,14,'2012-09-06 02:22:37','2012-09-06 02:22:37','','Castle Book','','inherit','open','open','','castle-book-2','','','2012-09-06 02:22:37','2012-09-06 02:22:37','',222,'http://dev.archivejournal.net/wp-content/uploads/2011/02/castle-book.png',0,'attachment','image/png',0),(2032,14,'2012-09-10 19:58:54','2012-09-10 19:58:54','','archives-remixed_thumbnail','','inherit','open','open','','archives-remixed_thumbnail','','','2012-09-10 19:58:54','2012-09-10 19:58:54','',1711,'http://dev.archivejournal.net/wp-content/uploads/2012/03/archives-remixed_thumbnail.jpg',0,'attachment','image/jpeg',0),(2052,14,'2012-09-10 21:47:44','2012-09-10 21:47:44','','Laurie N. Taylor','','inherit','open','open','','ltaylor','','','2012-09-10 21:47:44','2012-09-10 21:47:44','',0,'http://dev.archivejournal.net/wp-content/uploads/2012/09/ltaylor.jpg',0,'attachment','image/jpeg',0),(2331,14,'2012-09-24 18:11:31','2012-09-24 18:11:31','','gotkin_fig1','Figure 1: Microform copy of the proceedings of a 1869 court case against spirit photographer William Mumler','inherit','open','open','','gotkin_fig1','','','2012-09-24 18:11:31','2012-09-24 18:11:31','',0,'http://dev.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig1.png',0,'attachment','image/png',0),(2332,14,'2012-09-24 18:11:35','2012-09-24 18:11:35','Figure 2: Example of a typical French hacker e-zine c. 1994','gotkin_fig2','','inherit','open','open','','gotkin_fig2','','','2012-09-24 18:11:35','2012-09-24 18:11:35','',0,'http://dev.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig2.png',0,'attachment','image/png',0),(2333,14,'2012-09-24 18:11:38','2012-09-24 18:11:38','','gotkin_fig3','Figure 3: Depiction of the god Hermes Trismegistus (courtesy of Roanoke College)','inherit','open','open','','gotkin_fig3','','','2012-09-24 18:11:38','2012-09-24 18:11:38','',0,'http://dev.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig3.jpg',0,'attachment','image/jpeg',0),(2358,14,'2012-09-24 18:46:43','2012-09-24 18:46:43','','hebbelthwaite_fig1','The book cover of Vodou Songs in Haitian Creole and English.','inherit','open','open','','hebbelthwaite_fig1','','','2012-09-24 18:46:43','2012-09-24 18:46:43','',1504,'http://dev.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1.jpg',0,'attachment','image/jpeg',0),(2359,14,'2012-09-24 18:46:45','2012-09-24 18:46:45','','hebbelthwaite_fig2','The homepage of the Vodou Archive.','inherit','open','open','','hebbelthwaite_fig2','','','2012-09-24 18:46:45','2012-09-24 18:46:45','',1504,'http://dev.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2.jpg',0,'attachment','image/jpeg',0),(2360,14,'2012-09-24 18:46:47','2012-09-24 18:46:47','','hebbelthwaite_fig3','This screen shot presents the view inside of the Vodou Archive with the filter menu for narrowing results on the left hand side of the screen.','inherit','open','open','','hebbelthwaite_fig3','','','2012-09-24 18:46:47','2012-09-24 18:46:47','',1504,'http://dev.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3.jpg',0,'attachment','image/jpeg',0),(2451,14,'2012-09-25 01:33:24','2012-09-25 01:33:24','','jhu_student project photo 2_eboh','The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record. ','inherit','open','open','','jhu_student-project-photo-2_eboh','','','2012-09-25 01:33:24','2012-09-25 01:33:24','',1057,'http://dev.archivejournal.net/wp-content/uploads/2012/09/jhu_student-project-photo-2_eboh.jpg',0,'attachment','image/jpeg',0),(2609,14,'2012-10-08 21:01:52','2012-10-08 21:01:52','','Powell 2, Cherokee Stickball','Cherokee Stickball, American Philosophical Society, Frank Speck collection.','inherit','open','open','','powell_2','','','2012-10-08 21:01:52','2012-10-08 21:01:52','',1583,'http://dev.archivejournal.net/wp-content/uploads/2012/02/powell_2.jpg',0,'attachment','image/jpeg',0),(2625,14,'2012-10-08 21:42:37','2012-10-08 21:42:37','','Powell 1, Bandolier Bag','Bandolier Bag','inherit','open','open','','powell_1','','','2012-10-08 21:42:37','2012-10-08 21:42:37','',1583,'http://dev.archivejournal.net/wp-content/uploads/2012/10/powell_1.jpg',0,'attachment','image/jpeg',0),(3242,14,'2012-10-19 01:02:29','2012-10-19 01:02:29','','figure_a','','inherit','open','open','','figure_a','','','2012-10-19 01:02:29','2012-10-19 01:02:29','',1513,'http://dev.archivejournal.net/wp-content/uploads/2012/02/figure_a.png',0,'attachment','image/png',0),(3543,14,'2012-11-14 04:40:13','2012-11-14 04:40:13','','lehigh_student-work_img1','The Trade with Cedar Crest.  From Lehigh’s student newspaper, <em>The Brown & White</em> (September 17, 1971).  Image courtesy of Lehigh University Digital Library.','inherit','open','open','','lehigh_student-work_img1','','','2012-11-14 04:40:13','2012-11-14 04:40:13','',1387,'http://dev.archivejournal.net/wp-content/uploads/2012/11/lehigh_student-work_img1.jpg',1,'attachment','image/jpeg',0),(3544,14,'2012-11-14 04:40:14','2012-11-14 04:40:14','','lehigh_student-work_img2','Alpha Lambda Omega fraternity member list from <em>Epitome</em>, Lehigh’s yearbook (1970, p. 233). Reproduced by permission from Special Collections, Lehigh University Libraries.','inherit','open','open','','lehigh_student-work_img2','','','2012-11-14 04:40:14','2012-11-14 04:40:14','',1387,'http://dev.archivejournal.net/wp-content/uploads/2012/11/lehigh_student-work_img2.jpg',2,'attachment','image/jpeg',0),(3545,14,'2012-11-14 04:40:15','2012-11-14 04:40:15','','lehigh_student-work_img3','Lehigh student dances with his date at a mixer (<em>Epitome</em> 1970, p.252).  Reproduced by permission from Special Collections, Lehigh University Libraries. ','inherit','open','open','','lehigh_student-work_img3','','','2012-11-14 04:40:15','2012-11-14 04:40:15','',1387,'http://dev.archivejournal.net/wp-content/uploads/2012/11/lehigh_student-work_img3.jpg',3,'attachment','image/jpeg',0),(3546,14,'2012-11-14 04:40:17','2012-11-14 04:40:17','','lehigh_student-work_img4','Photograph of the Class of 1948’s 15th reunion (1963).  Reproduced by permission from Special Collections, Lehigh University Libraries.','inherit','open','open','','lehigh_student-work_img4','','','2012-11-14 04:40:17','2012-11-14 04:40:17','',1387,'http://dev.archivejournal.net/wp-content/uploads/2012/11/lehigh_student-work_img4.jpg',4,'attachment','image/jpeg',0),(3547,14,'2012-11-14 04:40:18','2012-11-14 04:40:18','','lehigh_student-work_img5','Cartoon by Gene Mater in <em>The Brown & White</em> (September 14, 1971). Image courtesy of Lehigh University Digital Library. ','inherit','open','open','','lehigh_student-work_img5','','','2012-11-14 04:40:18','2012-11-14 04:40:18','',1387,'http://dev.archivejournal.net/wp-content/uploads/2012/11/lehigh_student-work_img5.jpg',5,'attachment','image/jpeg',0),(3548,14,'2012-11-14 04:40:19','2012-11-14 04:40:19','','lehigh_student-work_img6','Student Gene Mater speaking out at a student event (<em>Epitome</em> 1970, p.40).  Reproduced by permission from Special Collections, Lehigh University Libraries.','inherit','open','open','','lehigh_student-work_img6','','','2012-11-14 04:40:19','2012-11-14 04:40:19','',1387,'http://dev.archivejournal.net/wp-content/uploads/2012/11/lehigh_student-work_img6.jpg',6,'attachment','image/jpeg',0),(3549,3,'2010-11-02 17:30:09','2010-11-02 17:30:09','<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<h5>Editorial Team</h5>\r\n<h6>Founding Editor</h6>\r\nLauren Coats, Assistant Professor of English – LSU\r\n<h6>Managing Editor</h6>\r\nGabrielle Dean, Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars – Johns Hopkins University\r\n<h6>Contributing Editor</h6>\r\nLaurie N. Taylor, Digital Humanities Librarian, Digital Library Center – University of Florida\r\n<h6>Social Media Editor</h6>\r\nJane Carr, Postdoctoral Teaching Fellow – NYU\r\n<h6>Technical Editor</h6>\r\nDaniel Chamberlain, Director, Center for Digital Learning and Research – Occidental College\r\n<h5>Editorial Board</h5>\r\nWendy Hui Kyong Chun, Professor of Modern Culture and Media – Brown University\r\nLisa Darms, Senior Archivist, Fales Library &amp; Special Collections – NYU\r\nKate Eichorn, Assistant Professor of Culture and Media Studies – The New School University\r\nJulia Flanders, Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship – Brown University\r\nPatricia Hswe, Digital Collections Curator – Penn State University\r\nKorey Jackson, ACLS Public Fellow and Project Analyst &amp; Coordinator – Anvil Academic\r\nCecily Marcus, Curator in Archives and Special Collections – University of Minnesota\r\nKenneth M. Price, University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities – University of Nebraska-Lincoln\r\nRichard Szary, Director, Louis Round Wilson Library; Associate University Librarian for Special Collections – UNC-Chapel Hill\r\nEd Whitley, Associate Professor of English – Lehigh University\r\nPeter Wosh, Clinical Associate Professor of History; Director, Archives and Public History Program – NYU\r\n<h5>Advisory Board</h5>\r\nDan Cohen, Executive Director – Digital Public Library of America\r\nSharon Farb, Associate University Librarian – UCLA\r\nKathleen Fitzpatrick, Director of Scholarly Communications – MLA and Professor of Media Studies – Pomona College\r\nAmanda French, THATCamp Coordinator, Center for History and New Media – George Mason University\r\nChuck Henry, President – Council on Library and Information Resources (CLIR)\r\nTara McPherson, Associate Professor of Critical Studies, School of Cinematic Arts – University of Southern California\r\nElliott Shore, Executive Director – Association of Research Libraries\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. <a name=\"review\"></a>Peer ReviewAll materials in <em>Archive Journal</em> are peer-reviewed.Peer 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.Our 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<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.The <em>Archive Jour</em><em>nal</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 class=\"alignnone\" style=\"border-width: 0px;\" alt=\"Creative Commons License\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" width=\"88\" height=\"31\" /></a>\r\n\r\n&nbsp;\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. <a name=\"publication\"></a>PublicationPermanent 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.ISSN 2166-1189\r\n<h3><a name=\"support\"></a>Support</h3>\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><em></em>\r\n\r\n<em>Archive Journal</em> has been generously supported with grants from the Andrew W. Mellon Foundation.','About','','publish','closed','closed','','about','','','2013-07-09 19:19:40','2013-07-09 19:19:40','',0,'http://archivejournal.net/journal/?page_id=2',0,'page','',0),(4522,1,'2013-05-31 01:48:38','2013-05-31 01:48:38','','ltaylor','','inherit','open','open','','ltaylor-2','','','2013-05-31 01:48:38','2013-05-31 01:48:38','',0,'http://dev.archivejournal.net/wp-content/uploads/2013/05/ltaylor.jpg',0,'attachment','image/jpeg',0),(3997,1,'2013-04-19 02:29:57','2013-04-19 02:29:57','<h3><a name=\"welcome\"></a>Welcome</h3>\r\n<p class=\"textblock\">What you see on this site is Issue 2 (Fall 2012).  Work is underway on Issue 3,  a special issue focused on data curation.</p>\r\n\r\n<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>Notes + Queriesserves as a community space for people to 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>.\r\n<a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" alt=\"Creative Commons License\" /></a>\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=\"design\"></a>Web Design</h3>\r\n<a href=\"http://lamppostcreative.com/\">Lamppost Creative</a> serves as the current developer and designer.\r\n<a href=\"http://infernalcontraption.com/\">Infernal Contraption</a> provided the original design and layout.\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\nThe project has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','3549-revision-5','','','2013-04-19 02:29:57','2013-04-19 02:29:57','',3549,'http://dev.archivejournal.net/issue-1/uncategorized/3549-revision-5/',0,'revision','',0),(4509,1,'2013-05-22 03:41:25','2013-05-22 03:41:25','The primal scene of archival research takes place in a dreary reading room. A researcher sits at her table, inert. An archivist enters, pushing a cart that bears a dozen dusty gray boxes.\r\n\r\n<iframe src=\"http://www.youtube.com/embed/5ykY6moIaDE?rel=0\" height=\"250\" width=\"333\" frameborder=\"0\"></iframe>\r\n\r\nA staged archival encounter.\r\n\r\nThe archivist unhinges a box, removes a numbered file folder and, placing it at the researcher’s elbow, steps back. The researcher stirs, then sits upright with a mechanical jolt. She turns sharply in the direction of the folder, flips it open and cocks her head towards the flimsy leaves inside; now she is reading. (Zoom in on the eyes as they click into focus.) Now she is reading, and now she truly comes alive; she bends towards the papers, taps her forehead in thought. A sheaf of blank paper and a pencil appear on her table, and she begins taking notes. Her fingers fly—and soon, so do the pages she is writing upon. Caught up in eddies of excitement, they swoop to the ceiling and around the room and down to the floor, where they fall together into perfect piles. Bindings sprout from the outer strata; the pages sew themselves into bright, tight, hard-cover books. These the archivist gathers up and places on the shelves that line the room, next to other books and gray boxes.\r\n\r\nI may have it backwards: in other versions of the fantasy, it is the archive that is first animated by the presence of the researcher, a Dr. Coppelius who waves a pencil and sets the dusty boxes to dancing. But either way, the archival imaginary posits a symbiotic relationship between researcher and source, a photogenic pas de deux that leads to a finished scholarly product. This work, in turn, enters the archive for the next generation of researchers; it might even be taken apart again so that its secret ingredients (notes, drafts, letters) can themselves be served up in a series of boxes. Such a strangely private form of publication it creates, the coupling of researcher and source.\r\n\r\nWhat Freudian trauma results from witnessing this sight? Only the harm that myth inflicts. This primal scene is a fiction, a dream of perfect union between researcher and source that ignores, first of all, the full cast of characters. What about the archivist, who is rendered invisible? What about all those within and without the archive, upon whose labor—acquiring, preserving, organizing, reading, cataloging, describing, interpreting, analyzing, debating, teaching, writing, editing, digitizing, referencing and publishing—the current project depends? More a barn dance than a pas de deux: an archival encounter is an enactment of social authorship long before the researcher enters the room. See Jerome McGann, A Critique of Modern Textual Criticism (Chicago: University of Chicago Press, 1983) on the idea of social authorship, which could be described as “the dialectic between the historically located individual author and the historically developed institutions of literary production” that help create a work, eg, printers, publishers, editors and readers (81).\r\n\r\nBut even a barn dance is much too mannered a metaphor. The sketch above misleads us more generally about the experience on the ground. Doing time in an archive is often tedious, uncomfortable and bewildering. For librarians, there is the struggle to promote and simultaneously protect what you have; the difficulty of fitting unruly materials into arrangements and workflows; and worries about space and time—where to put it all, how to address your backlog. For researchers, there is the struggle to locate the archives you need and what matters to you inside them; the uncertainty created by unruly data; and worries about time and space— how to access what you need during your research trip, how to record and organize the information you gather. At both ends, the archival encounter is counter-cinematic and erratic, days of monotonous sifting and dead-ends punctuated by one or two, or maybe zero, hidden moments of vivid, peculiar joy.\r\n\r\nSo archival research does not fulfill its ideal outline. So what? Who cares? Why dredge up the fantasy? Because the fantasy continues to structure our archival encounters—what we expect and undertake in the reading room, what we allow it to mean. Twenty years ago, Alice Kaplan observed that “conventional academic discourse requires that when you write up the results of your archival work, you tell a story about what you found, but not about how you found it. The less the seams of your findings show, the better your discoveries lend themselves to use by others… tell[ing] these stories breaks their spell and violates the spirit of the archives.” ((Alice Yaeger Kaplan, “Working in the Archives,” Yale French Studies 77 (1990): 103-116; 103, 107.)) With a few word changes, the same could be said about what counts as professional archivist discourse: the impersonal, neutral genre of the finding aid, for example, should say what is in a collection, but should not discuss what is confusing or missing in it, or the problems it posed in processing. ((See, for example, James M. O’Toole and Richard J. Cox, Understanding Archives and Manuscripts (Chicago: Society of American Archivists, 2006).)) Despite the growing recognition that this sequestration is never completely possible—that the material conditions and social relations of the archive shape the work we do in it—that work continues to be represented in professional and scholarly publications as if it is. Despite the recent call to move to the fore “the backstage of the archives—how they are constructed, policed, experienced, and manipulated” in order to support historiography “not merely [as] a project of fact-retrieval” but as “a set of complex processes of selection, interpretation, and even creative invention,” the “backstage” stays in the background. ((Antoinette Burton, “Introduction: Archive Fever, Archive Stories,” Archive Stories: Facts, Fictions, and the Writing of History, ed. Burton (Durham: Duke University Press, 2005), 7-8.)) Antoinette Burton may be correct that “many if not most historians operate under the assumption that history is a highly interpretive act,” but this belief is not yet reflected in the archival encounter: the ways that researchers (not just historians) and librarians report their experiences with primary sources; the ways that librarians and researchers work together; the ways librarians and researchers regard the involvement of “non specialists.” ((Burton, 8. Burton notes that “whether historians concede or fully countenance the impact of such contingencies on their work is another question. They rarely speak of them, and even more rarely do they do so in print” (8). Her books recuperates some of those archive stories but this effort, I’ll suggest below, is hampered by other kinds of obligations.)) While the advent of digitization and electronic resource sharing has revolutionized the research landscape, making primary sources public in unprecedented ways, there remains in the archive a habitus of secret knowledge—the “spell” that Kaplan is loathe to break. This is not necessarily intentional. It is rather the effect of layering recent shifts in technology, theory and professional definition onto older foundations: petrified conditions, relations, expectations and systems that continue to operate in part through the enduring power of fantasies about research. What we have in the archive is a stratified groundwork that still governs our archival encounters.\r\n\r\nBut, you will object, the archive has already changed. Now we have the “archival turn”—the scholarly interest in the archive not just as a source of evidence but as an epistemological mode. Surely, this attention to the constructedness of the archive has led to a revealing reconsideration of what actually goes on inside an archive; surely, as a result, those archaic fantasies have diminished. Have they? In what follows, I begin by unearthing one stratum of the archival turn, the decade of the 1990s, as represented by three texts: Kaplan’s essay mentioned above, “Working in the Archives” (1990)\r\n\r\n[caption id=\"attachment_369\" align=\"alignnone\" width=\"300\"]<a href=\"http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-2-kaplan.jpg\"><img class=\"size-medium wp-image-369\" alt=\"fig 2 kaplan\" src=\"http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-2-kaplan-300x224.jpg\" width=\"300\" height=\"224\" /></a> Photocopy of Alice Yaeger Kaplan’s “Working in the Archives.”; Derrida’s Archive Fever: A Freudian Impression (1994/95)[/caption]\r\n\r\n&nbsp;\r\n\r\n[caption id=\"attachment_372\" align=\"alignnone\" width=\"300\"]<a href=\"http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-3-Derrida.jpg\"><img class=\"size-medium wp-image-372\" alt=\"Print out of Jacque Derrida’s “Archive Fever” from Diacritics.; and Carolyn Steedman’s Dust: The Archive and Cultural History (2001).\" src=\"http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-3-Derrida-300x224.jpg\" width=\"300\" height=\"224\" /></a> Print out of Jacque Derrida’s “Archive Fever” from Diacritics.; and Carolyn Steedman’s Dust: The Archive and Cultural History (2001).[/caption]\r\n\r\n[caption id=\"attachment_373\" align=\"alignnone\" width=\"300\"]<a href=\"http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-4-steedman.jpg\"><img class=\"size-medium wp-image-373\" alt=\"Library copy of Carolyn Steedman’s Dust. ((Jacques Derrida, “Archive Fever: A Freudian Impression,” Diacritics 25.2 (Summer 1995): 9-63. Web. 1 Dec. 2010. Carolyn Steedman, Dust: The Archive and Cultural History (New Brunswick: Rutgers University Press, 2001).)) \" src=\"http://dev.archivejournal.net/wp-content/uploads/2011/04/fig-4-steedman-300x224.jpg\" width=\"300\" height=\"224\" /></a> Library copy of Carolyn Steedman’s Dust. ((Jacques Derrida, “Archive Fever: A Freudian Impression,” Diacritics 25.2 (Summer 1995): 9-63. Web. 1 Dec. 2010. Carolyn Steedman, Dust: The Archive and Cultural History (New Brunswick: Rutgers University Press, 2001).))[/caption]\r\n\r\nA cross-examination of these three texts reveals a pattern of interests, a set of efforts to defy customary practices—but only, it turns out, “in theory.” While certain practices are challenged in these texts, they leave mostly intact the older strata of archival research fantasies and conventions. Kaplan, Derrida and Steedman do not dislodge the forces that organize the actual archival encounter.\r\n\r\nHow does this happen? Why is practice so stubborn? We need another take on archival practice: not practice in theory, but practice in action; not the 1990s, but now; not in terms of textual patterns, but in terms that suit the subject: the terms of the archival encounter itself, and the eccentric, anachronistic and even monotonous experience it generates. My second look at practice will take the form of a series of vignettes about a real-life archive, the George Peabody Library in Baltimore. While this narrative structure may seem to recreate the division of labor between theory and practice, my hope is that—by giving practice the last word—we’ll be in a better position to synthesize the two.\r\n\r\n<!--nextpage-->\r\n\r\n<strong>I. “The library doubles as a detective’s office.” [note number=\'7\']Kaplan, 114.[/note]</strong>\r\n\r\nThe archival turn could be dated to the founding of “scientific” history in the mid-nineteenth century, or to the development a century later of the quantitative methods of the Annales School, or to other evidence-based movements in the history of history, but what is generally meant by this phrase corresponds with the formation of cultural studies and the use of the archive as a conceptual category. That is, the archival turn has to do with the notion of the “figuration” of the archive, a parallel decline in its empirical authority and a related expansion of its relevance within domains that are not exclusively historiographic, like art, literary criticism, textual studies, media studies and information studies. [note number=\'8\']See the use of the term in, for example, Carolyn Hamilton et al, eds., Refiguring the Archive (Boston: Kluwer Academic Publishers, 2002), Cheryl Simon, ed., Following the Archival Turn: Photography, the Museum, and the Archive, special issue of Visual Resources: A Journal of Documentation 18.2 (June 2002), and Ann Laura Stoler, Along the Archival Grain: Epistemic Anxieties and Colonial Common Sense (Princeton: Princeton University Press, 2009). This turn is partially construed as a “move from archive-as-source to archive-as-subject,” but also by the earlier metaphorical interest in “the archive” that goes back to the 1980s (Stoler, 44-45) and by Foucauldian descriptions of archives as “‘monuments to particular configurations of power” (Hamilton, qtd. in Burton, 6).[/note] But it is not irrelevant that a devotion to archival methods precedes by many decades contemporary theories of the archive; if the archival turn lacks a precise origin, this (we will see) is completely in keeping with its own preoccupations.\r\n\r\nKaplan therefore represents in some ways an arbitrary beginning for this cross-examination—clearly the archive as a conceptual category predates 1990—but her article does initiate something new: the recognition that there is something called an “archive story” that must remain hidden in order for the official “results” to function authoritatively. In admitting this bit of professional legerdemain, and in telling her own archive story in a prestigious scholarly journal, Kaplan not only commits the violation she prohibits but also contradicts it. Through its publication, Kaplan’s own archive story is elevated to the status of “results”—a kind of research that shadows conventional academic discourse. Indeed, Kaplan notes, such “fables” of research “can be analyzed like a text,” a “mixed up genre” that combines the “redemptive detective fiction” with the epic and the dime novel. [note number=\'9\']Kaplan, 106, 107.[/note]\r\n\r\nKaplan’s archive story thus marks a distinctive moment in the archival turn—one which gained its most prominent authorization in 1994, with a paper that Jacques Derrida delivered (in English) to a conference sponsored by the Freud Museum, the Courtauld Institute and the Société International d’Histoire de la Psychiatrie et de la Psychoanalyse. Called initially “The Concept of the Archive: A Freudian Impression,” the lecture was revised and published in 1995 as Mal d’archive: une impression freudienne in French; the published English version echoed the French publication with its 1995 title Archive Fever. As Carolyn Steedman points out in Dust: The Archive and Cultural History, however, this work that has been assigned a seminal status in archival studies “for the main part… is not about archives at all, but is rather a sustained contemplation of a work of history, of Yosef Hayim Yerushalmi’s Freud’s Moses: Judaism Terminable and Interminable (1991),” itself a sustained contemplation of Moses and Monotheism—which (according to Steedman) Yerushalmi examines through Freud’s description of the work as a “‘historical novel,’ or a kind of historical story,” undertaken “in order to understand the period of baroque anti-semitism through which he was living.” [note number=\'10\']Steedman, 3.[/note]\r\n\r\nDizzy yet? Let’s undertake a more careful reading of this splatter pattern of intra-references—or, to stick with the archaeological metaphor, let’s call them groups of potsherds buried in the 1990s layer of the “archival turn.” Digging down to reassemble them reveals a set of interests with special implications for archival practice.\r\n\r\nThe most prominent group of sherds to note are the fragments of disciplinarity: the inter-, multi- or perhaps simply anti-disciplinarity of the texts, authors and audiences caught up in these three archival addresses. Kaplan, an American scholar of French literature, calls the post-theory exchange between literature and history a “cross-pollination of desire between historians and literary critics” undertaken “with the curiosity and energetic passion of collectors.” [note number=\'11\']Kaplan, 107-108.[/note] Steedman, a British historian, performs this cross-pollinating process without comment: her epigraph to Dust is from Virginia Woolf’s To the Lighthouse, one chapter treats George Eliot’s Middlemarch in depth… in fact, almost every chapter depends on a literary text. [note number=\'12\']Another chapter invokes Elizabeth Gaskell’s 1848 novel Mary Barton, a third is anchored by W. H. Auden’s poem “Homage to Clio,” and a fourth finds its most eloquent examples in Charles Dickens’ Our Mutual Friend.[/note] Derrida, a French philosopher, produced a work that has been exceptionally mobile across disciplines, forms, languages and professional domains. He gave his initial talk to an audience drawing on three different kinds of institutions; Mal d’Archive was published in book form in both French and English, but also made an intermediate appearance as an essay in the journal diacritics. All of these texts, it seems, respond to the provocations of the archive—to the materials and circumstances of discovery—rather than to the disciplinary distinctions that arguably divide the archive from itself.\r\n\r\nArchive Fever has become a founding document even though, as Steedman notes in the very beginning of her book, many in Derrida’s audience “knew the ‘archival turn’ to be [already] well underway” at the time of his talk. [note number=\'13\']Steedman, 2.[/note] As it happens—and this is the second group of sherds I see—these three essays have in common an investment in or a problem with origins, especially with the failure of origins. Derrida, for example, defines archive fever as a kind of Freudian death drive—a drive to fix and preserve which at the same time “works to destroy the archive: on the condition of effacing but also with a view to effacing its own ‘proper’ traces… [it] is above all anarchivic, one could say, or archiviolithic… the archive always works, and a priori, against itself.” [note number=\'14\']Derrida, 14. [/note] If the archival impulse is driven to destroy its own work, then the question of origins ultimately point to the larger question of disorder. [note number=\'15\']The disorder of origins makes frequent appearances in the essay but one example will make the point—in the “Preamble” where he recounts how he titled the talk that he had not yet written and was to give at the Freud Museum. The “Preamble” starts with his reflections on the word “impression,” which has several simultaneous registers of meaning for him. One of these is the “scriptural or typographic” register: that of the graphic impression that marks a substrate. In English, “impression” is phonetically related to “repression” and “suppression,” key words in the Freudian vocabulary, translated respectively from the German Verdrängung and Unterdrückung. English, that is, retains the rhyming relationship of the two German terms, and “impression” in this company comes to have a vaguely Freudian meaning as well. But in French, Verdrängung is “refoulement,” which means something more like expulsion, a driving away. The Freudian sense of the French word “répression” has been reserved for Unterdrückung. So English “repression” defines a phenomenon that must be distinguished from the French “répression.” These translational shifts “directly concern the structures of archivization,” Derrida says, “because they touch on the topic differences and thus on the location of the substrates of traces\" (Derrida, 23). In other words, how do you classify concepts whose meanings shift across languages? Where do you store them in a disciplinary grammar—or in an archive? How do these asymmetrical linguistic structures shape the establishment and extension of a new science? For Derrida, the difference between “repression” and “répression” is “enough to disrupt the tranquil landscape of all historical knowledge, of all historiography, and even of all self-consistent ‘scholarship’” (Derrida, 23).[/note]\r\n\r\nOrigin failure appears both as deliberate performance and as unintentional oversight in these essays. Derrida stages his own inability to get past “go”; with an introductory section, and subsequent sections sub-titled “Exergue,” “Preamble,” “Foreword,” his essay functions, Steedman notes, like a “primer offering instruction in the principle of deferral.” [note number=\'16\']A short notice called “Priere d’inserer,” published only in the French book version, carried the bulk of an argument for which there was no room in the lecture. Steedman, 7.[/note] For all her insight into Derrida’s titling adventures, however, Steedman’s title is marked by its own origin aporia. While her first chapter is devoted to Archive Fever—a “let’s begin at the beginning” homage to the seminal text—her book’s title, Dust, seems more indebted to the last sentence of Kaplan’s essay, published five years before Derrida’s: “Usually there is no mother lode, no original manuscript to be retrieved—the gold is all in the dust.” [note number=\'17\']Kaplan, 116.[/note] Kaplan, however, is never mentioned. [note number=\'18\']Kaplan also begins her essay with a brief consideration of the “arche,” the Greek and Latin term for the public records office, which is a major starting point for Derrida. Is he borrowing from her, or is she borrowing from him, given that this sort of etymological investigation was an established signature of Deconstruction?[/note]\r\n\r\nKaplan, for her part, unravels her own archive story. She gives us a kind of “whodunit”—her search for the ephemeral sources of Louis-Ferdinand Céline’s anti-semitic pamphlet Bagatelles pour un massacre (1937). She uses this account to exemplify her effort to “move through the archival process and recover some of the stories that get deleted in the final scholarly form.” [note number=\'19\']Kaplan, 104. For this reason, perhaps, Kaplan never reveals what she ultimately discovers in her successful search for Celine’s sources. In fact, it’s not entirely clear whether her pre-emptive and truncated treatment of her archive story is deliberate or not. Is this treatment meant to indirectly support her official claim about “results”? Or does the presence of the archive story suggest that telling it is an impulse she can’t quite control? Thanks, Lauren Coats, for helping tease this problem out.[/note] These beginnings are preemptively struck out, however, by what seems to be her main claim: “the passion of the archives must finally be used to eradicate all personal stories in the interests of the dry archival report, fit for a public.” [note number=\'20\']Kaplan, 103.[/note] Only in the “para-text”—a preface, for example—can the archive story appear without “interrupt[ing] or complicat[ing] the narrative so much that no results could ever be understood or perceived.” [note number=\'21\']Kaplan, 104.[/note] Despite this unequivocal assertion, the personal “whodunit” prevails in her essay, especially in the final section set in the Centre du documentation juive contemporain (CDJC). [note type=\'figure\' number=\'5\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-5-cdjc-2/\" rel=\"attachment wp-att-423\"><img class=\"alignnone size-medium wp-image-423\" title=\"fig 5 cdjc\" alt=\"\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-5-cdjc1-333x250.jpg\" width=\"333\" height=\"250\" /></a>Website for the Centre de documentation juive contemporain.[/note] It is this library, where Kaplan solves the mystery of Céline’s sources, that “doubles as a detective’s office.”\r\n\r\nWhile Kaplan’s research mystery resolves neatly, the truth about archives is that they are full of gaps, mistakes and excesses: in the words of one of the CDJC librarians, “‘ici on trouve tout’—there’s some of everything here”—but not, one could add, all of anything. [note number=\'22\']Kaplan, 115.[/note] Kaplan’s essay ends by nullifying both her detective story success and her “dry archival report,” by recognizing the disorder on which both of these narratives are unsteadily perched: “The archive is constituted by these errors, these pieces out of place, which are then reintegrated into a story of some kind.” [note number=\'23\']Kaplan, 115.[/note] “A story of some kind”? So much for “results.”\r\n\r\nKaplan sets us up to perceive one final potsherd pattern common to these three essays. If origin-less disorder is the order of the archive, it is a disorder that is generated out of human loss—a disorder that joins the body and the material world. The archive is always predicated on historical violence of some sort, whatever is censored, erased, excluded, trumped up, used up, misplaced, conquered, killed. Moreover, the archival categories that mark both the visible victories and hidden defeats do not stay within their walls; the archive is both a repository of existing schemas and a means of perpetuating them in the world beyond. While we might usually think of this disciplinary activity as a pact between the archive and its political authors, Steedman makes it clear that the dilemmas of order shape the archival body in many ways. For example, she takes literally the provocation of Derrida’s title Archive Fever to investigate the illness that researchers contract on the penultimate day of their trip to the archive: prompted by the anxiety of the task that remains unfinished, they end their research with night-sweats and head-aches. But what seems like a strangely specific malady is transformed by Steedman into a far-reaching social symptom: by relating the researcher’s “archive fever” to the terrible diseases suffered by tanners, skinners and other workers in the trades associated with paper and leather, Steedman expands our sense of who is in the archive—the bodies whose specialized labors populate our libraries with books, the many kinds of expertise the archive consumes.\r\n\r\nFor Derrida, the relation between the material archive and its human architects focuses on one kind of “graphic mark,” a particular “private inscription”: circumcision as the archival signature that is also the signature of patrimoine, with Freud’s relationship to his father as his main example. [note number=\'24\']Derrida, 19.[/note] It is perhaps not a coincidence that the body in question in both Kaplan’s and Derrida’s archive is Jewish, for that is a body that has come to symbolize the destructive power of classificatory regimes. Despite her contention that the private passions motivating research must be kept secret, Kaplan is fascinated by the “missing person stories” at the CDJC: by the “quantity of people who are there for personal reasons,” the survivors of occupation or deportation or camps, or their descendants, quietly looking up their lost ones or noisily dropping off their memoirs. [note number=\'25\']Kaplan, 113.[/note] This disorganized crowd of dead and living bodies tries to meet up with an equally disorganized crowd of materials—individual letters, trial transcripts, pamphlets, newspapers, first-person accounts, books, photographs, lists. The monumental task of match-making, the librarians’ work, is never complete. More papers are always generated or declassified or discovered, different human questions and needs emerge. The tidy choreography of the research fantasy, where the detective always finds her man, is not so much in evidence; what we have instead is corpora in excess of existing categories.\r\n\r\n<!--nextpage-->\r\n\r\nKaplan, Derrida and Steedman open up the archival body. They show us how paper meets the press of flesh; they make us feel just how intimate it is. [note number=\'26\']This interest in the corporeal dimensions and effects of order, its human and non-human components, has in common with their other gestures—an experimental attitude towards conventional disciplinarity and attention to the priority of disorder—the circumstances of the academic humanities in the 1990s. Since the archival turn came out of the ascent of cultural studies and allied intrigues in the 1970s and ‘80s, the circles in the Venn diagram of these ventures will necessarily overlap. We could also say that the archive took off when it did precisely because it made a clever new container for these preoccupations, thick in the humanities atmosphere at the time, where they were distilled and united. [/note] But for all their revelations about the limits of discipline and the multiplicities of disorder in the archive, these texts do not disclose the specific methods of engagement that led to their existence. While Kaplan offers up her own archival victory and outlines several other such stories, she still insists on their marginalization. [note number=\'27\']“Were the story of how you got the story really to be told inside the book, it would interrupt or complicate the narrative so much that no results could be understood or even perceived. Every story of success in the archives is emotionally charged, for only the most extreme emotions can drive people to the drudgery, to the discomfort, of sitting and sifting through dog-eared documents, manuscripts, microfilms. To reveal those emotions would not only gum up the narrative, it would threaten its credibility, by showing on what thin strands of coincidence, accident, or on what unfair forms of friendship, ownership, geographical proximity, the discoveries were based” (Kaplan, 104).[/note] If these texts are not concerned with actual practices in the archive or changes in its methodologies, what do they tell us?\r\n\r\nFirst, they suggest one reason for the perpetuation of myths about the archive. While Kaplan, Derrida and Steedman are eager to show how archival materials do not conform to disciplinary distinctions—an enthusiasm related to other disruptive tendencies in late twentieth-century humanist scholarship –they seem less cognizant of a related phenomenon: the archive does not obey strict professional divisions, either. In Kaplan’s library-as-detective’s-office metaphor, the scholar is the detective, but does the “Eureka” moment belong only to the scholar who pieces together a narrative? What about the people who prepared those pieces? The archivist is still missing in action. Likewise, these essays do not dwell on missing boxes, illegible papers, neglected citations. There are no descriptions of archival slogging, no admissions that some materials failed to be relevant. And of course, there are no prescriptions for a different order. It is not the main aim of Kaplan, Derrida and Steedman to effect an evolution of practice; archival turnistas are not interested in disorder in order to re-order. But it is worth remembering that it is not in their professional interest as scholars to make their practices more transparent.\r\n\r\nSecondly, along the same lines, these texts inform us of the duplicity of speculative practices that reveal but cannot live out the instability of their archival mandates. Kaplan, Derrida and Steedman are put into the position of saying, “Yes, the archive is biased, idiosyncratic and treacherous—but the observations I draw from it are flawless.” [note number=\'28\']Derrida, unlike Kaplan and Steedman, makes no claims to work inside an actual archive, unless we consider Yerushalmi’s book as a kind of archive. But the fact that the essay was written self-consciously for presentation at the Freud Museum suggests that it was made out of an archive indirectly—in its construction, if not in its contents. [/note]\r\n\r\nFinally, these texts suggest why archival studies that attempt to be explicit about the messy nature of the archive have become instead “archive studies.” In more recent works like Refiguring the Archive (2002), Archive Stories: Facts, Fictions and the Writing of History (2005) and Along the Archival Grain: Epistemic Anxieties and Colonial Common Sense (2009), the archive appears as a subject in its own right. Although the archival scenarios that are put into play in each of these books incorporate different disciplines—art, history, anthropology, literature, post-colonial studies—they have essentially created a new discipline. “Archive studies” is something we might, in the taxonomy of disciplines, see as the love-child of cultural studies, history and archival methodology. Moreover, this new discipline has in common with other humanities disciplines a complete blindness about its professional investments; it does not register much awareness of the professional investments of librarians, archivists, curators and “non-specialists,” or invite insights from those perspectives. Perhaps this is inevitably what happens when academics must give legitimacy to something new, which in turn reflects the pressures of scholarly communication: a topic must be delineated in conventional terms in order to merit publication. [note number=\'29\']Perhaps this is also the moment to ask why we—I—have been using the term “archive” all along, with its statist resonances, rather than the term “collection,” which has institutional but also personal resonances. Does “archive” bring us closer to recognizably “serious scholarship”?[/note] But it is also true that in these more recent books, which openly investigate the archive’s power-politics, the disorderly drift of the archive and its hybrid corporeality have mostly been bent towards a particular narrative about the archive as an agent of history rather than as a set of ongoing practices. It is as if the historical archive has been assembled in ways that reflect and reiterate power relations, but the contemporary archive has not; it is as if the researcher’s own research travails remain a transparent layer over the body of work that it constructs. [note number=\'30\']Of course, this is precisely what Derrida meant about the “death drive” of the archival impulse. Archive Stories is something of an exception; researchers speak openly here about themselves as researchers. It is interesting, however, that this book—like Steedman’s—doesn’t cite Kaplan’s essay as a precursor text despite the clear titular link.[/note]\r\n\r\nPerhaps it would also be fair to note that, if archival studies are now being formulated as an interdisciplinary discipline called “archive studies,” this might be just another stage in the turn. It might be that what comes next reconfigures the premise of disciplinarity and the promise of disorder, with a different approach to the human/non-human interactions that the archive documents and realizes: a more diffuse and multi-vocal set of practices in place of a new field. One way to imagine this approach would be to fully embrace Kaplan’s idea of the archive story as an account of what one hoped for, looked for and found, what one did and did not do, in the archive—an account loosed from the quarantine she advocates. Some very basic genre precedents for the archive story do exist; the bibliographic essay and the methodology statement, for example, have played an important role in many disciplines in the past and still do in some. Instead of a para-textual nod towards that archive story (in Kaplan’s sense), why not create a parallel text written collaboratively by the researcher(s) and the librarian(s), or by one person acting in both professional capacities, that runs alongside the official “results”? Or in a set of expanded notes that address not just the “what” and “where” but the “how” and “why” of sources, which are lifted from their small-type, bottom-of-page basement up into the light? Or—to add yet another layer—parallel texts that also offer room for exchange with other researchers, archivists and even interested “non specialists,” like collectors, bibliophiles and fans?\r\n\r\nIf it is hasn’t been clear already that I have scrupulously avoided so far the other kind of archive, the digital archive, it will be now. What I am imagining would be far too complicated to produce or consult in print, but would not be at all difficult to organize as a digital object—as an archive in its own right. By avoiding the digital archive up to this point, I have also finessed the fact that our current archival research methods are completely reliant on the digital archive, along with the development of online research tools and electronic instruments of data discovery and organization. Those conditions probably bear the most responsibility for making the archive visible as something that warranted a “turn” in the first place. Even Derrida refers in each version of Archive Fever to the computer on which he is currently composing, predicting that email will not only totally transform the archive as he knows it, but will make his own essay obsolete.\r\n\r\nIn short, we already have in place both the theory and the media that will make it possible to enact a radical new archival practice. We have in place what we need to integrate the archive story into the archive itself, while making it visible as a new form of “results.”\r\n\r\n<!--nextpage-->\r\n\r\n<strong>II. The library doubles as a librarian’s office.</strong>\r\n\r\nI could end here, with a triumphant firing of the starter pistol and a rousing cheer. But that would be a bit disingenuous, given that the starter pistol for both the archival turn and the academic use of the internet actually went off decades ago. So the question remains, what stands in the way of the practical enactment of the archival turn’s speculative insights? I’d like to engage this question by following Kaplan’s example (but not her main claim): through some archive story-telling about the George Peabody Library. These three vignettes, identified as “typical” through conversations with my colleague Paul Espinosa, illustrate the intractable formations that present-day archival encounters come up against.\r\n\r\n<strong>1. The Perils of Description.</strong>\r\n<blockquote>A group of Russian speakers visits the Peabody Library. The dozen men and women sit down around the screen that Paul has set up. He narrates a brief slide-show about the Peabody’s history, then leads them to a table where a dozen books from the collection have been laid out in cradles. He tells them about each book: what it is, why it is interesting. Each phrase of his presentation is painstakingly translated by the group’s leader into Russian.</blockquote>\r\nWhen academic and community groups visit the Peabody, my colleagues and I draw upon a standard tour-guide’s repertoire to describe it. We explain that George Peabody was a tradesman cum financier cum philanthropist who decided in 1857 that Baltimore needed a cultural institution to support the arts and learning. We talk about the evolution of the Peabody Institute, the four-part athenaeum that resulted, with its art gallery, lecture series, conservatory and free, public, non-circulating library. We discuss the model of philanthropy that George Peabody initiated and its wide-ranging influence. We point out the signal features of the awe-inspiring architecture of the current library, built to accommodate a rapidly growing collection in 1878. But when it comes to the library itself, as a collection, it is hard to know what to say. How to accurately translate the library’s holdings into a succinct and memorable statement that conveys an appropriate level of detail to different audiences? While it poses specific challenges, the Peabody also exemplifies more general problems of collection description.\r\n\r\nWe do not lack evidence for the evolving contents of the Peabody. We have the two-volume printed list of “desiderata” drawn up by the Peabody’s first librarian, John G. Morris. [note number=\'31\']Alphabetical Catalogue of Books to be Purchased for the Library of the Peabody Institute, Baltimore, Vols. 1 and 2 (Baltimore: John D. Toy, 1861, 1863).[/note] [note type=\'figure\' number=\'6\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-6-alpha-index-2/\" rel=\"attachment wp-att-395\"><img class=\"alignnone size-medium wp-image-395\" title=\"fig 6 alpha index\" alt=\"\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-6-alpha-index1-336x484.jpg\" width=\"333\" height=\"484\" /></a>Alphabetical index from Alphabetical Catalouge (“desiderata”).[/note] We have the collections register for several decades’-worth of acquisitions, recording bibliographic information and accession numbers that can still be found on the inside front end papers of many of the books in the collection. We have the librarians’ annual reports to the library trustees. [note number=\'32\']The Peabody Institute of the City of Baltimore: The Founder’s Letters and the Papers Relating to its Dedication and History, Up to the 1st January, 1868 (Baltimore: William K. Boyle, 1868); and subsequent Annual Reports, 1869, etc.[/note] We have the library’s first printed catalogue, an unsurpassed achievement when first published in 1883, which listed 100,000 volumes by author and title. [note number=\'33\']Catalogue of the Library of the Peabody Institute of the City of Baltimore, Vols. 1-5 (Baltimore: Isaac Friedenwald, 1883; reprinted Boston: G. K. Hall, [1961?]; also on googlebooks), and Second Catalogue of the Library of the Peabody Institute of the City of Baltimore, Including the Additions Made Since 1882, Vols. 1-8 (Baltimore: Deutsch Lithographic and Printing, 1896; reprinted Boston: G. K. Hall, 1961).[/note] [note type=\'figure\' number=\'7\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-7-print-cat/\" rel=\"attachment wp-att-396\"><img class=\"alignnone size-medium wp-image-396\" title=\"fig 7 print cat\" alt=\"\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-7-print-cat-336x252.jpg\" width=\"333\" height=\"250\" /></a>Reprinted volumes of the Catalogue of the Library of the Peabody Institute (1883).[/note] We have the cards from the Dewey decimal system card catalogue, which replaced the printed catalogue in the 1910s. [note type=\'figure\' number=\'8\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-8-card-cat/\" rel=\"attachment wp-att-397\"><img class=\"alignnone size-full wp-image-397\" title=\"fig 8 card cat\" alt=\"\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-8-card-cat.jpg\" width=\"333\" height=\"448\" /></a>One of two card catalogues in the Peabody.[/note] Now, of course, the library’s collections are represented in an online catalogue that integrates them with other collections in the Hopkins library system.\r\n\r\nThese markers of the collection, however, fail to satisfy some contemporary research queries for reasons that are both practical and philosophical. The transfer of the printed index, organized by author, to the Dewey decimal system, organized by topic, represented a major epistemological shift that facilitated browsing by subject category. But of course, those categories are embedded in historically-bound notions about the subjects and structures of knowledge: Dewey was invented in the 1870s, and the 22 revisions it has undergone since then cannot overcome its essential organizational distortions. For example, the literature range—the 800s—offers only 10% of its categorical space to literatures in languages other than English, Germanic and Romance languages, Greek and Latin.\r\n\r\nIn the case of the Peabody, the Dewey arrangements overlay even older systems of knowledge hierarchy. Should we continue to offer, for example, a description of the Peabody’s “voyages and travels” books? This category represents a Renaissance schematic that was still in service in the mid-nineteenth century; while actual “voyages and travels” were extended by colonial ventures, the category was eventually disbanded. Dewey combined it with geography to make a sub-category of “history.” In keeping active the old-fashioned phrase “voyages and travels,” we are participating in a centuries-long project of euphemism about the material aims and actual activities of colonialism; we are privileging an early phase of the Peabody’s evolution over later phases; we may even be confusing modern researchers. And yet, as one of the topics in Morris’s “desiderata,” a considerable portion of the Peabody’s collection was acquired with the aim of fleshing out that descriptor. [note type=\'figure\' number=\'9\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-9-index-detail/\" rel=\"attachment wp-att-398\"><img class=\"alignnone size-medium wp-image-398\" title=\"fig 9 index detail\" alt=\"\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-9-index-detail-336x274.jpg\" width=\"333\" height=\"274\" /></a>Detail of subject index from Alphabetical Catalouge No. 2 (“desiderata”).[/note]\r\n\r\nYet another classificatory dilemma is expressed by George Peabody’s original statement of the library’s purpose: that it “be furnished in every department of knowledge, with the most approved literature… It should consist on the best works on every subject… to satisfy the researches of students who may be engaged in the pursuit of knowledge not ordinarily attainable in the private libraries of the country.” [note number=\'34\']“Letters from George Peabody, Esq.: Baltimore, February 12th, 1857,” in Founder’s Letters, 7.[/note] The Peabody was founded as a cultural institution for the people of Baltimore, but from the first, this democratic ambition was in conflict with the intellectual aspirations of the first librarians and their desire to facilitate civic “self-improvement.” Morris (a doctor of divinity), his successor Nathaniel Holmes Morison (a schoolmaster and poet), and Morison’s assistant and successor Philip Uhler (who had trained as an entomologist) were all devoted to the nineteenth-century idea of the scholar-librarian. Morison wrote in one annual report that “Education always proceeds from the above downward, from the best to the common minds, from the leaders of the people to the people themselves. Furnish... the foundations of intelligence and thought, and they will... stimulate and improve the whole community.\" [note number=\'35\']Qtd. in Franklin Parker and Betty J. Parker, “PIB Ref. Library. 8-Morison\'s Philosophy of Excellence,” in George Peabody (1795-1869): A-Z Handbook of the Massachusetts-Born Merchant in the South, London-Based Banker, and Philanthropist\'s Life, Influence, and Related People, Places, Events, and Institutions. . 11 Mar. 2011.[/note] When the Johns Hopkins University was founded in 1876 in close proximity to the Peabody—in large part to take advantage of the library—the tendency of the librarians to address scholarly needs and “approved literature” over popular desires was given additional momentum. In keeping with these ideas, the Peabody’s librarians kept careful track of their readers’ choices, noting with special caution the numbers of novels that were requested. [note type=\'figure\' number=\'10\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-10-annual-report-detail/\" rel=\"attachment wp-att-399\"><img class=\"alignnone size-medium wp-image-399\" title=\"fig 10 annual report detail\" alt=\"\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-10-annual-report-detail-336x452.jpg\" width=\"333\" height=\"452\" /></a>Detail from First Annual Report showing chart of books read, with special mention of fiction.[/note] This schism at the heart of the library’s collecting paradigm was not unique to the Peabody; the question of reading matter—should it offer leisure for the masses or the means of social uplift?—was central to the public library movement of the second half of the nineteenth century. [note number=\'36\']See, for example, Alexis McCrossen, “’One Cathedral More’ or ‘Mere Lounging Places for Bummers’? The Cultural Politics of Leisure and the Public Library in Gilded Age America,” Libraries &amp; Culture 41.2 (2006): 169-188; Paul Sturges, “The Public Library and Reading by the Masses: Historical Perspectives on the USA and Britain 1850-1900,” ; Trustees of the Public Library of the City of Boston, Upon the Objects to be Attained by the Establishment of a Public Library, 12 Dec. 2010.[/note]\r\n\r\nFinally, the Peabody’s “desiderata” acquisitions and librarians’ selections were supplemented by book donations from local elites—bibliophiles with extensive private collections that included incunabula, classical authors in Renaissance editions, expensive illustrated atlases. At the same time, book donations came in from more plebian sources. The Peabody’s growth overlapped with the decline of the local social libraries, and it eventually absorbed some of the books from the Library Company of Baltimore, Robinson’s Circulating Library and several small professional and mechanics’ libraries. And I haven’t even touched on the Peabody’s twentieth-century fate.\r\n\r\nThe variety of philanthropic impulses, resource streams and classification philosophies that have fed the Peabody over the 150 years of its existence has led to a collection that does not so much map the nineteenth-century mind as signal its odd amalgam of popular and scholarly investments. The Peabody’s collection effectively evades succinct description—at least, any kind of description that pretends to be coherent, that is not perforated by its stakes in local history, library history, book history. But more importantly, it suggests the degree to which accident and opportunity and prejudice and wealth and the changing winds of cataloguing rules shape any archive. Description, which should be the most fundamental tool of communication between librarians and researchers, turns out to be utterly elusive. Yet we do not know what to replace them with, these inadequate descriptions, these exercises in stilted and partial translation.\r\n\r\n<!--nextpage-->\r\n\r\n<strong>2. The Researcher’s Progress.</strong>\r\n<blockquote>I am preparing for my class about women and nineteenth-century print culture, which meets in the Peabody; we have reached the part of the syllabus where we look at gift books and annuals. I want students to examine several examples of these literary miscellanies, offering some illustration of their variety, and I have a list of such items that I have used in the past. But since I also want to show the students new acquisitions, I need to refresh my list. I will start with “gift book” as a keyword in the online catalogue.</blockquote>\r\nIn place of perfect and commensurate description—not possible—what we have are cataloguing systems that indexically represent collections through data and metadata that are, as I have already suggested, historically marked and inevitably inconsistent. In the case of the Peabody, these records are further compromised: Dewey cards developed from a nineteenth-century print index do not offer Library of Congress subject terms or detailed tables of contents; they also frequently lack other kinds of information. [note number=\'37\']Many of the electronic records for Peabody books have been copy-cataloged, that is, developed from records for identical books in other libraries. But these records might also be incomplete or inconsistent, given that many are quite old. The expense of original cataloging prevents our staff from creating full, new records for every item in the Peabody’s collection of over 300,000 titles.[/note] [note type=\'figure\' number=\'11\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-11-ddc-cards/\" rel=\"attachment wp-att-400\"><img class=\"alignnone size-medium wp-image-400\" title=\"fig 11 ddc cards\" alt=\"\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-11-ddc-cards-336x252.jpg\" width=\"333\" height=\"250\" /></a>Dewey cards for “gift books.”[/note] My search for “gift book” will turn up bequests—the term “gift book” is often attached to these donations—and it will miss many of the nineteenth-century gift books and annuals in our collection whose records lack subject classifications, or whose subject classifications reference the book’s contents, not its format. For example, the 1848 Rough and Ready Annual: or, Military Souvenir published by Appleton’s has been assigned the subject “Mexican War, 1846-1848—Anecdotes.” [note number=\'38\']Rough and Ready Annual (New York: D. Appleton; Philadelphia: G.S. Appleton, 1848).[/note]\r\n\r\nThe problem of finding is perhaps only a sub-set of the problem of description, but I want to give it special attention because it introduces another variable: the physical space of the object. My search for gift books in the Peabody also entails the privilege of retrieving the books from the stacks. There are two search processes, the intellectual and the physical, that I must navigate. The intellectual search in this case requires a variety of keyword/date range combinations, and ultimately, recourse to my prepared bibliography—a holdover from pre-catalogue research methods. Now the second search begins.\r\n\r\nThe Rough and Ready Annual is at 973.62 A5121, in the “general history of North America; United States” category. [note type=\'figure\' number=\'12\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-12-rr/\" rel=\"attachment wp-att-401\"><img class=\"alignnone size-medium wp-image-401\" title=\"fig 12 r&amp;r\" alt=\"\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-12-rr-336x252.jpg\" width=\"333\" height=\"250\" /></a>The Rough and Ready Annual in the stacks.[/note] This call number range is on the second floor, west side. Other items on my list are in very different parts of the library. Orange Blossoms: A Gift Book for All Who Have Worn, Are Wearing, Or are Likely to Wear Them, edited by the temperance writer T. S. Arthur and published in London, has been given the call number 813 A7910 duodecimo—fourth floor east, in the “American literature in English, fiction” section. [note number=\'39\']Orange Blossoms: A Gift Book for All Who Have Worn, Are Wearing, Or are Likely to Wear Them (London: Knight &amp; Co., [1857]). This title does not appear in at least one Arthur bibliography; see Donald A Koch, \"Timothy Shay Arthur,\" Antebellum Writers in New York and the South, ed. Joel Myerson (Detroit: Gale Research, 1979), from Literature Resource Center. Web. 19 Feb. 2011. To check on this, I need Mitchell Sharpe Jr.’s A Bibliography of the Published Books of Timothy Shay Arthur (Atlanta: Emory University, 1954), a typewritten quarto at 012 A791S, but it seems to be missing.[/note] [note type=\'figure\' number=\'13\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-13-orange/\" rel=\"attachment wp-att-402\"><img class=\"alignnone size-medium wp-image-402\" title=\"fig 13 orange\" alt=\"\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-13-orange-336x252.jpg\" width=\"333\" height=\"250\" /></a>Orange Blossoms in the stacks.[/note] Arthur shows up again as co-editor of The Baltimore Book: A Christmas and New-Year\'s Present, which has received more extensive description as it contains the first printing of Edgar Allan Poe’s short story “Siope.” [note number=\'40\']The Baltimore Book: A Christmas and New-Year\'s Present (Baltimore: Bayly and Burns, [1838]).[/note] We have two copies of this very genteel little gift book, one at 808.83 B2175 (rhetoric &amp; collections of literature), and one at 810.8 C297 (American literature in English). The New Casket: A Gift Book for All Seasons is in the rare book room at the south end of the third floor. [note number=\'41\']The New Casket: A Gift Book for All Seasons (London: The Religious Tract Society, ca. 1850).[/note] [note type=\'figure\' number=\'14\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-14-rbr/\" rel=\"attachment wp-att-403\"><img class=\"alignnone size-medium wp-image-403\" title=\"fig 14 rbr\" alt=\"\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-14-rbr-336x252.jpg\" width=\"333\" height=\"250\" /></a>The rare book room.[/note] In this case, the book’s rarity has to do with a lovely fore-edge painting. It has been assigned to 820.8 N42017 (general books about literature). On the other end of the “rare” continuum is The Family Circle and Parlor Annual, volume 5 in a series, which is shelved up on the sixth floor with the periodicals at 051 F198 (serials in American English). [note number=\'42\']The Family Circle and Parlor Annual (New York: Comstock, 1847).[/note] [note type=\'figure\' number=\'15\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-15-parlor/\" rel=\"attachment wp-att-404\"><img class=\"alignnone size-medium wp-image-404\" title=\"fig 15 parlor\" alt=\"\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-15-parlor-336x252.jpg\" width=\"333\" height=\"250\" /></a>The Parlor Annual in the stacks.[/note]\r\n\r\nI’ll fill out call slips for each book, stick the slips into red flags, and put the flags in an order that will help me chart a logical course through the stacks. [note type=\'figure\' number=\'16\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-16-slips/\" rel=\"attachment wp-att-405\"><img class=\"alignnone size-medium wp-image-405\" title=\"fig 16 slips\" alt=\"\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-16-slips-336x252.jpg\" width=\"333\" height=\"250\" /></a>Call slips and flags.[/note] It’s easiest to start on the sixth floor and work one’s way down, picking up books along the way. Usually I find other interesting items as I go, so I carry a batch of blank call slips and extra flags. (On this occasion, for example, I find The New American Reader: Containing Choice Pieces, in Prose and Verse; published in 1813 and inscribed by its owner in 1817, it pre-dates by several years the official beginning of the gift book phenomenon. It might be more of a “literary almanac.” [note number=\'43\']The New American Reader: Containing Choice Pieces, in Prose and Verse (Philadelphia: David Hogan, 1813).[/note] [note type=\'figure\' number=\'17\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-17-new-reader/\" rel=\"attachment wp-att-406\"><img class=\"alignnone size-medium wp-image-406\" title=\"fig 17 new reader\" alt=\"\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-17-new-reader-336x252.jpg\" width=\"333\" height=\"250\" /></a>Inscription in The New American Reader.[/note]) Usually I am also unable to locate at least one of the books I have set out to find. Most likely the book has been misshelved, so I’ll check the quartos and folios, which are shelved separately; then I’ll check the rare book room’s octavo, duodecimo and quarto shelving areas. It used to astonish me that books were still shelved by format in the Peabody, but it does save space. At the same time, this shelving system—along with the multiple distinct areas within the library where books may reside, eg the rare book room, the reference section, the genealogy books, the Limited Editions Club, and several discrete named collections—means that retrieving a few books can take quite a long time, as I traipse up and down the six floors of the library, thread through stacks, open secured doors with multiple keys, turn lights on and off, and maneuver a book truck in and out of a tiny service elevator built in the 1920s. By the end of the journey, the library and I will have exchanged dust; I’ll take on a few streaks of red rot, and the library will have taken in particles from my body as well.\r\n\r\nWhile the Peabody is unique, these conditions are not in the end very unusual. In terms of the intellectual search, the absence of “gift book” from many of the catalogue records is no less egregious than the absence of other information—the names of all the contributors; the subjects of the illustrations. The metadata is potentially infinite. The “gift book” only exists as a category because of scholars who teased out this cultural phenomenon; it would be very difficult to define its absolute borders. In terms of the physical search, the Peabody might be messier than, say, a rare book library that has assigned current LC call numbers to all its contents and houses them in compact shelving, but it exemplifies the general on-the-ground situation. As I wind my way through the Peabody stacks, I remember how much more difficult it is to gather research materials from several different institutions.\r\n\r\nThe fact is, for scholars who rely on archives, research is something you do only after you have already undertaken a rigorous search. It is the search that provides you with the foundational sense of your subject. But the search is rarely acknowledged or accredited; even the foot-soldier craft of bibliography, the link between “librarianship” and “scholarship,” has largely lost its scholarly status.\r\n\r\n<!--nextpage-->\r\n\r\n<strong>3. An Architecture of Disctinction.</strong>\r\n<blockquote>A non-affiliate researcher contacts the Peabody about our H. L. Mencken collections. Since she will bring a couple of graduate students with her, I set up a group work space in one of the library alcoves where the three of them can share materials and talk without disturbing other readers. I pull the requested volumes with the help of some students and set the cart up within easy reach of the alcove. When the researchers arrive, I show them the Mencken collections on the ground floor. Then I lead them to their group work space and leave them, returning to the glassed-in office behind the reading room, the vantage point that allows me to monitor the otherwise empty reading room.</blockquote>\r\nIn “The Silence of the Library: Environment, Situational Norm, and Social Behavior,” a team of Dutch sociologists investigates the library as a space that is strongly marked by situational norms—“knowledge-based beliefs about how to behave in particular situations that are shaped by social influence.” [note number=\'44\']Henk Aarts and Ap Dijksterhuis, “The Silence of the Library: Environment, Situational Norm, and Social Behavior,” Journal of Personality and Social Psychology 84.1 (2003), 19.[/note] Their research leads them to argue, however, that such norms do not require direct social influences to be triggered; in fact, “the situation can activate mental representations of normative behaviors automatically. And once activated, these representations provide the knowledge necessary for guiding one’s own situationally appropriate behavior.” [note number=\'45\']Aarts and Dijksterhuis, 19.[/note] Physical environments do not necessarily prompt these behaviors; rather, the behavior “depend[s] on whether the environment is of immediate behavioral relevance.” [note number=\'46\']Aarts and Dijksterhuis, 20.[/note] Talking in a quiet voice in the library, a normative behavior, is only activated for those who plan to visit the library.\r\n\r\nTen years ago, when the research for this article was conducted, the “silence of the library” was still a widespread norm. While the situation is now often reversed—in our main campus library, we must designate specific quiet areas because otherwise a sociable undergraduate din would take over—the norm of silence does continue to preside at the Peabody. Because it is off campus, the Peabody is often attractively under-populated compared to the crowded main library; it is mostly used by advanced researchers and those who seek a quiet place to study. The large central open area catches and amplifies even the smallest noises. The shelf-lined alcoves on either side of this central area offer the appearance of privacy, but in fact are little echo chambers. Visitors immediately detect these acoustics, and—except for the periodic tour groups—most spend their time in the Peabody in silence. But it is not just the physics of sound that shape behaviors here, as the Dutch researchers show; the social expectations of the space prefigure those behaviors.\r\n\r\nIn setting up a group work space for the Mencken researchers, I have quite deliberately contravened the usual norm of silence. Clearly, I am not inviting them to shout, and by putting them in an alcove in back, I have taken measures to protect any quiet-seeking visitors who might arrive. But in accordance with new ideas about the use of library space, my colleagues and I have decided that we must accommodate group study even if it might occasionally disrupt the silence desired by others. As it happens, the Mencken researchers’ conversation is eventually interrupted by a tour group, and the two activities play out side by side.\r\n\r\nI must admit that at moments I have mixed feelings about the tour groups and even the study cohorts. While my pedagogical instincts tend towards cheerful hub-bub, there is a part of me that is still in awe of the sanctuary-like atmosphere of the Peabody. John Morris called the library a “cathedral of books,” and clearly that’s what architect Edmund G. Lind had in mind. The central area with its grand skylight and the alcoves on its sides is like a nave bordered with chapels. Lind didn’t need a psychological study of environment-based situational norms to tell him that he might activate different behaviors within his building. The great central space inspires reverence—your eye is drawn to the skylight the way it would be drawn to the rose windows of Chartres, and on its way up catches row upon solemn row of books stowed behind gilded railings, a testament to the accumulated wisdom of the ages. [note type=\'figure\' number=\'18\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-18-skylight/\" rel=\"attachment wp-att-407\"><img class=\"alignnone size-full wp-image-407\" title=\"fig 18 skylight\" alt=\"\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-18-skylight.jpg\" width=\"333\" height=\"448\" /></a>The skylight in the George Peabody Library.[/note] But step into an alcove, especially on the ground floor where each is filled with an immense wooden table, and you instantly feel something else, something no less grand but more human. The alcoves are study-sized, and once you sit down at one of those dark, gleaming, broad tables, it is like you are the master of your own private library. [note type=\'figure\' number=\'19\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-19-alcove/\" rel=\"attachment wp-att-408\"><img class=\"alignnone size-medium wp-image-408\" title=\"fig 19 alcove\" alt=\"\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-19-alcove-336x252.jpg\" width=\"333\" height=\"250\" /></a>Alcove in the George Peabody Library.[/note]\r\n\r\nIronically, the Peabody’s architecture was out-dated by the time it was completed. With the professionalization of librarianship and the evolution of library science in the late nineteenth century, librarians like William Frederick Poole advocated for a functional rather than decorative design of interior library space. [note number=\'47\']See William Frederick Poole, Remarks on Library Construction (Chicago: Jansen, McClurg, 1884).[/note] Moreover, the actual use of space in the Peabody in the late nineteenth century was at odds with its symbolic appeal. The main library was known as the “stack room”; readers were seated in a comparatively plain reading room on the other side of the main doors. In this arrangement, the librarians reigned inside the gorgeous “cathedral of books,” but the building’s potential to civilize the masses was lost.\r\n\r\nNow, of course, we do not send readers outside. Inside the “stack room,” we explicitly call visitors’ attention to its beauty to explain the connections between the library’s architecture and its collections—how both speak eloquently of Victorian values. At the same time, we who staff the library have relegated ourselves to its periphery. We work in the glassed-in room at one end that serves as a monitoring point and occasional classroom; the official “librarian’s office” in one corner—its luxurious proportions suggesting something like a sacristy and something like a robber baron’s lair—is now shared work-space stuffed with several desks and laden book trucks. There is another monitoring station near the main doors. I often do my work at the photography station, in the back of one of the alcoves [note type=\'figure\' number=\'20\']<a href=\"http://archivejournal.net/journal/2011/04/archeology-of-archival-practice/fig-20-station/\" rel=\"attachment wp-att-409\"><img class=\"alignnone size-medium wp-image-409\" title=\"fig 20 station\" alt=\"\" src=\"http://archivejournal.net/journal/wp-content/uploads/2011/04/fig-20-station-336x252.jpg\" width=\"333\" height=\"250\" /></a>Photography station in the George Peabody Library.[/note]. It offers some privacy but is close enough to the central reading tables to be accessible to readers.\r\n\r\nThe space of the Peabody initiates other situational behaviors besides the norm of silence, and our work-station arrangements testify to this. The spatial re-centralizing of readers and marginalization of staff is not merely practical; it is a reflection of the modern office of librarianship. We are there to be of service, in a para-textual position. Consequently, our work should be out of sight; it should be separate from and secondary to the work that readers do. Our locations call upon us, in other words, to support the scholar’s effort to hide the “seams of [her] findings” by hiding the ways we contribute to that work—by the ways we sometimes do that work.\r\n\r\nI think about these complications as I escort the Mencken researchers to their table and walk back to the glassed-in office, where there is nothing pressing for me to do. I’d rather spend more time talking with them. I’d like to learn about their research and introduce them to some underappreciated parts of the collection. I’d like to share with them what I learned curating an exhibition of Mencken-related magazines and writing about one of those magazines. But I don’t want to get in their way; it’s likely that they are ready to get on with work that they don’t see as connected to mine. The professional norms of the archive are strong, and although I know how to talk about my research in many contexts—in presentations, interviews, hotel elevators—I haven’t figured out how to mix my scholarly role with the curatorial role I am supposed to play here, in the Peabody. In the end, I say nothing. Professional segregation is another kind of silence in the library.\r\n\r\nWe cannot change the archaeological record beneath our feet, but we can rearrange the fossils we dig up to create new narratives. We can tell different kinds of archive stories, including the story of what research in the archive was and is. Is it too idealistic to expect that dissolving the entrenched fantasies about archival research will make room for new methods? Is it naïve to imagine a space that, in putting into practice the archival turn’s preliminary insights about disciplinary and disorder, can support experimentation, facilitate connection across professions and disciplines, and enable new discoveries?','Disciplinarity and Disorder','','inherit','open','open','','2199-revision-17','','','2013-05-22 03:41:25','2013-05-22 03:41:25','',2199,'http://dev.archivejournal.net/issue//uncategorized/2199-revision-17/',0,'revision','',0),(4434,1,'2013-05-15 03:32:35','2013-05-15 03:32:35','This case study features work that two students completed in an English class at Goucher College. The course, The Archeology of Text, offers students an understanding of the social and historical frameworks for the production and consumption of text, beginning with the digital age and moving backwards in time. Students are also trained in bibliographic research skills, which they apply to objects in Goucher’s Special Collections library. These objects then become the subjects of a research paper that serves as the final course project.','Hands-On Research with Rare Books and Ephemera','This case study features work that two students completed in an English class at Goucher College. The course, The Archeology of Text, offers students an understanding of the social and historical frameworks for the production and consumption of text, beginning with the digital age and moving backwards in time. Students are also trained in bibliographic research skills, which they apply to objects in Goucher’s Special Collections library. These objects then become the subjects of a research paper that serves as the final course project.','inherit','open','open','','1047-revision-7','','','2013-05-15 03:32:35','2013-05-15 03:32:35','',1047,'http://dev.archivejournal.net/issue//uncategorized/1047-revision-7/',0,'revision','',0),(27,2,'2010-12-09 19:06:40','2010-12-09 19:06:40','Please contact the editor Lauren Coats if you have materials for or questions about submitting to <em>Archive Journal</em>: <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a>.\r\nWe are currently accepting proposals for Issues 4, \"Publishing the Archive\" (<a href=\"#CFP\">CFP</a> below). The submission window has closed for Issue 3, a special issue on data curation.\r\n<strong></strong>\r\n<p dir=\"ltr\"><span style=\"text-decoration: underline;\">Submission Specifications</span>\r\nWe welcome submissions in a variety of formats.   If you have a project that is in an experimental of unusual format, please contact the editor to discuss.  For more traditional textual and/or multimedia submissions, please follow these guidelines:</p>\r\n\r\n<ul>\r\n	<li>Text should be submitted as a Microsoft Word document or .rtf file</li>\r\n	<li>Should use Chicago style for citation (Chicago Manual of Style 16e)</li>\r\n	<li>Multimedia components should be submitted as separate files:</li>\r\n	<li>Images: sent as .jpg (480 x 640).</li>\r\n	<li>Video: we prefer a link to a hosted video at Vimeo.  Please contact the editors if you’d like to send a video file instead.</li>\r\n	<li>Sound files: .wav</li>\r\n	<li>Maps: .kml</li>\r\n	<li>Material in other formats: please discuss with the editor</li>\r\n	<li>If the files are too large to send by email, please contact the editor to discuss an alternate method for submission.</li>\r\n</ul>\r\n&nbsp;\r\n\r\n<a name=\"CFP\"></a>\r\n<span style=\"text-decoration: underline;\"><strong>Call for Proposals for Archive Journal Special Issue on \"Publishing the Archive\"</strong></span>\r\n\r\n<em>Archive</em> <em>Journal </em>is now accepting project and essay proposals for the “Archives, Remixed” section of its upcoming fourth issue, “Publishing the Archive.” This issue will examine how technological developments—from discrete digitization projects and databases to linked data and APIs for extensible machine-readability—are changing how we produce and publish archives and archival research.\r\n\r\nThe overarching question of this issue is: how do new forms of structured data and new modes for exhibiting archival materials constitute something more than straightforward repositories—becoming instead publications in their own right? And, a related question: What theoretical and operational changes occur when we think of archives and collections as data aggregations in need of publishing? In this sense the term “publishing” means “making public,” but it also means providing high-quality forms of access (as well as human- and machine-friendly metadata) for using, reusing, and remixing archival data.\r\n\r\nWe invite proposals that investigate the possibilities and limits of “publishing the archive.”  Projects might include, but are not limited to:\r\n<ul>\r\n	<li>Development of a specific archive-oriented API along with a narrative account of what the application seeks to achieve.</li>\r\n</ul>\r\n<ul>\r\n	<li>Textual and/or multimedia explorations of the challenges and promises of linked data with regard to specific archives, collections, or databases.</li>\r\n</ul>\r\n<ul>\r\n	<li>Examinations of the history of archival interoperability (for instance, thinking critically about how the evolution of metadata schemas has led to new archival structures and new ways of linking across archives).</li>\r\n</ul>\r\n<ul>\r\n	<li>Analysis, modeling, or development of new modes of presenting archives on the web, including new kinds of searchability, visualizations of data, and capacity for user-driven contributions.</li>\r\n</ul>\r\n<ul>\r\n	<li>Analysis, modeling, or development of new tools and platforms for working in archives and collections (e.g., an application that allows scholars to produce research--annotations, essays, or experimentations--in the same space as the cultural artifact).</li>\r\n</ul>\r\n<ul>\r\n	<li>Specific discussions not only about what can be published, but about what <em>should </em>be published. That is, in an environment where wholesale digital access is possible, do we need specific parameters for authoritative “editions” of the archive?</li>\r\n</ul>\r\n<ul>\r\n	<li>Discussions of how to effectively address copyright restrictions preventing archival material from being published.</li>\r\n</ul>\r\n<ul>\r\n	<li>Discussions about what happens to analog archives that do not have a digital presence. Or, related to this: what are the effects of the digital surrogate becoming increasingly de rigueur?<strong>\r\n</strong></li>\r\n</ul>\r\n<strong>Submitting proposals</strong>\r\n\r\nAn<a href=\"http://archivejournal.net/journal/home/about/#review\"> open access, peer-reviewed journal</a>, <em>Archive Journal</em> seeks content that speaks to its diverse audience of librarians, scholars, archivists, and technologists. We encourage proposals from humanities and social science researchers, archive developers and directors, and special collections librarians and library technologists. In your 500-1000 word proposal, please include:\r\n<ul>\r\n	<li>a description of the project’s argument and scholarly significance</li>\r\n	<li>the archives, collections, or databases to be addressed in the project</li>\r\n	<li>a description of the project components and format (e.g., traditional text or multimedia essay; a streaming media work; an archival tool, code or API, etc.; interactive visualization, etc.)</li>\r\n</ul>\r\nThis issue is being guest edited by <a href=\"http://anvilacademic.org/\">Anvil Academic</a>. If you have any questions about your proposal, please feel free to contact Korey Jackson at <a href=\"mailto:kjackson@anvilacademic.org\">kjackson@anvilacademic.org</a>.  Submit proposals to Fred Moody (<a href=\"mailto:fmoody@anvilacademic.org\">fmoody@anvilacademic.org</a>) by June 3, 2013. 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Or, you can reach the editor by email (archivex AT archivejournal.net) or phone (225-578-3130).\r\n','Contact Us','','publish','open','closed','','contact','','','2013-05-01 01:33:44','2013-05-01 01:33:44','',0,'http://archivejournal.net/journal/',0,'page','',0),(3555,14,'2012-11-14 04:40:21','2012-11-14 04:40:21','','lehigh_student-work_img7','Some students were clearly for coeducation, assembling and speaking out at rallies.  (<em>The Brown & White</em>, April 18, 1969).  Image courtesy of Lehigh University Digital Library.	','inherit','open','open','','lehigh_student-work_img7','','','2012-11-14 04:40:21','2012-11-14 04:40:21','',1387,'http://dev.archivejournal.net/wp-content/uploads/2012/11/lehigh_student-work_img7.jpg',7,'attachment','image/jpeg',0),(3556,14,'2012-11-14 05:03:05','2012-11-14 05:03:05','','lehigh_student-work_slideshow','','inherit','open','open','','lehigh_student-work_slideshow','','','2012-11-14 05:03:05','2012-11-14 05:03:05','',1387,'http://dev.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_slideshow.jpg',0,'attachment','image/jpeg',0),(90,4,'2011-01-05 12:01:12','2011-01-05 12:01:12','The digital form highlights a question faced by every project or repository working to build online digital collections from analog originals. The digital form permits creation of extremely high density and equally high quality facsimiles,[ref]Scanning requirements are in “<a href=\"http://www.whitmanarchive.org/about/technical_summary.html\">Technical Summary</a>,” <em>TWWA</em>.[/ref] making it possible to determine physical characteristics of the original impossible to consider during the era of microfilm or photocopying. For example, project transcribers can apparently discern\r\n<ul>\r\n	<li>ink blots, smudges, and stray pen marks;</li>\r\n	<li>pin holes;</li>\r\n	<li>embossing;</li>\r\n	<li>variations in ink, pencil, or paper;</li>\r\n	<li>distinctions between single and multiple overstrikes[ref]From “<a href=\"http://www.whitmanarchive.org/mediawiki/index.php/Whitman_Encoding_Guidelines#What_Not_to_Encode\">5.9.1 What Not to Encode</a>,” <em>TWWA</em>.[/ref]</li>\r\n</ul>\r\nWhile these are “what not to encode,” they denote the expectation that facsimiles supplied to the transcribers are capable of producing such details. As an extra measure of quality, “project staff <em>examine each digital image</em> [when creating JPEGs from original TIFF files] <em>cleaned and cropped</em> for web delivery.”[ref]“Technical Summary,” emphases added.[/ref] The intricate encoding guidelines themselves are also part of making high quality facsimiles accessible.\r\n\r\nThe opportunity cost of demanding extremely high standards encompasses both a slow pace of making facsimiles accessible to users and the ability to create a complete archive of Whitman material—this latter price due to the inevitable (though not supportable) decision by some repositories to decline participation if it requires public accessibility to such high quality scans.[ref]See “<a href=\"http://www.whitmanarchive.org/about/history.html\">History of the Project</a>,” <em>TWWA</em>, for brief discussion of some libraries’ requirement to limit user access to 72 dpi facsimiles.[/ref] There is nothing inherently logical about sacrificing a complete collection for highest-quality facsimiles. Nor is there innate reason for choosing quality over quantity, particularly since one can structure a project whereby “inferior” facsimiles are placed online relatively quickly while higher-quality facsimiles are posted, gradually, later. The question of whether (and which) users are best served by large quantity rather than high quality is one accurately answered only by asking users themselves. Surveys or focus groups for gathering user input have not been employed by <em>The Walt Whitman Archive</em> it appears—but neither have they been used by the vast majority of projects and repositories creating online collections.\r\n\r\nFor a decade now I have been actively involved in projects to increase the quantity of archival material accessible to users at the expense of traditional notions of quality. What began as an effort to speed processing of large modern manuscript (hidden) collections has evolved into jeremiads on trading speed for precision in most other aspects of archives administration as well—including the creation, description, and mounting of digital facsimiles online.[ref]See, particularly, Mark A. Greene and Dennis Meissner, “More Product, Less Process: Revamping Traditional Archival Processing,” <em>American Archivist</em>, 68:2 (Fall/Winter 2005), 208-263 and Mark A. Greene, “MPLP: It’s Not Just for Processing Anymore,” <em>American Archivist</em> 73:1 (Spring/Summer 2010), 175-203.[/ref] In some cases, including processing and digitization, there is direct evidence that some users prefer “more” over “better” at a ratio of about two-to-one. Far more research is required, certainly, and we should never assume that what holds true for one project/repository and its audience holds equally true for all. But we should certainly be more anxious to determine the answers than we have been heretofore.','The Walt Whitman Archive – Greene 3','The digital form highlights a question faced by every project or repository working to build online digital collections from analog originals.  The digital form permits creation of extremely high density and equally high quality facsimiles, making it possible to determine physical characteristics of the original impossible to consider during the era of microfilm or photocopying...','publish','open','open','','the-walt-whitman-archive-greene-3','','','2013-05-15 02:27:40','2013-05-15 02:27:40','',0,'http://archivejournal.net/journal/?p=90',105,'post','',5),(104,4,'2011-01-05 12:00:19','2011-01-05 12:00:19','I give a great credit to <em>The Walt Whitman Archive</em> co-director Kenneth Price for taking a critical look at the costs associated with an endeavor such as his.\r\n<blockquote>[M]any people, myself included, have described our site as free, yet a considerable amount of resources continue to go into its making. I want to explore that conundrum. … When users visit a deep scholarly archive on the web they are experiencing the (mostly real) benefit of displaced costs. Instead of money being spent by the user at the point of contact, money is spent elsewhere along the line: by universities in the form of faculty time, equipment, graduate student assistance, and internal grants; by external funding agencies; and, in our case, curiously, by more than one publisher. … We might ask: Is what the Whitman archive has done a sustainable model for the production of other full-scale scholarly editions on the web? We have been fortunate with grants, publishers, libraries, and generous universities. But if it requires such a constellation of good fortune to produce an electronic scholarly edition, do we have a sound economic model in place? As the questions imply, I don\'t think we do.[ref]Kenneth M. Price, <a href=\"http://www.whitmanarchive.org/about/articles/anc.00004.html\">\"Dollars and Sense in Collaborative Digital Scholarship: The Example of the <em>Walt Whitman Hypertext Archive</em>,\"</a> <em>TWWA</em> (2001).[/ref]</blockquote>\r\nYet for all his candor, and the importance of that candor, he does not take the next (and even more difficult) step of analyzing the project’s benefits as well as its costs. Saying such an online archival endeavor is not sustainable is, in part, to say it does not (cannot, I will suggest) provide sufficient benefits to sustain continuing such costs. For me this is part of a larger question about how and why we allocate archival resources. I have no particular bone to pick with the <em>Whitman Archive</em>; I have raised similar concerns about the disproportionate staff and monetary resources devoted by bricks and mortar repositories to literary collections as a genre, congressional papers as a genre,[ref]Mark A. Greene, \"Appraisal of Congressional Papers at the Minnesota Historical Society: A Case Study,\" <em>Archival Issues</em> 19:1 (1994), 31-44.<em> </em>Republished in <em>An American Political Archives Reader,</em> Karen Dawley Paul , Glenn R Gray , and L. Rebecca Johnson Melvin eds. (Scarecrow Press, Inc., 2009), 181-96.[/ref] university records as a genre, state/county/local court records as a genre, and general store records as a genre[ref]Mark A. Greene, “From Village Smithy to Superior Vacuum Technology: Modern Small Business Records and the Collecting Repository,” <em>Archival Issues</em> 23:1 (1998), 41-58.[/ref]—all categories of records I believe are represented disproportionately in repositories and given disproportionate attention by archivists.\r\n\r\nAn argument that resource expenditure is disproportionate requires some comparison. As my then colleague at the Minnesota Historical Society wrote in 1998,\r\n<blockquote>while politics is an important component of Minnesota history, it is at least arguable that its importance is not so great as the resources that the Society has devoted to documenting it. Neither the stack space nor the staff time is sufficient to swallow Congressional collections whole and still be able appropriately to document business, recreation, family life, etc. for Minnesota. We had to ask: ‘Do we really need 116 feet of material to document Congressman Tom Hagedorn’s eight years in office when we keep 110 feet for nearly seventy years of the St. Paul Area United Way?’[ref]Todd J. Daniels-Howell, “Reappraisal of Congressional Records at the Minnesota Historical Society,” <em>Archival Issues </em>23:1 (1998), 36.[/ref]</blockquote>\r\nThis was hardly a precise comparison, to be sure, but it was an early attempt to ask archivists to consider the theretofore reflexive resource allocation required to document congressional service to the nth degree compared to both the opportunity costs and the relative benefit (to a repository’s users) of shifting resources to other acquisition, processing, and preservation goals. It is not that Hagedorn’s congressional tenure was value-<em>less</em> nor that the United Way’s records were objectively more valuable, only that we had never before considered the relative costs and benefits.\r\n\r\nSuch comparison is no easy matter, granted. It might be abstractly valid to ask whether it is a good allocation of resources to develop an exhaustive online archives for Walt Whitman when there are not such efforts underway for, say, Theodore Roosevelt,[ref]At least so far as I can discover, though I did not perform a truly exhaustive search.[/ref] but the fact is we have no mechanism to determine, in any way that is even vaguely acceptable on a wide scale, whether one historical figure is more “deserving” of such a site than another. And even if we did, we don’t have a mechanism for ensuring that the more deserving figure would automatically generate the structure necessary to solicit and manage the resources that might then be available. And if we succeeded in identifying such mechanisms there would still loom the matter of judging relative quantity and quality of use of the sites—use being, I believe, the “end of all archival effort.”[ref]Theodore R. Schellenberg, <em>The Management of Archives</em> (New York: Columbia University Press, 1965), 108. I have pursued the idea of the centrality of use to archival work most extensively in “’The Surest Proof’: The Use of Business Records and Implications for Appraisal,” <em>Archivaria</em> 45 (Spring 1998), 127-69 and later in Greene and Meissner, “More Product, Less Process.”[/ref]\r\n\r\nSo is this a purely rhetorical exercise? I don’t think so. As difficult as these questions are to answer with precision, they remain necessary questions and there are pieces of answers available once we start asking. My plea is that we do start asking, that we do start expecting to define quantitative and qualitative measure of the costs and benefits of such projects and, by extension, of our bricks and mortar archival endeavors as well. Not only do I think we owe it to our constituents and funders, I also believe it will increasingly be demanded by our administrators.','The Walt Whitman Archive – Greene 4','I give a great credit to The Walt Whitman Archive co-director Kenneth Price for taking a critical look at the costs associated with an endeavor such as his. \"[M]any people, myself included, have described our site as free, yet a considerable amount of resources continue to go into its making. I want to explore that conundrum.\"','publish','open','open','','the-walt-whitman-archive-greene-4','','','2013-05-15 02:27:45','2013-05-15 02:27:45','',0,'http://archivejournal.net/?p=104',106,'post','',3),(336,13,'2011-01-01 05:14:33','2011-01-01 05:14:33','In this issue, five contributors critique and analyze <em><a href=\"http://www.whitmanarchive.org/\" target=\"_blank\">The Walt Whitman Archive</a></em> by answering four questions about this digital archive. We invite you to read through the roundtable by question or by author.','The Walt Whitman Archive','','publish','closed','open','','walt-whitman','','','2013-05-08 03:33:51','2013-05-08 03:33:51','',0,'http://www.archivejournal.net/?p=336',86,'post','',0),(4465,1,'2013-05-15 03:41:02','2013-05-15 03:41:02','<img class=\"size-full wp-image-1185\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/walters_student-action-photo_dowdle.jpg\" alt=\"Elizabeth Dowdle (in striped shirt) with Capitoline Amazon, marble\" width=\"640\" height=\"426\" /> <span class=\"caption\">Elizabeth Dowdle (in striped shirt) and co-instructor Ben Tilghman (kneeling at right) with Capitoline Amazon, marble (Roman copy after Kresilas, Greek, active ca. 450 BC - 420 BC). Photo: Will Kirk, <a href=\"http://homewoodphoto.jhu.edu\">homewoodphoto.jhu.edu</a>.</span>\r\n\r\n<strong>1. Describe the sorts of work you did in developing your Google Earth presentation on this object. (You might consider both the unique forms of research involved and modes/methods of interpretation.)</strong>\r\nMy research focused on discovering the provenance of the Walters’ Capitoline Amazon, a Roman copy of a Greek bronze sculpture. Though the beautiful marble immediately caught my attention, I was surprised to find how little the museum actually knew about the object’s history. In order to unravel the mystery surrounding the sculpture, I looked for similar examples of sculpture in other museum collections and, consulting the records that came with them, began to piece together a tentative history of this ancient artwork.\r\n\r\n<strong>2. What did you learn from this project that distinguished it from other academic courses?</strong>\r\nThis project was unique in that I was provided with an ending point in the Walters gallery, but lacked a starting point for my research. This issue forced me to think outside the box and look for new ways to come up with the information I needed to draw out this object’s provenance. This called for more than an average trip to the library; I had to consult other institutions with similar sculptures in their collections and find possible answers to my questions based on the records they had on their pieces. It was a unique challenge, but this project truly taught me that where there is a will, there is a way.\r\n\r\n<strong>3. What was it like to create a final project that would be presented to the public?</strong>\r\nIt was both exciting and inspiring to create a project that would be presented to the public. Knowing that my work would be recognized outside the classroom inspired me to design a product that would make a difference not only for the Walters, but also for anyone looking for information about the Capitoline Amazon. I was driven to deliver a professional, museum-quality presentation that the Walters would be proud to add to their website.\r\n\r\n<strong>4. What did you learn from working in a professional museum and in conjunction with its staff?</strong>\r\nIt is always a privilege to work with professionals in the field you aspire to join, especially when you get to do so in the museum itself. Working with the staff at the Walters gave me insight into the everyday activities of registrars, curators, and collections managers as well as the challenges they face when caring for their collections and working to further their institutions’ missions. Especially in collections containing antiquities, it is not uncommon to come across objects with questionable histories. My time at the Walters taught me that it is of the utmost importance to authenticate the contents of your collection by making their unique histories known, despite the challenges this task might pose.\r\n\r\n<strong>5. What did this course/project and the opportunity to work with museum objects and their archival records mean to your education? your future plans? your general interests?</strong>\r\nThis course and the project I produced solidified my desire to pursue a career in museums. The opportunity to work with museum objects and their records has inspired me to continue my education so that I can also work in an institution dedicated to the preservation of culture for future generations. I graduated from Johns Hopkins University in May 2011 with a degree in the History of Science, Medicine and Technology and am now pursuing a master’s degree in Museum Studies at George Washington University, with a focus in museum administration and classical studies.','Elizabeth Dowdle','My research focused on discovering the provenance of the Walters’ Capitoline Amazon, a Roman copy of a Greek bronze sculpture. Though the beautiful marble immediately caught my attention, I was surprised to find how little the museum actually knew about the object’s history. In order to unravel the mystery surrounding the sculpture, I looked for similar examples of sculpture in other museum collections and, consulting the records that came with them, began to piece together a tentative history of this ancient artwork.','inherit','open','open','','1152-revision-8','','','2013-05-15 03:41:02','2013-05-15 03:41:02','',1152,'http://dev.archivejournal.net/issue//uncategorized/1152-revision-8/',0,'revision','',0),(4466,1,'2013-05-22 02:51:17','2013-05-22 02:51:17','[caption id=\"attachment_1185\" align=\"alignright\" width=\"640\"]<img class=\"size-full wp-image-1185 \" alt=\"Elizabeth Dowdle (in striped shirt) with Capitoline Amazon, marble\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/walters_student-action-photo_dowdle.jpg\" width=\"640\" height=\"426\" /> Elizabeth Dowdle (in striped shirt) and co-instructor Ben Tilghman (kneeling at right) with Capitoline Amazon, marble (Roman copy after Kresilas, Greek, active ca. 450 BC - 420 BC). Photo: Will Kirk, homewoodphoto.jhu.edu.[/caption]\r\n\r\n<strong>1. Describe the sorts of work you did in developing your Google Earth presentation on this object. (You might consider both the unique forms of research involved and modes/methods of interpretation.)</strong>\r\nMy research focused on discovering the provenance of the Walters’ Capitoline Amazon, a Roman copy of a Greek bronze sculpture. Though the beautiful marble immediately caught my attention, I was surprised to find how little the museum actually knew about the object’s history. In order to unravel the mystery surrounding the sculpture, I looked for similar examples of sculpture in other museum collections and, consulting the records that came with them, began to piece together a tentative history of this ancient artwork.\r\n\r\n<strong>2. What did you learn from this project that distinguished it from other academic courses?</strong>\r\nThis project was unique in that I was provided with an ending point in the Walters gallery, but lacked a starting point for my research. This issue forced me to think outside the box and look for new ways to come up with the information I needed to draw out this object’s provenance. This called for more than an average trip to the library; I had to consult other institutions with similar sculptures in their collections and find possible answers to my questions based on the records they had on their pieces. It was a unique challenge, but this project truly taught me that where there is a will, there is a way.\r\n\r\n<strong>3. What was it like to create a final project that would be presented to the public?</strong>\r\nIt was both exciting and inspiring to create a project that would be presented to the public. Knowing that my work would be recognized outside the classroom inspired me to design a product that would make a difference not only for the Walters, but also for anyone looking for information about the Capitoline Amazon. I was driven to deliver a professional, museum-quality presentation that the Walters would be proud to add to their website.\r\n\r\n<strong>4. What did you learn from working in a professional museum and in conjunction with its staff?</strong>\r\nIt is always a privilege to work with professionals in the field you aspire to join, especially when you get to do so in the museum itself. Working with the staff at the Walters gave me insight into the everyday activities of registrars, curators, and collections managers as well as the challenges they face when caring for their collections and working to further their institutions’ missions. Especially in collections containing antiquities, it is not uncommon to come across objects with questionable histories. My time at the Walters taught me that it is of the utmost importance to authenticate the contents of your collection by making their unique histories known, despite the challenges this task might pose.\r\n\r\n<strong>5. What did this course/project and the opportunity to work with museum objects and their archival records mean to your education? your future plans? your general interests?</strong>\r\nThis course and the project I produced solidified my desire to pursue a career in museums. The opportunity to work with museum objects and their records has inspired me to continue my education so that I can also work in an institution dedicated to the preservation of culture for future generations. I graduated from Johns Hopkins University in May 2011 with a degree in the History of Science, Medicine and Technology and am now pursuing a master’s degree in Museum Studies at George Washington University, with a focus in museum administration and classical studies.','Elizabeth Dowdle','My research focused on discovering the provenance of the Walters’ Capitoline Amazon, a Roman copy of a Greek bronze sculpture. Though the beautiful marble immediately caught my attention, I was surprised to find how little the museum actually knew about the object’s history. In order to unravel the mystery surrounding the sculpture, I looked for similar examples of sculpture in other museum collections and, consulting the records that came with them, began to piece together a tentative history of this ancient artwork.','inherit','open','open','','1152-revision-9','','','2013-05-22 02:51:17','2013-05-22 02:51:17','',1152,'http://dev.archivejournal.net/issue//uncategorized/1152-revision-9/',0,'revision','',0),(4467,1,'2013-05-22 02:52:29','2013-05-22 02:52:29','[caption id=\"attachment_1185\" align=\"alignnone\" width=\"640\"]<img class=\"size-full wp-image-1185 \" alt=\"Elizabeth Dowdle (in striped shirt) with Capitoline Amazon, marble\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/walters_student-action-photo_dowdle.jpg\" width=\"640\" height=\"426\" /> Elizabeth Dowdle (in striped shirt) and co-instructor Ben Tilghman (kneeling at right) with Capitoline Amazon, marble (Roman copy after Kresilas, Greek, active ca. 450 BC - 420 BC). Photo: Will Kirk, homewoodphoto.jhu.edu.[/caption]\r\n\r\n<strong>1. Describe the sorts of work you did in developing your Google Earth presentation on this object. (You might consider both the unique forms of research involved and modes/methods of interpretation.)</strong>\r\nMy research focused on discovering the provenance of the Walters’ Capitoline Amazon, a Roman copy of a Greek bronze sculpture. Though the beautiful marble immediately caught my attention, I was surprised to find how little the museum actually knew about the object’s history. In order to unravel the mystery surrounding the sculpture, I looked for similar examples of sculpture in other museum collections and, consulting the records that came with them, began to piece together a tentative history of this ancient artwork.\r\n\r\n<strong>2. What did you learn from this project that distinguished it from other academic courses?</strong>\r\nThis project was unique in that I was provided with an ending point in the Walters gallery, but lacked a starting point for my research. This issue forced me to think outside the box and look for new ways to come up with the information I needed to draw out this object’s provenance. This called for more than an average trip to the library; I had to consult other institutions with similar sculptures in their collections and find possible answers to my questions based on the records they had on their pieces. It was a unique challenge, but this project truly taught me that where there is a will, there is a way.\r\n\r\n<strong>3. What was it like to create a final project that would be presented to the public?</strong>\r\nIt was both exciting and inspiring to create a project that would be presented to the public. Knowing that my work would be recognized outside the classroom inspired me to design a product that would make a difference not only for the Walters, but also for anyone looking for information about the Capitoline Amazon. I was driven to deliver a professional, museum-quality presentation that the Walters would be proud to add to their website.\r\n\r\n<strong>4. What did you learn from working in a professional museum and in conjunction with its staff?</strong>\r\nIt is always a privilege to work with professionals in the field you aspire to join, especially when you get to do so in the museum itself. Working with the staff at the Walters gave me insight into the everyday activities of registrars, curators, and collections managers as well as the challenges they face when caring for their collections and working to further their institutions’ missions. Especially in collections containing antiquities, it is not uncommon to come across objects with questionable histories. My time at the Walters taught me that it is of the utmost importance to authenticate the contents of your collection by making their unique histories known, despite the challenges this task might pose.\r\n\r\n<strong>5. What did this course/project and the opportunity to work with museum objects and their archival records mean to your education? your future plans? your general interests?</strong>\r\nThis course and the project I produced solidified my desire to pursue a career in museums. The opportunity to work with museum objects and their records has inspired me to continue my education so that I can also work in an institution dedicated to the preservation of culture for future generations. I graduated from Johns Hopkins University in May 2011 with a degree in the History of Science, Medicine and Technology and am now pursuing a master’s degree in Museum Studies at George Washington University, with a focus in museum administration and classical studies.','Elizabeth Dowdle','My research focused on discovering the provenance of the Walters’ Capitoline Amazon, a Roman copy of a Greek bronze sculpture. Though the beautiful marble immediately caught my attention, I was surprised to find how little the museum actually knew about the object’s history. In order to unravel the mystery surrounding the sculpture, I looked for similar examples of sculpture in other museum collections and, consulting the records that came with them, began to piece together a tentative history of this ancient artwork.','inherit','open','open','','1152-revision-10','','','2013-05-22 02:52:29','2013-05-22 02:52:29','',1152,'http://dev.archivejournal.net/issue//uncategorized/1152-revision-10/',0,'revision','',0),(4468,1,'2013-05-15 03:43:29','2013-05-15 03:43:29','<img class=\"size-full wp-image-1193\" title=\"walters_student action photo_tkacs\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/walters_student-action-photo_tkacs.jpg\" alt=\"\" width=\"640\" height=\"426\" /><span class=\"caption\">\r\nJoan Tkcas (on far right, in brown) and Casket with Scenes of Romances, ivory and bone with modern iron mounts (French, 1330-1350). Photo: Will Kirk, <a href=\"http://homewoodphoto.jhu.edu\">homewoodphoto.jhu.edu</a>.</span>\r\n\r\n<strong>1. Describe the sorts of work you did in developing your Google Earth presentation on this object. (You might consider both the unique forms of research involved and modes/methods of interpretation.)</strong>\r\n\r\nI researched two objects for this project, a painted tile and an ivory casket. The Walters Art Museum had a thorough record of the objects’ provenances, so the bulk of my time was spent uncovering details about the lives and tastes of their previous owners. It was important to me to understand why they found the objects interesting enough to purchase. If the owners were art collectors, I tried finding other objects in their collections to get a sense of their taste. From there, it was a matter of organizing the object’s history into a simple and compelling narrative.\r\n\r\n<strong>2. What did you learn from this project that distinguished it from other academic courses?</strong>\r\n\r\nThe credit line that you see on the typical museum label does not do justice to the histories of these objects. For example, the ivory casket I researched was made in the fourteenth century and was probably meant to function as a jewelry box, but one of its later owners took the individual panels of the case apart and framed them. He was looking at the casket in a completely different way than we do now. I did not know this before I started the project, and the research gave me a new appreciation for just how dynamic these objects are.\r\n\r\n<strong>3. What was it like to create a final project that would be presented to the public?</strong>\r\n\r\nThe Google Earth project was a lesson in learning how to write concisely. After spending a semester researching the history of a given object, the temptation is to then write a long-winded report on all that you had discovered. But very few people would be interested in reading something like that, I think. It is a bit harder to boil down everything you have learned into a punchy and informative presentation.\r\n\r\n<strong>4. What did you learn from working in a professional museum and in conjunction with its staff?</strong>\r\n\r\nThe Walters’ staff was incredibly giving of their time. We met with Gary Vikan, the museum director, Robert Mintz, the curator of Asian art, and William Noel, the curator of manuscripts. We got to look at the museum’s storage, and learned about what art museums take into consideration when accessioning works of art. What I remember best was getting to meet with Amanda Kodeck, a member of the museum’s education department, and getting feedback on what we had written for the project. That kind of collaboration was incredibly helpful.\r\n\r\n<strong>5. What did this course/project and the opportunity to work with museum objects and their archival records mean to your education? your future plans? your general interests?</strong>\r\n\r\nThe Google Earth project was a first for me. In other classes I may have had to research a single object for a paper, but I had never focused solely on an object’s provenance. This project proved to be a very worthwhile experience for me. Right now I am an intern at the Georgia Museum of Art and I spend a lot of my time working with the archival materials of the museum’s Pierre Daura Study Center. I do not know if I would have had this opportunity without my experience working on the Google Earth project at the Walters.','Joan Tkacs','I researched two objects for this project, a painted tile and an ivory casket. The Walters Art Museum had a thorough record of the objects’ provenances, so the bulk of my time was spent uncovering details about the lives and tastes of their previous owners. It was important to me to understand why they found the objects interesting enough to purchase. If the owners were art collectors, I tried finding other objects in their collections to get a sense of their taste. From there, it was a matter of organizing the object’s history into a simple and compelling narrative.','inherit','open','open','','1126-revision-8','','','2013-05-15 03:43:29','2013-05-15 03:43:29','',1126,'http://dev.archivejournal.net/issue//uncategorized/1126-revision-8/',0,'revision','',0),(4469,1,'2013-05-15 03:48:53','2013-05-15 03:48:53','<a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-action-photo_saunders.jpg\"><img class=\"size-medium wp-image-1367 \" title=\"cscc_student action photo_saunders\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-action-photo_saunders-333x250.jpg\" alt=\"Matthew Saunders exploring the Ramsey Family Papers at the Cleveland Bradley County Library History Branch.\" width=\"333\" height=\"250\" /></a>\r\n<span class=\"caption\" style=\"width: 333px\">Matthew Saunders exploring the Ramsey Family Papers at the Cleveland Bradley County Library History Branch (CPLHB). Photo credit: Sarah Copeland.</span>\r\n\r\nI was one of the first students to take the History Laboratory class at Cleveland State Community College (CSCC). My previous experience during an extra-credit activity in a traditional history course initially sparked my interest. During an American history survey course, Mr. Reed, the CSCC instructor who founded the Southeast Tennessee Digital Archive (SETDA), offered students a chance to digitize historical photographs. He demonstrated how to research a photograph\'s history, starting with the limited information written on the back and clues within the picture itself. I was eager to enroll in a course that was dedicated to digitizing historical photographs.\r\n\r\nFew history majors would turn down the opportunity to go beyond lecture courses and work directly with historical documents, but I never expected a two-year college to offer me this opportunity. The History Laboratory allowed me to gain hands-on experience preserving important records of local history. Moreover, the History Lab transformed how I research. I had to learn to use a library because the most relevant research material was not accessible online. It took a while to get into the groove of picking up a book and reading through the text as opposed to using a search engine to gather information. Using physical books to research is an invaluable experience that I will take with me throughout my future courses and career.\r\n\r\nAnother new experience was the archiving section of the class, in which we digitized photographs and organized the research in a way that would be coherent on the SETDA website. As students, we are accustomed to elaborating and expanding upon our research to produce an essay. The archiving section of the course, instead, forced me to condense my findings into a few concise sentences. The term “metadata” was foreign to me before this class, so working my research into that format was not the easiest task. Entering metadata into ContentDM was a challenge. Nevertheless, this exercise has helped me to convey my thoughts more clearly in other classes.\r\n\r\nOverall, the History Laboratory was a great experience. I had wanted to add some constructive criticism, but after reflecting on my experience I cannot think of any suggestions. The instructors were terrific and the course of study was refreshing. I would recommend this course to history students or any student who is searching for an experience that goes beyond a classroom lecture.','Matthew E. Saunders','I was one of the first students to take the History Laboratory class at Cleveland State Community College (CSCC). My previous experience during an extra-credit activity in a traditional history course initially sparked my interest. During an American history survey course, Mr. Reed, the CSCC instructor who founded the Southeast Tennessee Digital Archive (SETDA), offered students a chance to digitize historical photographs. He demonstrated how to research a photograph\'s history, starting with the limited information written on the back and clues within the picture itself. I was eager to enroll in a course that was dedicated to digitizing historical photographs.','inherit','open','open','','1040-revision-6','','','2013-05-15 03:48:53','2013-05-15 03:48:53','',1040,'http://dev.archivejournal.net/issue//uncategorized/1040-revision-6/',0,'revision','',0),(4471,1,'2013-05-22 01:21:29','2013-05-22 01:21:29','The final project for students enrolled in the course Behind the Scenes at the Walters Art Museum: Material Migrations, offered at the Walters Art Museum through Johns Hopkins University, was to trace the provenance of museum objects and describe their historical significance through Google Earth tours. This case study features the work of three students. Their tours, as well as those of several others, have been published by the Walters Art Museum as part of the online exhibit Art on the Move.','Mapping the Provenance of Museum Objects','The final project for students enrolled in the course Behind the Scenes at the Walters Art Museum: Material Migrations, offered at the Walters Art Museum through Johns Hopkins University, was to trace the provenance of museum objects and describe their historical significance through Google Earth tours. This case study features the work of three students. Their tours, as well as those of several others, have been published by the Walters Art Museum as part of the online exhibit <a href=\"http://thewalters.org/earth/\">Art on the Move</a>.','inherit','open','open','','1121-revision-12','','','2013-05-22 01:21:29','2013-05-22 01:21:29','',1121,'http://dev.archivejournal.net/issue//uncategorized/1121-revision-12/',0,'revision','',0),(4472,1,'2013-05-20 02:34:23','2013-05-20 02:34:23','Students in an upper-level English and Women\'s Studies course produced this documentary film, <em>The Development of Masculinity: Lehigh, Coeducation, and Its Impact</em>.','Archival Materials into Documentary Film','Students in an English and Women’s Studies undergraduate course at Lehigh University used materials from Lehigh’s Special Collections and University Archives to create a documentary film. The students used these archival resources, along with interviews and other research, to tell a chapter of their own institution’s history, focusing on issues of gender and masculinity as Lehigh went from all-male to coed in 1971.','inherit','open','open','','1108-revision-8','','','2013-05-20 02:34:23','2013-05-20 02:34:23','',1108,'http://dev.archivejournal.net/issue//uncategorized/1108-revision-8/',0,'revision','',0),(4473,1,'2013-05-20 02:29:43','2013-05-20 02:29:43','The student work for this case study is two archival tools designed by Tom Smith:  a low-cost robotic scanner for paper-based materials and a web application for an oral history archive.  Click on the images below to learn more about these tools.\r\n<a href=\"http://projectgado.org/\"><img class=\"size-full wp-image-1258\" title=\"jhu_student project photo 1_gado\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_student-project-photo-1_gado.jpg\" alt=\"The Gado 2 Robotic Scanner scanning photos at the Afro-American Newspapers archive.\" width=\"638\" height=\"478\" /></a> <span class=\"caption\">The Gado 2 Robotic Scanner scanning photos at the <em>Afro-American Newspapers</em> archive.</span>\r\n\r\n<a href=\"http://eboh.jhu.edu/oralhistoryplayer\"><img class=\" wp-image-2451\" style=\"margin-top: 30px;\" title=\"jhu_student project photo 2_eboh\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/09/jhu_student-project-photo-2_eboh.jpg\" alt=\"The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.\" width=\"630\" /></a> <span class=\"caption\">The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.</span>','Student-Built Archival Tools','This case study focuses on a student who contributed much more than expected to digital projects by creating two archival tools: a web application for an oral history archive and a low-cost robotic scanner for paper-based materials. In a practicum course at Johns Hopkins University, Tom Smith and his peers worked on recording and organizing oral histories. Smith also developed an audio player for the digital archive. This work brought him in contact with the <a href=\"http://archive.magazine.jhu.edu/2011/11/unboxing-history\">Diaspora Pathways Archival Access Project</a> (DPAAP) and led Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>. This powerful, durable robotic scanner digitizes sensitive archival materials and can be built using simple components for less than $500.','inherit','open','open','','1057-revision-9','','','2013-05-20 02:29:43','2013-05-20 02:29:43','',1057,'http://dev.archivejournal.net/issue//uncategorized/1057-revision-9/',0,'revision','',0),(4474,1,'2013-05-20 02:11:26','2013-05-20 02:11:26','This case study features work that two students completed in an English class at Goucher College. The course, The Archeology of Text, offers students an understanding of the social and historical frameworks for the production and consumption of text, beginning with the digital age and moving backwards in time. Students are also trained in bibliographic research skills, which they apply to objects in Goucher’s Special Collections library. These objects then become the subjects of a research paper that serves as the final course project.','Hands-On Research with Rare Books and Ephemera','This case study features work that two students completed in an English class at Goucher College. The course, The Archeology of Text, offers students an understanding of the social and historical frameworks for the production and consumption of text, beginning with the digital age and moving backwards in time. Students are also trained in bibliographic research skills, which they apply to objects in Goucher’s Special Collections library. These objects then become the subjects of a research paper that serves as the final course project.','inherit','open','open','','1047-revision-8','','','2013-05-20 02:11:26','2013-05-20 02:11:26','',1047,'http://dev.archivejournal.net/issue//uncategorized/1047-revision-8/',0,'revision','',0),(4475,1,'2013-05-20 02:34:01','2013-05-20 02:34:01','Matthew Saunders worked on the image below. His work on it is now part of the Southeast Tennessee Digital Archive (SETDA). You can find the whole archive <a href=\"http://www.clevelandstatecc.edu/setda/\" target=\"_blank\">here</a>, and the items Saunders contributed <a href=\"http://csccdigital.cdmhost.com/cdm/singleitem/collection/p4024coll8/id/216\" target=\"_blank\">here</a>.\r\n&nbsp;\r\n\r\n<img class=\"size-full wp-image-1368\" title=\"cscc_student work_sample material\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-work_sample-material.jpg\" alt=\"Image of James A. Bible (c. 1860) from the Ramsey Family Papers (MS 81).\" width=\"386\" height=\"640\" />\r\n<span class=\"caption\">Image of James A. Bible (c. 1860) from the Ramsey Family Papers (MS 81). Used by permission of Cleveland Public Library.</span>','History Lab: Combining Service Learning, Research Methods, and Digital Archives','This case study features the work of a student who took History Lab, an introductory history and service-learning course at Cleveland State Community College (CSCC). He researched individual items from a local cultural heritage organization that were then digitized, described, and published online in the <a href=\"http://www.clevelandstatecc.edu/setda/\" target=\"_blank\">Southeast Tennessee Digital Archive</a> (SETDA). ','inherit','open','open','','1018-revision-6','','','2013-05-20 02:34:01','2013-05-20 02:34:01','',1018,'http://dev.archivejournal.net/issue//uncategorized/1018-revision-6/',0,'revision','',0),(4476,1,'2013-05-20 02:34:40','2013-05-20 02:34:40','The images below are a small fraction of the materials made available through the project and James (Jimmy) Barnett\'s work. The full range can be seen in the <a href=\"http://ufdc.ufl.edu/caha/all\" target=\"_blank\">Carrère &amp; Hastings Digital Collection</a>, part of the University of Florida Digital Collections. Click on the images below to access the item in the digital collection.  You can read more at the project blog: <a href=\"http://flaglerdrawings.wordpress.com/\" target=\"_blank\">flaglerdrawings.wordpress.com</a>.\r\n&nbsp;\r\n\r\n<img class=\"size-large wp-image-957\" style=\"width: 638;\" title=\"uf_student  action photo_barnett 3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-3-1024x682.jpg\" alt=\"\" />\r\n<span class=\"wp-caption-text\"> Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings’ “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890. Photo credit: Joe Kaleita, University of Florida Libraries.</span>\r\n\r\n<a href=\"http://ufdc.ufl.edu/UF00082657/00001\" target=\"_blank\"><img class=\"size-full wp-image-959\" style=\"width: 638;\" title=\"Ground Plan, Presbyterian Church\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-1.jpg\" alt=\"\" /></a>\r\n<span class=\"wp-caption-text\">An example of the results Barnett’s work digitizing and preserving a large-scale architectural drawing. John Carrère and Thomas Hastings. “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890.</span>\r\n\r\n<a href=\"http://ufdc.ufl.edu/UF00089836/00001\" target=\"_blank\"><img class=\"size-full wp-image-958\" style=\"width: 638;\" title=\"Part Plan of Fourth Floor\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-2.jpg\" alt=\"\" /></a>\r\n<span class=\"wp-caption-text\">Another example of Barnett\'s work. John Carrère and Thomas Hastings. “Part Plan of Fourth Floor. Architectural drawings of the Hotel Ponce de Leon, St. Augustine, Florida.” 96 x 40 inches.</span>','Digitizing Large-Format Architectural Plans','This case study showcases an undergraduate’s work as the lead digital scanner of architectural drawings for the <em>Carrère & Hastings</em> Digital Collection, a collaborative project between the University of Florida (UF) and Flagler College to conserve and digitally preserve the large and fragile drawings. For years the drawings were stored in a basement boiler room and suffered from exposure to high Florida temperatures, humidity, insects, and rodents. The collection is now under the care of a team of faculty, staff, and students from the UF’s Special Collections, Conservation Unit, and Digital Library Center.','inherit','open','open','','946-revision-6','','','2013-05-20 02:34:40','2013-05-20 02:34:40','',946,'http://dev.archivejournal.net/issue//uncategorized/946-revision-6/',0,'revision','',0),(4477,1,'2013-05-22 03:29:32','2013-05-22 03:29:32','Matthew Saunders worked on the image below. His work on it is now part of the Southeast Tennessee Digital Archive (SETDA). You can find the whole archive <a href=\"http://www.clevelandstatecc.edu/setda/\" target=\"_blank\">here</a>, and the items Saunders contributed <a href=\"http://csccdigital.cdmhost.com/cdm/singleitem/collection/p4024coll8/id/216\" target=\"_blank\">here</a>.\n\n[caption id=\"attachment_1368\" align=\"aligncenter\" width=\"232\"]<img class=\"wp-image-1368 \" title=\"cscc_student work_sample material\" alt=\"Image of James A. Bible (c. 1860) from the Ramsey Family Papers (MS 81).\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-work_sample-material.jpg\" width=\"232\" height=\"384\" /> Image of James A. Bible (c. 1860) from the Ramsey Family Papers (MS 81). Used by permission of Cleveland Public Library.[/caption]','History Lab: Combining Service Learning, Research Methods, and Digital Archives','This case study features the work of a student who took History Lab, an introductory history and service-learning course at Cleveland State Community College (CSCC). He researched individual items from a local cultural heritage organization that were then digitized, described, and published online in the <a href=\"http://www.clevelandstatecc.edu/setda/\" target=\"_blank\">Southeast Tennessee Digital Archive</a> (SETDA). ','inherit','open','open','','1018-autosave','','','2013-05-22 03:29:32','2013-05-22 03:29:32','',1018,'http://dev.archivejournal.net/issue//uncategorized/1018-autosave/',0,'revision','',0),(4478,3,'2013-06-27 21:45:11','2013-06-27 21:45:11','The images below are a small fraction of the materials made available through the project and James (Jimmy) Barnett\'s work. The full range can be seen in the <a href=\"http://ufdc.ufl.edu/caha/all\" target=\"_blank\">Carrère &amp; Hastings Digital Collection</a>, part of the University of Florida Digital Collections. Click on the images below to access the item in the digital collection.  You can read more at the project blog: <a href=\"http://flaglerdrawings.wordpress.com/\" target=\"_blank\">flaglerdrawings.wordpress.com</a>.<br>\n<img class=\" wp-image-957\" style=\"width: 638px;\" title=\"uf_student  action photo_barnett 3\" alt=\"\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-3-1024x682.jpg\" width=\"819\" height=\"546\" />\n<strong><span class=\"wp-caption-text\"> Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings’ “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890. Photo credit: Joe Kaleita, University of Florida Libraries.</span></strong>\n\n&nbsp;\n\n<a href=\"http://ufdc.ufl.edu/UF00082657/00001\" target=\"_blank\"><img class=\" wp-image-959\" style=\"width: 638px;\" title=\"Ground Plan, Presbyterian Church\" alt=\"\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-1.jpg\" width=\"504\" height=\"730\" /></a>\n<strong><span class=\"wp-caption-text\">An example of the results Barnett’s work digitizing and preserving a large-scale architectural drawing. John Carrère and Thomas Hastings. “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890.</span></strong>\n\n&nbsp;\n\n<a href=\"http://ufdc.ufl.edu/UF00089836/00001\" target=\"_blank\"><img class=\"size-full wp-image-958\" style=\"width: 638;\" title=\"Part Plan of Fourth Floor\" alt=\"\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-2.jpg\" /></a>\n<strong><span class=\"wp-caption-text\">Another example of Barnett\'s work. John Carrère and Thomas Hastings. “Part Plan of Fourth Floor. Architectural drawings of the Hotel Ponce de Leon, St. Augustine, Florida.” 96 x 40 inches.</span></strong>','Digitizing Large-Format Architectural Plans','This case study showcases an undergraduate’s work as the lead digital scanner of architectural drawings for the <em>Carrère & Hastings</em> Digital Collection, a collaborative project between the University of Florida (UF) and Flagler College to conserve and digitally preserve the large and fragile drawings. For years the drawings were stored in a basement boiler room and suffered from exposure to high Florida temperatures, humidity, insects, and rodents. The collection is now under the care of a team of faculty, staff, and students from the UF’s Special Collections, Conservation Unit, and Digital Library Center.','inherit','open','open','','946-autosave','','','2013-06-27 21:45:11','2013-06-27 21:45:11','',946,'http://dev.archivejournal.net/issue//uncategorized/946-autosave/',0,'revision','',0),(4479,1,'2013-05-22 02:56:51','2013-05-22 02:56:51','Students in an upper-level English and Women\'s Studies course produced this documentary film, <em>The Development of Masculinity: Lehigh, Coeducation, and Its Impact</em>.','Archival Materials into Documentary Film','Students in an English and Women’s Studies undergraduate course at Lehigh University used materials from Lehigh’s Special Collections and University Archives to create a documentary film. The students used these archival resources, along with interviews and other research, to tell a chapter of their own institution’s history, focusing on issues of gender and masculinity as Lehigh went from all-male to coed in 1971.','inherit','open','open','','1108-revision-9','','','2013-05-22 02:56:51','2013-05-22 02:56:51','',1108,'http://dev.archivejournal.net/issue//uncategorized/1108-revision-9/',0,'revision','',0),(4480,1,'2013-05-22 03:06:17','2013-05-22 03:06:17','In 2008 Tom Smith took a practicum course called The Power of Place, taught by Melanie Shell-Weiss through the <a href=\"http://krieger.jhu.edu/africana\">Center for Africana Studies</a>. The students recorded oral histories of residents of Baltimore\'s Middle East neighborhood for the East Baltimore Oral History Project (EBOH), which they later assembled into a <a href=\"http://eboh.jhu.edu/oralhistoryplayer/\">digital audio archive</a>. The course led Smith to think about how to integrate the recordings with their lengthy transcripts. In addition to the interviews he conducted for the class, Smith eventually built the player software featured on the project website. The software that he developed is open source, so anyone can use it without having to pay license or royalty fees. Smith’s company, ESDA LLC, can implement the software on a contract basis for those without the expertise to do it in-house.\r\n\r\n[caption id=\"\" align=\"alignnone\" width=\"383\"]<a href=\"http://morgue.afro.com/AfroArchon/\" target=\"_blank\"><img class=\" \" title=\"jhu_project photo_afro\" alt=\"\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_project-photo_afro.jpg\" width=\"383\" height=\"255\" /></a> Unprocessed boxes of archival material, Baltimore Afro-American Newspapers, 2008.[/caption]\r\n\r\nSmith’s research on practical archival problems brought him into contact with Moira Hinderer, the project manager for the <a href=\"http://magazine.jhu.edu/2011/11/unboxing-history/\">Diaspora Pathways Archival Access Project</a> (DPAAP), a partnership between the Baltimore <em>Afro-American Newspapers</em> and Johns Hopkins University. DPAAP focuses on organizing and preserving the archives of the <em>Afro-American Newspapers;</em> they have worked on the newspapers’ <a href=\"http://morgue.afro.com/AfroArchon/\">morgue collections</a> as well as personal papers and institutional records. Hinderer, who is also a lecturer in the Center for Africana Studies at Johns Hopkins, teaches classes in which students work directly with the <em>Afro</em>’s archives. Smith watched Hinderer\'s students and archival interns involved in the painstaking labor of flatbed scanning and wondered if this process could be made more efficient. The time and expense involved in the digitization of delicate archival materials at the <em>Afro</em> prompted Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>.','Afro-American Newspapers','','publish','open','open','','afro-project-description-2','','','2013-06-27 21:29:23','2013-06-27 21:29:23','',0,'http://dev.archivejournal.net/?p=4480',0,'post','',0),(4481,1,'2013-05-22 03:05:40','2013-05-22 03:05:40','In 2008 Tom Smith took a practicum course called The Power of Place, taught by Melanie Shell-Weiss through the <a href=\"http://krieger.jhu.edu/africana\">Center for Africana Studies</a>. The students recorded oral histories of residents of Baltimore\'s Middle East neighborhood for the East Baltimore Oral History Project (EBOH), which they later assembled into a <a href=\"http://eboh.jhu.edu/oralhistoryplayer/\">digital audio archive</a>. The course led Smith to think about how to integrate the recordings with their lengthy transcripts. In addition to the interviews he conducted for the class, Smith eventually built the player software featured on the project website. The software that he developed is open source, so anyone can use it without having to pay license or royalty fees. Smith’s company, ESDA LLC, can implement the software on a contract basis for those without the expertise to do it in-house.\n\n<a href=\"http://morgue.afro.com/AfroArchon/\" target=\"_blank\"><img title=\"jhu_project photo_afro\" alt=\"\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_project-photo_afro.jpg\" width=\"638\" height=\"425\" /></a> Unprocessed boxes of archival material, Baltimore <em>Afro-American Newspapers</em>, 2008.\n\nSmith’s research on practical archival problems brought him into contact with Moira Hinderer, the project manager for the <a href=\"http://magazine.jhu.edu/2011/11/unboxing-history/\">Diaspora Pathways Archival Access Project</a> (DPAAP), a partnership between the Baltimore <em>Afro-American Newspapers</em> and Johns Hopkins University. DPAAP focuses on organizing and preserving the archives of the <em>Afro-American Newspapers;</em> they have worked on the newspapers’ <a href=\"http://morgue.afro.com/AfroArchon/\">morgue collections</a> as well as personal papers and institutional records. Hinderer, who is also a lecturer in the Center for Africana Studies at Johns Hopkins, teaches classes in which students work directly with the <em>Afro</em>’s archives. Smith watched Hinderer\'s students and archival interns involved in the painstaking labor of flatbed scanning and wondered if this process could be made more efficient. The time and expense involved in the digitization of delicate archival materials at the <em>Afro</em> prompted Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>.','Afro - Project Description','','inherit','open','open','','4480-revision','','','2013-05-22 03:05:40','2013-05-22 03:05:40','',4480,'http://dev.archivejournal.net/issue//uncategorized/4480-revision/',0,'revision','',0),(4482,1,'2013-05-22 02:56:53','2013-05-22 02:56:53','The student work for this case study is two archival tools designed by Tom Smith:  a low-cost robotic scanner for paper-based materials and a web application for an oral history archive.  Click on the images below to learn more about these tools.\r\n<a href=\"http://projectgado.org/\"><img class=\"size-full wp-image-1258\" title=\"jhu_student project photo 1_gado\" alt=\"The Gado 2 Robotic Scanner scanning photos at the Afro-American Newspapers archive.\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_student-project-photo-1_gado.jpg\" width=\"638\" height=\"478\" /></a> <span class=\"caption\">The Gado 2 Robotic Scanner scanning photos at the <em>Afro-American Newspapers</em> archive.</span>\r\n\r\n<a href=\"http://eboh.jhu.edu/oralhistoryplayer\"><img class=\" wp-image-2451\" style=\"margin-top: 30px;\" title=\"jhu_student project photo 2_eboh\" alt=\"The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/09/jhu_student-project-photo-2_eboh.jpg\" width=\"630\" /></a> <span class=\"caption\">The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.</span>','Student-Built Archival Tools','This case study focuses on a student who contributed much more than expected to digital projects by creating two archival tools: a web application for an oral history archive and a low-cost robotic scanner for paper-based materials. In a practicum course at Johns Hopkins University, Tom Smith and his peers worked on recording and organizing oral histories. Smith also developed an audio player for the digital archive. This work brought him in contact with the <a href=\"http://archive.magazine.jhu.edu/2011/11/unboxing-history\">Diaspora Pathways Archival Access Project</a> (DPAAP) and led Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>. This powerful, durable robotic scanner digitizes sensitive archival materials and can be built using simple components for less than $500.','inherit','open','open','','1057-revision-10','','','2013-05-22 02:56:53','2013-05-22 02:56:53','',1057,'http://dev.archivejournal.net/issue//uncategorized/1057-revision-10/',0,'revision','',0),(4483,1,'2013-05-22 03:06:17','2013-05-22 03:06:17','In 2008 Tom Smith took a practicum course called The Power of Place, taught by Melanie Shell-Weiss through the <a href=\"http://krieger.jhu.edu/africana\">Center for Africana Studies</a>. The students recorded oral histories of residents of Baltimore\'s Middle East neighborhood for the East Baltimore Oral History Project (EBOH), which they later assembled into a <a href=\"http://eboh.jhu.edu/oralhistoryplayer/\">digital audio archive</a>. The course led Smith to think about how to integrate the recordings with their lengthy transcripts. In addition to the interviews he conducted for the class, Smith eventually built the player software featured on the project website. The software that he developed is open source, so anyone can use it without having to pay license or royalty fees. Smith’s company, ESDA LLC, can implement the software on a contract basis for those without the expertise to do it in-house.\r\n\r\n<a href=\"http://morgue.afro.com/AfroArchon/\" target=\"_blank\"><img title=\"jhu_project photo_afro\" alt=\"\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_project-photo_afro.jpg\" width=\"638\" height=\"425\" /></a> Unprocessed boxes of archival material, Baltimore <em>Afro-American Newspapers</em>, 2008.\r\n\r\nSmith’s research on practical archival problems brought him into contact with Moira Hinderer, the project manager for the <a href=\"http://magazine.jhu.edu/2011/11/unboxing-history/\">Diaspora Pathways Archival Access Project</a> (DPAAP), a partnership between the Baltimore <em>Afro-American Newspapers</em> and Johns Hopkins University. DPAAP focuses on organizing and preserving the archives of the <em>Afro-American Newspapers;</em> they have worked on the newspapers’ <a href=\"http://morgue.afro.com/AfroArchon/\">morgue collections</a> as well as personal papers and institutional records. Hinderer, who is also a lecturer in the Center for Africana Studies at Johns Hopkins, teaches classes in which students work directly with the <em>Afro</em>’s archives. Smith watched Hinderer\'s students and archival interns involved in the painstaking labor of flatbed scanning and wondered if this process could be made more efficient. The time and expense involved in the digitization of delicate archival materials at the <em>Afro</em> prompted Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>.','Afro - Project Description','','inherit','open','open','','4480-revision-2','','','2013-05-22 03:06:17','2013-05-22 03:06:17','',4480,'http://dev.archivejournal.net/issue//uncategorized/4480-revision-2/',0,'revision','',0),(4484,1,'2013-05-22 03:07:42','2013-05-22 03:07:42','The student work for this case study is two archival tools designed by Tom Smith:  a low-cost robotic scanner for paper-based materials and a web application for an oral history archive.  Click on the images below to learn more about these tools.\n<a href=\"http://projectgado.org/\"><img class=\"size-full wp-image-1258\" title=\"jhu_student project photo 1_gado\" alt=\"The Gado 2 Robotic Scanner scanning photos at the Afro-American Newspapers archive.\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_student-project-photo-1_gado.jpg\" width=\"638\" height=\"478\" /></a> <span class=\"caption\">The Gado 2 Robotic Scanner scanning photos at the <em>Afro-American Newspapers</em> archive.</span>\n\n<a href=\"http://eboh.jhu.edu/oralhistoryplayer\"><img class=\" wp-image-2451\" style=\"margin-top: 30px;\" title=\"jhu_student project photo 2_eboh\" alt=\"The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/09/jhu_student-project-photo-2_eboh.jpg\" width=\"630\" /></a> <span class=\"caption\">The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.</span>','Student-Built Archival Tools','This case study focuses on a student who contributed much more than expected to digital projects by creating two archival tools: a web application for an oral history archive and a low-cost robotic scanner for paper-based materials. In a practicum course at Johns Hopkins University, Tom Smith and his peers worked on recording and organizing oral histories. Smith also developed an audio player for the digital archive. This work brought him in contact with the <a href=\"http://archive.magazine.jhu.edu/2011/11/unboxing-history\">Diaspora Pathways Archival Access Project</a> (DPAAP) and led Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>. This powerful, durable robotic scanner digitizes sensitive archival materials and can be built using simple components for less than $500.','inherit','open','open','','1057-autosave','','','2013-05-22 03:07:42','2013-05-22 03:07:42','',1057,'http://dev.archivejournal.net/issue//uncategorized/1057-autosave/',0,'revision','',0),(4485,1,'2013-05-22 03:07:12','2013-05-22 03:07:12','In 2008 Tom Smith took a practicum course called The Power of Place, taught by Melanie Shell-Weiss through the <a href=\"http://krieger.jhu.edu/africana\">Center for Africana Studies</a>. The students recorded oral histories of residents of Baltimore\'s Middle East neighborhood for the East Baltimore Oral History Project (EBOH), which they later assembled into a <a href=\"http://eboh.jhu.edu/oralhistoryplayer/\">digital audio archive</a>. The course led Smith to think about how to integrate the recordings with their lengthy transcripts. In addition to the interviews he conducted for the class, Smith eventually built the player software featured on the project website. The software that he developed is open source, so anyone can use it without having to pay license or royalty fees. Smith’s company, ESDA LLC, can implement the software on a contract basis for those without the expertise to do it in-house.\r\n\r\n[caption id=\"\" align=\"alignnone\" width=\"638\"]<a href=\"http://morgue.afro.com/AfroArchon/\" target=\"_blank\"><img title=\"jhu_project photo_afro\" alt=\"\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_project-photo_afro.jpg\" width=\"638\" height=\"425\" /></a> Unprocessed boxes of archival material, Baltimore Afro-American Newspapers, 2008.[/caption]\r\n\r\n&nbsp;\r\n\r\nSmith’s research on practical archival problems brought him into contact with Moira Hinderer, the project manager for the <a href=\"http://magazine.jhu.edu/2011/11/unboxing-history/\">Diaspora Pathways Archival Access Project</a> (DPAAP), a partnership between the Baltimore <em>Afro-American Newspapers</em> and Johns Hopkins University. DPAAP focuses on organizing and preserving the archives of the <em>Afro-American Newspapers;</em> they have worked on the newspapers’ <a href=\"http://morgue.afro.com/AfroArchon/\">morgue collections</a> as well as personal papers and institutional records. Hinderer, who is also a lecturer in the Center for Africana Studies at Johns Hopkins, teaches classes in which students work directly with the <em>Afro</em>’s archives. Smith watched Hinderer\'s students and archival interns involved in the painstaking labor of flatbed scanning and wondered if this process could be made more efficient. The time and expense involved in the digitization of delicate archival materials at the <em>Afro</em> prompted Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>.','Afro - Project Description','','inherit','open','open','','4480-revision-3','','','2013-05-22 03:07:12','2013-05-22 03:07:12','',4480,'http://dev.archivejournal.net/issue//uncategorized/4480-revision-3/',0,'revision','',0),(4486,3,'2013-06-27 21:29:04','2013-06-27 21:29:04','In 2008 Tom Smith took a practicum course called The Power of Place, taught by Melanie Shell-Weiss through the <a href=\"http://krieger.jhu.edu/africana\">Center for Africana Studies</a>. The students recorded oral histories of residents of Baltimore\'s Middle East neighborhood for the East Baltimore Oral History Project (EBOH), which they later assembled into a <a href=\"http://eboh.jhu.edu/oralhistoryplayer/\">digital audio archive</a>. The course led Smith to think about how to integrate the recordings with their lengthy transcripts. In addition to the interviews he conducted for the class, Smith eventually built the player software featured on the project website. The software that he developed is open source, so anyone can use it without having to pay license or royalty fees. Smith’s company, ESDA LLC, can implement the software on a contract basis for those without the expertise to do it in-house.\r\n\r\n[caption id=\"\" align=\"alignnone\" width=\"383\"]<a href=\"http://morgue.afro.com/AfroArchon/\" target=\"_blank\"><img class=\" \" title=\"jhu_project photo_afro\" alt=\"\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_project-photo_afro.jpg\" width=\"383\" height=\"255\" /></a> Unprocessed boxes of archival material, Baltimore Afro-American Newspapers, 2008.[/caption]\r\n\r\nSmith’s research on practical archival problems brought him into contact with Moira Hinderer, the project manager for the <a href=\"http://magazine.jhu.edu/2011/11/unboxing-history/\">Diaspora Pathways Archival Access Project</a> (DPAAP), a partnership between the Baltimore <em>Afro-American Newspapers</em> and Johns Hopkins University. DPAAP focuses on organizing and preserving the archives of the <em>Afro-American Newspapers;</em> they have worked on the newspapers’ <a href=\"http://morgue.afro.com/AfroArchon/\">morgue collections</a> as well as personal papers and institutional records. Hinderer, who is also a lecturer in the Center for Africana Studies at Johns Hopkins, teaches classes in which students work directly with the <em>Afro</em>’s archives. Smith watched Hinderer\'s students and archival interns involved in the painstaking labor of flatbed scanning and wondered if this process could be made more efficient. The time and expense involved in the digitization of delicate archival materials at the <em>Afro</em> prompted Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>.','Afro-American Newspapers','','inherit','open','open','','4480-autosave','','','2013-06-27 21:29:04','2013-06-27 21:29:04','',4480,'http://dev.archivejournal.net/issue//uncategorized/4480-autosave/',0,'revision','',0),(4487,1,'2013-05-22 03:19:44','2013-05-22 03:19:44','In a world of etiquette and formality, dance cards quickly became indispensable to young women in search of dancing partners. They were a manifestation of etiquette, used to keep social order and help their users follow protocol. Though dance cards are rarely used now, the study of these cards gives a lot of insight into the societies and groups that used them.\n\nLists of etiquette books remain from all different periods, instructing men and women how to act in each particular circumstance. Dancing claims a large portion of many of these books, as it was considered an elegant pastime and a way to judge one\'s character. Dancing was a sign of culture and social class, as the upper class had formal dance training while they were young.\n\n<span class=\"alignright right\" id=\"attachment_1341\" style=\"width: 209px; margin-left: 20px; margin-bottom: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image3_brand.jpg\"><img class=\"size-medium wp-image-1341\" title=\"goucher_student work image3_brand\" alt=\"Scrapbook page showing in situ location of the U. S. Naval Academy June 2, 1921 Farewell Ball dance card \" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image3_brand-209x250.jpg\" width=\"209\" height=\"250\" /></a> <span class=\"wp-caption-text\">Scrapbook page showing <em>in situ</em> location of the U. S. Naval Academy June 2, 1921 Farewell Ball dance card with other cards, press clippings, trolley ticket stubs, and other memorabilia, from the scrapbook of Mary Lee Keith (Class of 1924). Goucher College Scrapbook Collection.\n</span></span>\n\nThe dance card furthered one\'s enjoyment of dancing, as it allowed young women to know who they would dance with; they never needed to worry about procuring a partner for the following dance, because he had already signed her card. A practice known as “dating ahead” became quite common as young women began filling out their dance cards in advance of the evening, to ensure that they would not be without a partner. Many women worried about not being asked to dance, as the most beautiful, best dancers were constantly engaged on the dance floor; the women without partners were often looked down on and pitied. Young women feared not having a partner for every dance, and having a dance card allowed them to make sure they would be busy dancing the entire night.\n\nDance cards also provided women with a way to gracefully decline a dance invitation. Johnson points out, “a lady must not decline the invitation of a gentleman to dance, unless she is previously engaged, or does not intend to dance any more during the evening” (79). Having a dance card allowed women to fill out their card with men who they would prefer to dance with, and it also allowed them to gracefully decline a dance by saying her card is full, even though this may not be true.\n\n<!--nextpage-->\n\nIt was also a way for young women to remember her engagements:\n\nIn the etiquette of the ballroom young ladies should be very careful to keep their promises to their various partners. Little books are furnished as memorizers, and the same honor is imperative here as in greater things. (American Code of Manners 43)\n\nThe dance card acted as a reminder of who she was supposed to dance with for each dance, which helped with confusion in promising multiple dances. The dance card also allowed a convenient excuse when a woman accidentally promised the same dance to two men; she could simply claim that her “programme had got into such a state of confusion” and refrain from offending either party involved (Aldrich 113). After the ball has ended, the dance card can serve as a memento of the event, “Each dance is entered on the program—and many a delightful memory is kept alive by glancing at these names days after the dance is held” (Eichler 97). In this way, the card acts as a reminder both at the ball and after the ball is finished.\n\nDance cards were predominantly used before the 20th century, but certain groups upheld tradition and used them much longer. As Eichler points out in 1922, “The dance program is rarely used now except at college dances, or army and navy dances. It has lost prestige with the passing of the old fashioned ball” (97).\n\n<span class=\"alignright right\" id=\"attachment_1344\" style=\"margin-left: 20px; margin-bottom: 20px; width: 171px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image2_brand.jpg\"><img class=\"size-medium wp-image-1344\" title=\"goucher_student work image2_brand\" alt=\"\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image2_brand-171x250.jpg\" width=\"171\" height=\"250\" /></a><span class=\"caption\">Sample dance card page with partners for five dances filled in, from the scrapbook of Mary Lee Keith (Class of 1924). Goucher College Scrapbook Collection.</span></span>The Archives and Special Collections at the United States Naval Academy holds an extensive collection of cards from many different events. The Academy, with its emphasis on tradition, used dance cards at their Winter Hops, the Ring Dance and the Farewell Ball into the 1960s. The USNA Archives provides a wonderful example of the evolution of the dance card, through the cards they have from the Farewell Ball, spanning from 1893 to 1976.\n\n<!--nextpage-->\n\nThe earliest dance card in the collection is from The Farewell Ball, June 2nd 1893 , donated by Mrs. Elizabeth Galt Welles (13 x 8.5 cm). The card is bound by a ribbon bow on the top vertical edge, with heavy cardstock covers in an ivory color. The cover simply states the dance and date in black ink with gold embellishments. The half-inch wide ribbon is long enough for the card to be carried on a lady’s wrist and holds a small pencil 7 cm in length. Inside the cover were 2 pages containing the list of dances with the song titles and composers. The card had not been filled out by its owner. The simple design creates an elegant card, following the guidelines for cards set by The Ballroom Guide published in the 1860s: “modern taste is inclined to favour plain and chaste designs rather than florid” (Aldrich 117). The contents of the card show that the emphasis of the card was on the order of dances, without much information about the ball.\n\nUnfortunately, the Academy does not have any cards from the balls in between 1893 and 1906, but the card from the 1906 Farewell Ball provides a beautiful example of a dance card. Donated by Mrs. Bradford Bartlett, the card is 10 x 7.5 cm with a tan leather cover. The cover has two inside pockets and a strap to attach the card to a woman’s wrist. Inside, the card contains three bifolia with much more decoration than the 1893 card. The card begins with a title page, which announces the name, date, and location of the ball. Following the title page are three pages of dances with spaces for 25 dances. For the first two pages of dances, each recto side holds a space for eight dances and on the verso is an illumination of a woman in an evening gown and a woman in a Navy coat and cover, respectively. The third page lists nine dances on the recto side and lists the committee of midshipmen who planned the ball on the verso. After these there are two blank pages with the word “Autographs” printed at the top of each page. This card—also not filled out—demonstrates the shift in focusing on only the dances to a larger focus on the card as a decorative souvenir.\n\nThe Farewell Ball card from June 5th, 1908 donated by Mary McCarthy is the first in the collection filled out by its original owner. The last names of eight different men are written in pen with a beautiful cursive hand next to the dances. Ms. McCarthy danced 17 of the 25 dances listed and most of them were two steps and waltz, which were especially popular at the time. This card is much like the 1906 card, with a section listing the committee members and blank pages for autographs. Measuring 10 x 7.5 cm, the dark brown suede cover has a Naval Academy insignia blindly stamped in the center, with a dark brown cord and pockets inside the cover. The inside was printed with brown ink and tissue paper protected the pictures from transfer.\n\nIn 1909, the Farewell Ball dance card, donated by Mrs. Bradford Bartlett, remained much the same. The 10.5 x 8 cm card had a navy blue vinyl cover with pockets inside to hold pictures and gold tooling for decoration. The inside contained the order of dances—not filled out—a supper list, and a committee list. The illustrations were in black and white with a small bit of red as an accent.\n\nAlso donated by Mrs. Bradford Bartlett, the Farewell Ball, June 3rd 1910 dance card had a dark grey leather cover with a silver cord (10 x 7 cm). A blind tooled ship decorated the front, and white paint accented the moon and water. Inside, black and white illustrations were accented with the use of yellow, red, blue and green and were protected by tissue paper. The order of dances was filled out in sloppy cursive hand in pencil. The autograph section, however, was left blank.\n\nThe example from the Farewell Ball, June 2nd 1911 provided the most intricate cover. Measuring 11 x 6.5 cm while closed, the tan suede cover folds three times, containing extra pockets. Inside the front cover is one pocket and the small booklet of paper, the back cover extends to twice the front cover’s length, folding in on itself. The right side of the cover has a simple pocket, while the middle of the cover has a more complex pocket. The pocket is vertically arranged, with a flap that closes by inserting the narrow point of the flap into a loop. Naval Academy insignia is stamped onto the inner pockets of the cover. The dance card was attached to the lady’s wrist by a dark brown leather strap, which still holds an 8 cm pencil. Inside contains a title page, pictures with color accents, the committee list, a section for autographs and the order of dances, which is not filled out.\n\nThe Farewell Ball, June 6th 1919 dance card has a navy blue vinyl cover with blind stamped Naval Academy insignia and date and a blue and yellow cord (10 x 8 cm). The inside contains a title page and the dances listed verso and spaces to fill out engagements listed recto. The card is not filled out and is decorated with black and white illustrations.\n\n<!--nextpage-->\n\nBound vertically in a brown leather cover, the Farewell Ball June 3rd 1920 dance card measures 11 x 7.5 cm. The cover is blind stamped with blue and yellow cords. After the order of dances, there is a calendar from June 1920 to May 1921. The months are listed two at a time, with large pictures above them. The stiff cardstock paper has gilt edges.\n\nThe Farewell Ball June 2nd 1921 dance card has a significantly different cover than the previous cards. The simple 9 x 6.5 cm white cardstock cover has a full color illustration on the cover with an embossed gold Naval Academy insignia. Previously, the covers were made of a more expensive material—usually leather or vinyl. This was the first ball held in Dahlgren Hall, one of the social buildings on the Naval Academy yard. The dances are listed 3 on a page, with no names of the songs, only the types of dances. The dances are not filled out. Next to the type of dance is a space labeled “meet under” and beneath the dances is a space for memories. There is also a different quote at the bottom of each page.\n\n<span class=\"alignright right\" id=\"attachment_1343\" style=\"width: 195px; margin-left: 20px; margin-bottom: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image1_brand.jpg\"><img class=\"size-medium wp-image-1343\" title=\"goucher_student work image1_brand\" alt=\"\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image1_brand-195x250.jpg\" width=\"195\" height=\"250\" /></a><span class=\"caption\">Front cover of the U.S. Naval Academy dance card for the June 2, 1921, Farewell Ball, from the scrapbook of Mary Lee Keith (Class of 1924). Goucher College Scrapbook Collection.</span></span>\n\nSimilarly, the Farewell Ball June 2nd 1922 dance card has a white cardstock cover with a color illustration (from Keith Scrapbook, Goucher College Library). The 9 x 6.5 cm cover includes blind stamping and a blue and yellow cord. The layout is very much like the 1921 card, containing a list of dances, with a “meet under” space and space below for memories. This card, however, does not have quotes at the bottom of each page. At the end, there is a committee list. The card is filled out with black pen, and in the “meet under” section, flags are drawn with pen and colored. The ball was held in Dahlgren Hall, like the 1921 card also containing a “meet under” section. Dahlgren Hall is lined with flags on either side of the long, rectangular building. The “meet under” space allowed the women to draw in the flag and know exactly where she was to meet her next dancing partner. This aided even more in making sure that the women had a dance partner for every dance; it ensured that she would always be able to find her intended dance partner even in the crowded room. It is also possible that an escort would fill out the card in advance for his date with the illustrations of flags in order to ensure she danced the night away.\n\n<!--nextpage-->\n\nIn 1923, the Academy went back to the leather cover for the Farewell Ball dance card. The cover is Navy blue with a gold tooled insignia, with inside pockets (11 x 8.5 cm). The recto pocket had a clear cut out to hold a photograph. For decoration, there are pictures that are whimsical in nature with tissue paper to protect the pictures from transfer. The dances are filled out in immaculately print black pen with flags drawn and colored next to last names.\n\nThe Farewell Ball dance card from 1925 has a silver cardstock cover with a picture of the Naval Academy Chapel dome in different shades of blue. Measuring 9.5 x 6.5 cm, the card contains the order of dances and a “meet under” space, but there is no room to record memories or a committee list like in the 1921, 1922, and 1923 cards. The card is filled out in pen with a shaky hand and the flags are drawn and colored next to the names. On the inside cover recto is a hand drawn cartoon of a midshipman.\n\nThere is a gap until 1942, when the collection resumes with the Farewell Ball, June 18th 1942. It has a white leather cover with stamping and gold accents, measuring 10 x 7.5 cm. The inside is printed in blue and it can be attached to a woman’s wrist by the yellow cord. The card contains a title page and committee list, names the orchestra, and announces that Mrs. John R. Beardall is receiving. The order of dances is filled out in two different shades of blue pen and each name is written in a different style of hand. This indicates another use for the dance card. A woman can hand her card to whoever asks her to dance and have him write in his name. This is very useful, especially if the woman has forgotten his name and can look on the card for a reminder.\n\nLike the 1942 card, the Farewell Ball, June 5th 1945 card was printed with blue ink and has a yellow cord. The 10 x 7.5 cm card has a dark blue faux leather cover with stamping and gold accents. The inside lists who was receiving, the hostesses, committee members and the orchestra. The dances, which are not filled out, are numbered, but there is no information as to what dance or what song each number will be. This shows the diminishing importance of the dances on the dance card.\n\nSimilarly, the Farewell Ball, May 31st 1956 dance card only lists numbers for the dances. This 10 x 7.5 cm card has an off-white cardstock cover with blue ink and an off-white cord. Inside, it lists the title page, orchestra, the woman receiving and the hostesses. It also lists the committee list for both the Farewell Ball and for the other hops held throughout the year. It ends with a quote, “Three cheers for/ those who are about/ to leave us—/ Three cheers for/ those we leave behind/ us—” This quote becomes a standard addition to each following card.\n\nThe card from the Farewell Ball, June 2nd 1959 is much the same as the 1956 card. The 10 x 7.5 cm card has a gold cardstock cover with blue wording and a silhouette of a dancing couple. The cord is also blue. The card lists the orchestra, the woman receiving, the hostesses and the program of dances—numbers only, no types of dances or names of songs. Two of the dances are filled out and the others were left blank. After the dances the card lists the Farewell Ball committee and the Hop committee, which organizes the smaller dances throughout the year. It concludes with the Three Cheers quote found in the 1956 card.\n\nThe cards from the Farewell Balls in 1964, 1965 and 1966 have almost identical contents, with different covers. The 1964 card is 10.5 x 7.5 cm with a white cardstock cover with blue ink and gold embossing and a blue cord. The 1965 card is 11.5 x 9 cm. It has a light blue cover with black embossing and a dark blue cord. The 1966 card measures 11.5 x 9 cm with a light blue cardstock cover with navy blue ink and a navy blue cord. All the cards contain a title page and list the orchestra, woman receiving, officer representative, social director and hostesses. None of the cards are filled out and they are stapled at the fold.\n\nWith each consecutive card, the changes are minimal. The 1967 and 1968 Farewell Ball dance cards are exactly the same, with a different date. They are both 11.5 x 9 cm and their covers are light blue with black ink and a blue cord. Neither card is filled out.\n\n<!--nextpage-->\n\nThe Farewell Ball June 3rd 1969 card provides a very interesting look at the evolution of the dance card. Very similar to the previous cards, it measures 11.5 x 9cm and lists the title page, orchestra, woman receiving, officer representative, social director, hostesses and committees. It has a white cardstock cover with blue ink and a blue cord. It also includes the Navy “Blue and Gold” song. What it doesn’t include, however, is a program of dances or even a space to write down dance partners. The point of this card is to provide a souvenir of the dance and provide information about it, but it no longer serves a way for women to write down the names of their partners.\n\nThe cards from 1970, 1971 and 1972 are the same as the 1969 card. However, the 1971 card contains one change: the midshipman’s oath appears after the title page. The all have white cardstock covers, 11.5 x 9 cm, with navy blue ink and navy blue cords.\n\nThe Farewell Ball, June 4th 1974 card presents another interesting change in the evolution of the dance card. The card no longer has a cord. The 11 x 9 cm card has a white cardstock cover with blue ink, but no cord with which a lady could attach it to her wrist. The cards from the 1975 and 1976 Farewell Balls have all the same internal elements, but measure 13 x 9 cm with a light blue cardstock cover printed in dark blue ink.\n\nThe progression of the Naval Academy Farewell Ball dance cards shows the decreased emphasis on dance and the move from the dance card as a reminder of the gentleman a woman had promised to dance with to a souvenir and program for the ball. The earlier dance cards contain little information about the ball itself; they focus on the dances, listing the order, the type of dance and the name of the song. Slowly, information is added to the card. In the 1920s, there was a place to write down memories and draw the flag under which the two would meet. These additions keep the focus on the dancing and the use of the dance card as a reminder and as a memento. In the 1940s, the cards begin to list the woman receiving, the committee who planned the ball and other information not directly related to the dancing. Also, the dances are no longer identified by type or name, they are simply numbered. This shows another step away from the focus on dancing. At this stage, the cord also becomes purely decorative. The cords attached to these cards aren’t long enough to secure around a woman’s wrist; they simply add a bit of decoration to the card. By the 1969 and into the 1970s, the dance cards no longer provide space to write the dances. They have transformed into souvenirs from the ball, giving information about the ball and incorporating quotes, song lyrics and lists of the people involved.\n<h5>Works Cited</h5>\n<span class=\"footnote\">Aldrich, Elizabeth. <em>From the Ballroom to Hell: Grace and Folly in Nineteenth-Century Dance</em>. Evanston: Northwestern University Press, 1991.</span>\n<span class=\"footnote\"><em>The American Code of Manners: a study of the usages, laws and observances which govern intercourse in the best social circles, and of the principles which underlie them</em>. New York: W. R. Andrews, 1880.</span>\n<span class=\"footnote\">Eichler, Lillian. <em>Book of Etiquette</em>. Oyster Bay: Nelson Doubleday Inc., 1922.</span>\n<span class=\"footnote\">Johnson, Sophia Orne. <em>A Manual of Etiquette, with Hints on Politeness and Good Breeding</em>. New York: G.P. Putnam’s Sons, 1885.</span>\n<span class=\"footnote\">Goucher College, Special Collections and Archives. Scrapbook Collection, Mary Lee Keith. Farewell Ball Dance Card, 1922.</span>\n<span class=\"footnote\">The Nimitz Library, United States Naval Academy, Special Collections and Archives. Student Life, Dance Card Collection.</span>','My Card Is Full: The Evolution of the Farewell Ball Dance Cards','In a world of etiquette and formality, dance cards quickly became indispensable to young women in search of dancing partners. They were a manifestation of etiquette, used to keep social order and help their users follow protocol. Though dance cards are rarely used now, the study of these cards gives a lot of insight into the societies and groups that used them.\n\nLists of etiquette books remain from all different periods, instructing men and women how to act in each particular circumstance. Dancing claims a large portion of many of these books, as it was considered an elegant pastime and a way to judge one\'s character. Dancing was a sign of culture and social class, as the upper class had formal dance training while they were young.','inherit','open','open','','1326-autosave','','','2013-05-22 03:19:44','2013-05-22 03:19:44','',1326,'http://dev.archivejournal.net/issue//uncategorized/1326-autosave/',0,'revision','',0),(4435,1,'2013-05-15 03:29:33','2013-05-15 03:29:33','<h4>The student work for this case study is two archival tools designed by Tom Smith:  a low-cost robotic scanner for paper-based materials and a web application for an oral history archive.  Click on the images below to learn more about these tools.</h4>\r\n<a href=\"http://projectgado.org/\"><img class=\"size-full wp-image-1258\" title=\"jhu_student project photo 1_gado\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_student-project-photo-1_gado.jpg\" alt=\"The Gado 2 Robotic Scanner scanning photos at the Afro-American Newspapers archive.\" width=\"638\" height=\"478\" /></a> <span class=\"caption\">The Gado 2 Robotic Scanner scanning photos at the <em>Afro-American Newspapers</em> archive.</span>\r\n\r\n<a href=\"http://eboh.jhu.edu/oralhistoryplayer\"><img class=\" wp-image-2451\" style=\"margin-top: 30px;\" title=\"jhu_student project photo 2_eboh\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/09/jhu_student-project-photo-2_eboh.jpg\" alt=\"The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.\" width=\"630\" /></a> <span class=\"caption\">The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.</span>','Student-Built Archival Tools','This case study focuses on a student who contributed much more than expected to digital projects by creating two archival tools: a web application for an oral history archive and a low-cost robotic scanner for paper-based materials. In a practicum course at Johns Hopkins University, Tom Smith and his peers worked on recording and organizing oral histories. Smith also developed an audio player for the digital archive. This work brought him in contact with the <a href=\"http://archive.magazine.jhu.edu/2011/11/unboxing-history\">Diaspora Pathways Archival Access Project</a> (DPAAP) and led Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>. This powerful, durable robotic scanner digitizes sensitive archival materials and can be built using simple components for less than $500.','inherit','open','open','','1057-revision-8','','','2013-05-15 03:29:33','2013-05-15 03:29:33','',1057,'http://dev.archivejournal.net/issue//uncategorized/1057-revision-8/',0,'revision','',0),(4430,1,'2013-05-15 23:59:18','2013-05-15 23:59:18','','Michelle Morton','','publish','closed','closed','','cap-michelle-morton','','','2013-07-08 16:39:00','2013-07-08 16:39:00','',0,'http://dev.archivejournal.net/?post_type=guest-author&#038;p=4430',0,'guest-author','',0),(2529,14,'2012-09-25 05:49:22','2012-09-25 05:49:22','','Past Issues','','publish','open','closed','','past-issues','','','2013-04-15 01:09:32','2013-04-15 01:09:32','',0,'http://www.archivejournal.net/?page_id=2529',0,'page','',0),(83,4,'2011-01-05 12:03:32','2011-01-05 12:03:32','There are some fascinating strengths of this archive behind or beyond its more obvious assets. The more obvious include: a) bringing together in one “place” historical sources whose originals are widely scattered geographically; b) providing scans of sufficient density and size to permit scholars to examine at least some aspects of the original paper and photographic emulsion, a degree of quality that most digital archives do not have sufficient wherewithal to capture and maintain; c) producing an edited “publication” of Whitman’s papers in such a manner that researchers gain access to gradually increasing content rather than having to wait until the entirety of a printed volume is produced; d) “free” access from anywhere, rather than the purchase or travel expense to use a print edition or to visit various repositories.\r\n\r\nSome of the less obvious strong points can be uncovered only by reading the “About the Archive” sections exhaustively, something I suspect relatively few site visitors do. For example, in Matt Cohen’s “Transgenic Deformation: Literary Translation and the Digital Archive” (2006),<strong> </strong>the author identifies a subtle but important parallel between the increasing understanding within the archival profession that archivists’ work can no longer pretend to be objective, neutral, and invisible and the necessity from an editorial standpoint of “articulating stylesheets and XML markup [to users]…. In turn, translation seems to demand that archives explain their interface designs along with their markup strategies.”[ref]From The Walt Whitman Archive website (hereafter TWWA), <a href=\"http://www.whitmanarchive.org/about/articles/anc.00165.html\">http://www.whitmanarchive.org/about/articles/anc.00165.html</a>. For those not familiar with the parallel archival concerns, particularly as they relate to arrangement, description, and cataloging, please see Michelle Light and Tom Hyry: “Colophons and Annotations: New Directions for the Finding Aid,” American Archivist 65 (Fall/Winter 2002): 216-230.[/ref]\r\n\r\nCohen’s article also represents a broader strong point of the archive, which is the extensive “about” section, including more effort at self-analysis, elucidation of goals and values, lessons learned and challenges faced than the vast majority of other sites I’ve visited. Moreover, in the “Articles and Interviews” subsection the pieces contain an admirable blend of technical discussions,[ref]For example, Brett Barney and Kenneth M. Price, <a href=\"http://www.whitmanarchive.org/about/articles/anc.00006.html\">\"\'What I Assume You Shall Assume\': The <em>Whitman Archive</em> and the Challenge of Integrating Different Open Standards,\"</a> <em>TWWA</em> (2004).[/ref] more traditional scholarship, [ref]For example, Geoffrey Saunders Schramm, <a href=\"http://www.whitmanarchive.org/about/articles/anc.00007.html\">\"Whitman\'s Lifelong Endeavor: <em>Leaves of Grass</em> at 150,\"</a> <em>TWWA</em> (2005).[/ref] and what I think of as philosophical musings.[ref]For example, Kenneth M. Price, <a href=\"http://www.whitmanarchive.org/about/articles/anc.00346.html\">\"Edition, Project, Database, Archive, Thematic Research Collection: What\'s in a Name?</a>” <em>TWWA</em> (2009).[/ref]The simple fact that there are 12 years worth of articles and interviews relating to the archive gives a glimpse into the evolution of technology, priorities, and philosophies.[ref]Compare, for example, the Cohen article already cited to an earlier analysis of textual markup in the <em>Archive</em>, Brett Barney, <a href=\"http://www.whitmanarchive.org/about/articles/anc.00002.html\">\"\'Each Part and Tag of Me is a Miracle\': Reflections after Tagging the 1867 <em>Leaves of Grass,</em>\"</a> <em>TWWA</em> (2001).[/ref] This relatively rich context to the project and the archive is increasingly necessary, I believe, not only because of the increasing imperative for archivists, particularly, to make their work transparent to their users, but also to spread the value of such projects as far beyond the particular scholarly community being served as possible.','The Walt Whitman Archive – Greene 1','There are some fascinating strengths of this archive behind or beyond its more obvious assets.  The more obvious include:  a) bringing together in one “place” historical sources whose originals are widely scattered geographically; b) providing scans of sufficient density and size to permit scholars to examine at least some aspects of the original paper and photographic emulsion...','publish','open','open','','the-walt-whitman-archive-greene-1','','','2013-05-15 02:27:31','2013-05-15 02:27:31','',0,'http://archivejournal.net/journal/?p=83',103,'post','',1),(88,4,'2011-01-05 12:02:08','2011-01-05 12:02:08','The weaknesses I have noticed in the <em>Archive</em> are not unique to this site. One problem is the site’s misunderstanding—and thus its improper assertion—of copyrights.[ref]I am a founding member of the Society of American Archivists’ Intellectual Property Working Group.[/ref] Specifically the site asserts the existence of copyright in the transcripts and facsimiles and more broadly in Whitman’s writings—because transcripts and facsimiles are “slavish copies” neither is entitled to copyright protection;[ref]The term is from the U.S. Second District Court of New York’s decision in <em>Bridgeman Art Library Ltd v. Corel Corporation</em>, 1998.[/ref]published or unpublished anything written by Whitman is in the public domain.[ref]See “<a href=\"http://www.whitmanarchive.org/about/conditions.html\">Conditions of Use</a>,” <em>TWWA</em>. Unpublished works are public domain for authors deceased prior to 1940; published works for everything published prior to 1923. For an authoritative source, see Peter Hirtle, “Copyright Term and the Public Domain in the United States: 1 January 2010,” online at <a href=\"http://copyright.cornell.edu/resources/publicdomain.cfm\">http://copyright.cornell.edu/resources/publicdomain.cfm</a>.[/ref] Only original contributions of editors are copyrightable at this late date.[ref]Such mistakes are not unique to <em>The Walt Whitman Archive</em>, certainly. Copyright statements for the <em>In the Valley of the Shadow</em> Civil War project (<a href=\"http://valley.lib.virginia.edu/VoS/usingvalley/copyright.html\">http://valley.lib.virginia.edu/VoS/usingvalley/copyright.html</a>) and the <em>Journals of the Lewis and Clark Expedition</em> site (<a href=\"http://lewisandclarkjournals.unl.edu/read/?_xmlsrc=lc.privacy.xml&amp;_xslsrc=LCstyles.xsl\">http://lewisandclarkjournals.unl.edu/read/?_xmlsrc=lc.privacy.xml&amp;_xslsrc=LCstyles.xsl</a>) are much more egregious.[/ref] What distresses me about the inaccuracies is they suggest that there are limits to use of the main site content by researchers—notwithstanding frequent assertions that the purpose of the archive is “to make Whitman\'s vast work electronically accessible” to all.[ref]Katherine L. Walter and Kenneth M. Price, <a href=\"http://www.whitmanarchive.org/about/articles/anc.00001.html\">\"An Online Guide to Walt Whitman\'s Dispersed Manuscripts,\"</a> <em>TWWA</em> (2004).[/ref] Making the archive accessible but incorrectly claiming limitations on actual use is paradoxical at best.\r\n\r\nThere are other issues causing me unease, for example the inadequacy of site use data. The site does not regularly report use statistics, and what statistics it does provide—average daily hits in 2007[ref]Ed Folsom, <a href=\"http://www.whitmanarchive.org/about/articles/anc.00142.html\">\"Database as Genre: The Epic Transformation of Archives,\"</a> <em>TWWA</em> (2007).[/ref]--are of dubious value even when current.[ref]Google Analytics: “the number of hits a website receives is not a valid popularity gauge, but rather is an indication of server use and loading” (<a href=\"http://www.google.com/support/analytics/bin/answer.py?hl=en&amp;answer=33026\">http://www.google.com/support/analytics/bin/answer.py?hl=en&amp;answer=33026</a>). Better measures are unique visitors or page views, coupled with visits’ duration.[/ref] In addition there is little similar data at similar websites to compare to (though to their credit one of the site editors did gather some parallel data in 2008).[ref]The data, from the <em>Willa Cather Archive</em> and the <em>Journals of the Lewis and Clark Expedition,</em> is<em> </em>presented in Kenneth M. Price,<strong> </strong><a href=\"http://www.whitmanarchive.org/about/articles/anc.00267.html\">\"Electronic Scholarly Editions,\"</a> <em>TWWA</em> (2008).[/ref] Thus this is an endemic weakness of major “archive” sites, a weakness related to a broader disinterest in the economics and sustainability of such sites.[ref]And of bricks and mortar archival operations, though this is beginning to change, as suggested by the questions—“Does the level of onsite use of special collections justify the resources being expended? What are the most appropriate measures by which to evaluate use?”—in Jackie M. Dooley and Katherine Luce, <em>Taking Our Pulse: The OCLC Research Survey of Special Collections and Archives</em> (OCLC, 2010), 34-36, online at <a href=\"http://www.oclc.org/research/publications/library/2010/2010-11.pdf\">http://www.oclc.org/research/publications/library/2010/2010-11.pdf</a>.[/ref] The greater viability of websites such as <em>The Walt Whitman Archive</em> is ultimately the $64,000 question and the focus of my essay for Part II of this roundtable.','The Walt Whitman Archive – Greene 2','The weaknesses I have noticed in the Archive are not unique to this site.  One problem is the site’s misunderstanding—and thus its improper assertion—of copyrights. Specifically the site asserts the existence of copyright in the transcripts and facsimiles and more broadly in Whitman’s writings—because transcripts and facsimiles are “slavish copies” neither is entitled to copyright protection...','publish','open','open','','the-walt-whitman-archive-greene-2','','','2013-05-15 02:27:35','2013-05-15 02:27:35','',0,'http://archivejournal.net/journal/?p=88',104,'post','',9),(107,7,'2011-01-21 16:58:56','2011-01-21 16:58:56','At this time, the <em>Walt Whitman Archive</em> is the single most extensive resource for the study of Whitman, and it<em> </em>has progressed steadily toward its primary goal: “to make Whitman\'s vast work, for the first time, easily and conveniently accessible to scholars, students, and general readers.” We take an expansive view of what is relevant “Whitman” material in a digital thematic research collection,[ref]Carole L. Palmer, \"Thematic Research Collections,\" In <em>A Companion to Digital Humanities</em> (Oxford: Blackwell Publishing, 2004), 348-65.[/ref] so we include both Whitman-authored pieces and incoming correspondence, reviews of his writings, selected recent criticism, and other materials not usually included in \"collected works.\" We aspire to produce the richest possible resource for the study of his writings, life, and reception. Our annotated bibliography, the logical starting point for scholarly work on the poet, includes all known critical writings about Whitman from 1839 to the present day—it comprises over 14,000 entries and continues to grow. The site receives a great deal of traffic: in a typical recent month (February 2010) we had nearly 39,000 visits to our site, more than 30,000 of which were by unique visitors.\r\n\r\nAs a project co-director, I coordinate the ongoing work necessary to build it. (Ed Folsom and I work closely with Elizabeth Lorang, the current project manager, in this capacity.) The site is less <em>used</em> in my work than it regularly <em>constitutes</em> a major part of my work as a scholar. At times, though, I employ the site in much the same manner as other literary scholars, albeit with greater knowledge of the site’s strengths and limitations and with awareness of material now in the pipeline that isn’t currently available to the public. As a literary critic, I appreciate what the <em>Whitman Archive</em> makes newly possible. For example, those of us writing about Whitman can now trace the development of his poetry across multiple versions—in isolated manuscript drafts; in notebooks; in periodical printings; and in various book publications—in a way that was all but unimaginable before the advent of the Web. His manuscripts are dispersed at nearly one hundred repositories around the world. In some cases, what was once a single manuscript has become separated into parts, with different sections of the manuscript held in repositories separated by great distance. Such manuscripts can now be virtually reunited.\r\n\r\nThe <em>Whitman Archive</em> has become fundamental to criticism, but citation of the <em>Archive</em> lags behind its actual use. A recent study by Lisa Spiro and Jane Segal indicates that many people use major American literature web sites, including the <em>Whitman Archive</em>, only to then cite print sources.[ref]“The Impact of Digital Resources on Humanities Research” available at\r\nhttp://library.rice.edu/services/dmc/about/projects/the-impact-of-digital-resources-on-humanities-research\r\n[/ref] This ill-conceived practice needs to change in order for digital humanities to get its due. To enable people to reference individual parts of the <em>Whitman Archive</em> more easily, all <em>Archive </em>pages will soon include additional metadata for use with Zotero and other reference management software<em>.</em> In my own scholarly practice, I have cited the <em>Whitman Archive</em> many times, and when Susan Belasco, Ed Folsom, and I compiled the collection <em>Leaves of Grass: The Sesquicentennial Essays</em> (University of Nebraska Press, 2007), we advised all contributors to cite the <em>Whitman Archive</em> when referring to Whitman texts.','The Walt Whitman Archive – Price 1','At this time, the Walt Whitman Archive is the single most extensive resource for the study of Whitman, and it has progressed steadily toward its primary goal: “to make Whitman\'s vast work, for the first time, easily and conveniently accessible to scholars, students, and general readers.” We take an expansive view of what is relevant “Whitman” material in a digital thematic research collection...','publish','open','open','','the-walt-whitman-archive-price-1','','','2013-05-15 02:27:11','2013-05-15 02:27:11','',0,'http://archivejournal.net/?p=107',99,'post','',4),(109,7,'2011-01-21 17:00:13','2011-01-21 17:00:13','Some weaknesses of the <em>Whitman Archive</em> are a function of its stage of development. We haven’t had time to accomplish all that we have envisaged. For example, we would like to provide a good introduction to the site, so that users at various levels of knowledge—and our users <em>are</em> quite varied—can get oriented quickly when they first encounter the site. In addition, given our scope, it is not surprising that many content areas are underdeveloped: we provide all known contemporary reviews of Whitman’s writings, but a person could legitimately ask why have we not, then, provided other essays about Whitman from the nineteenth century and the early twentieth century, all out of copyright, which might shed even more light on Whitman than do these reviews. Only in the last few months have we made available any of Whitman’s prose, and we have done little thus far with Whitman’s journalism. We value his journalism and have made plans for editing it, but we have not had time yet to see significant results in this area.\r\n\r\nCurrently, the <em>Whitman Archive</em> also lacks sufficient integration of material across the site. For example, if Horace Traubel mentions a specific Whitman poem in <em>With Walt Whitman in Camden</em>, we should offer ready access to that particular version (and possibly also other versions of the poem). We could also link the poem to commentary, including contemporary reviews, books from the University of Iowa Press Whitman series, and articles from the full run of the <em>Walt Whitman Quarterly Review</em>. Individual essays from <em>WWQR</em> currently are linked from citations in the criticism bibliography, and we hope to integrate more fully this journal of record for Whitman studies with the <em>Whitman Archive</em>. This more complete integration of content, like most of the changes I would suggest for the <em>Archive</em>, will be undertaken as time allows.\r\n\r\nWe are also currently investigating the application of Web 2.0 features and functionality for the <em>Archive</em>, in hopes of enabling collaboration and interaction with users of the <em>Archive</em>.<em> </em>Ideally, we would like to harness the enthusiasm and knowledge of our users. As a first step in this direction, <em>Archive </em>staff at the University of Texas at Austin are exploring user accounts for the <em>Archive</em>, accounts which would allow users both to contribute to the <em>Archive</em> as well as to create their own collections of materials. Early work is also under way on a database designed to track the what, when, and how of Whitman’s reading—that is, what did Whitman read, when did he read it, and how do we know that he read a particular text? We believe that our user community could help us populate the database. Similar resources could be integrated into the <em>Whitman Archive</em> and include user-generated information: accounts of Whitman appearances in films, television shows, advertisements, and novels, for example. Users might also participate in attribution studies. Whitman is known to have contributed to the <em>Armory Square Hospital Gazette </em>during the Civil War<em>. </em>No complete run of the newspaper exists, however, and no pieces bear Whitman’s signature. User-collaborators could help us track down scattered issues of this rare paper as well as generate a lively and informative debate about the authorship of unattributed essays in the paper. As a scholarly site, we must strike the right balance between openness and scholarly rigor, and a fundamental question for us is how to encourage participation while insuring that quality control checks remain in place. We also hope to allow users with accounts to work with the texts and data of the <em>Whitman Archive </em>in order to explore their own interpretations. Sophisticated users might access our XML and XSLT files in a work area where they could alter the encoding and stylesheets in order to pursue particular interpretive goals.','The Walt Whitman Archive – Price 2','Some weaknesses of the Whitman Archive are a function of its stage of development.  We haven’t had time to accomplish all that we have envisaged.  For example, we would like to provide a good introduction to the site, so that users at various levels of knowledge—and our users are quite varied—can get oriented quickly when they first encounter the site. In addition, given our scope, it is not surprising that many content areas...','publish','open','open','','the-walt-whitman-archive-price-2','','','2013-05-15 02:27:06','2013-05-15 02:27:06','',0,'http://archivejournal.net/?p=109',100,'post','',3),(111,7,'2011-01-21 17:01:47','2011-01-21 17:01:47','A comparison of the <em>Whitman Archive</em> to its print predecessor, <em>The Collected Writings of Walt Whitman</em>,[ref]When The New York University Press ceased publishing the Collected Writings in 1984, they had issued twenty-two volumes, many more than were originally projected. Despite the magnitude of what had been accomplished, many of the original objectives of the edition were not met. For example, the poetry manuscripts and periodical printings of Whitman\'s poetry were never collected, and the long-promised journalism, projected to appear in six volumes, never appeared in the NYUP edition. Peter Lang eventually published two volumes of the journalism in 1998 and 2003, though these volumes cover only the period from 1834–1848, leaving Whitman\'s innumerable contributions to periodicals in the final forty-four years of his life still to be edited. The Peter Lang volumes are produced so as to replicate the appearance of the New York University Press edition, though the editors of that series (all now deceased) did not oversee their production. Arguably, the Peter Lang volumes constitute volumes 23 and 24 of the Collected Writings of Walt Whitman, and a 25th volume, treating recently discovered correspondence, edited by Ted Genoways, was published by University of Iowa Press in 2004.[/ref] helps to clarify the advantages and disadvantages of digital and analog forms. Despite the many achievements of the print volumes in the <em>Collected Writings of Walt Whitman</em>, this editorial project ultimately became quite chaotic. Whitman\'s outgoing correspondence, for example, has been the subject of editorial treatment since the 1960s, when Edwin Haviland Miller edited five volumes of Whitman’s correspondence. Miller arranged the volumes chronologically, and with the fifth volume, he published an addendum of sixty-five letters that he uncovered even as the first four volumes appeared. Although this addendum meant that some letters would always be out of order, the complications of working with this single addition or revision were not insurmountable. Nine years later, however, a sixth volume appeared, and it included one hundred additional letters, complicating the organization further. Then, in 1991, Miller published fifty new letters in the <em>Walt Whitman Quarterly Review</em>,<em> </em>and Ted Genoways published third and fourth supplements of nearly one hundred letters in the journal<em> </em>in 2000 and 2002. In 2004, the University of Iowa Press issued a seventh volume of Whitman\'s correspondence, which included all of Whitman\'s letters found since Miller\'s sixth volume. In the end, there were nearly as many supplements as the number of Miller\'s original volumes, and over the last six years, even more letters have surfaced. This one aspect of the <em>Collected Writings</em> illustrates how print editions can devolve into disorder, even when the initial aim is to bring order to the literary record. I am confident that after the <em>Whitman Archive</em> “finishes” work on the correspondence previously unknown or lost letters will surface somewhere. It is a great strength of the digital medium that when this happens, new material can be integrated seamlessly into the collection.\r\n\r\nIn a related way, our “Integrated Guide to Walt Whitman’s Poetry Manuscripts” aggregates facsimile images of all surviving drafts of Whitman’s poems regardless of their geographical dispersion. The digital images and integrated guide bring order to the manuscripts and, for most purposes, erase the need to travel in order to study the manuscripts. (Individual repositories may have labeled an item by its first line or its working title, but we have created an overarching virtual order for all repositories, and we have labeled each individual poetry manuscript with what we call a “work” identifier based on the title of the last published version of the manuscript.) The high quality color facsimiles available on the <em>Archive</em> offer significant advantages for the study of the manuscripts; the images can be manipulated in photo-editing software to help us decipher otherwise illegible handwriting or zoom in on features of the ink, paper, and other characteristics such as pinholes, in order to offer new readings about the manuscripts and their relationships to one another.\r\n\r\nDespite the integrated guide’s utility, however, it remains an under-utilized resource. Indeed, one of our challenges has been how to make sure people find the content and tools most useful for their research questions. Perhaps a downside of bringing together so much material in one place is that doing so can inadvertently re-bury material (in some places, the organizational hierarchy of the <em>Archive</em> is fairly flat or one-dimensional, and in others, it is quite structured). It is hard to get a sense of the magnitude of the <em>Whitman Archive</em> at a glance. The more we enrich the site, the more challenging it becomes to keep the interface simple, straightforward, intuitive, and sufficiently informative.\r\n\r\nBooks are sometimes more convenient in various ways. The failure of a server does not make individual volumes of the <em>Collected Writings</em> temporarily disappear. For most practical purposes, the <em>Collected Writings</em> as a resource stays stable (and carries all the advantages and disadvantages of that condition). Print can rely on nicely developed interface and design that evolved over centuries, but digital conventions are still relatively young and therefore sometimes neither clear nor aesthetically pleasing.','The Walt Whitman Archive – Price 3','A comparison of the Whitman Archive to its print predecessor, The Collected Writings of Walt Whitman,[ref]When The New York University Press ceased publishing the Collected Writings in 1984, they had issued twenty-two volumes, many more than were originally projected. Despite the magnitude of what had been accomplished, many of the original objectives of the edition were not met. ','publish','open','open','','the-walt-whitman-archive-price-3','','','2013-05-15 02:27:02','2013-05-15 02:27:02','',0,'http://archivejournal.net/?p=111',101,'post','',4),(114,7,'2011-01-21 17:10:01','2011-01-21 17:10:01','At the <em>Whitman Archive</em> we recently have focused on two aspects of Whitman\'s work: 1) what we call his scribal documents—the letters Whitman copied or drafted for others and the notes and summaries he drafted as a clerk in federal government offices; 2) Whitman\'s crossing of international boundaries as seen in translations and in the remaking of “Whitman” as his work is absorbed into other cultural, literary, and political traditions. In what follows I discuss these new developments to illustrate how the <em>Whitman Archive </em>continues to unfold to reveal new layers for development. After more than fifteen years, the <em>Whitman Archive </em>still intrigues me daily—whether it is Whitman’s writings, the people and processes which bring these texts to the public, the way we make them available, or what we (and others) may be able to do with them in the future. I conclude with a consideration of the long-term viability of our project and the crucial matters of funding and open access.\r\n\r\nFor the past two years I have been studying Whitman’s scribal documents and his time in Washington, DC (1863-1873) during and following the Civil War. Whitman worked for the Army Paymaster’s office, for the Bureau of Indian Affairs (part of the Department of the Interior), and for the Attorney General’s office. When I first went to Washington to look for documents in Whitman’s handwriting that might have been preserved in the records of these offices, I hoped to find perhaps a half dozen items in the National Archives; seven trips later, I have found close to 3,000.[ref]This research was prompted in part by the Whitman Archive’s recent grants from the National Endowment for the Humanities and the National Historical Publications and Records Commissions to edit Whitman’s literary works and correspondence from the Civil War and Reconstruction era. These documents are now being transcribed and should be fully available within the next two years.[/ref] Thus far, all of the items are from the Attorney General’s Office. These scribal documents are crucial for understanding Whitman’s Washington years, his position in this particular office, and the influence of this work upon his literary development.\r\n\r\nOne document in Whitman’s handwriting, on an envelope of the Attorney General’s Office, says in its entirety:\r\n<blockquote><span style=\"text-decoration: underline;\">Memoranda</span>\r\n\r\n<span style=\"text-decoration: underline;\">pardon</span> applicants Sept 8-9 -1865\r\n\r\n<span style=\"text-decoration: underline;\">also</span> the negro-suffrage\r\n\r\n<span style=\"text-decoration: underline;\">also position</span> of the President</blockquote>\r\nThe stationery might suggest that these are notes Whitman made to himself about work in the Attorney General’s office. But are they, and how can we know? Perhaps they are notes about issues Whitman wanted to consider as he was composing “Democratic Vistas.” After all, anyone who has worked with Whitman manuscripts knows that many of his letters and literary manuscripts were written on this type of office stationery and other repurposed pieces of paper. I draw attention to this document not because it is the most powerful of the scribal documents (if it is one[ref]It may be significant that this document was not found where most of the scribal documents have been discovered, in the National Archives, but instead in the Charles E. Feinberg collection at the Library of Congress.[/ref]). I highlight it, in fact, because of its liminal status: we can not determine whether this is a literary or a scribal document, a document written for Whitman\'s own purposes or for the purposes of others. As such, it challenges in a useful way the boundaries between literary and scribal documents.\r\n\r\nImagining a firm wall dividing these areas of life for Whitman is misleading. At times, Whitman used his office address as his literary postal address, and he worked in the office at night (the heat and lighting were important benefits). Moreover he first gained his clerkship with the help of Ralph Waldo Emerson, who recommended him on literary and patriotic grounds.[ref]See the letter from Ralph Waldo Emerson to Salmon P. Chase, 10 January 1863 available at http://whitmanarchive.org/biography/correspondence/cw/tei/nar.00002.html[/ref] And it was because Whitman’s Blue Book (his personal and very heavily revised copy of the third edition of <em>Leaves of Grass</em>)<em> </em>was found at his government desk that he lost his job at the Bureau of Indian Affairs. James Harlan, Secretary of the Interior, judged the book to be immoral, though Whitman’s allies staunchly defended it and helped him to secure a new post in the Attorney General’s office. During his Washington years, Whitman\'s literary and clerical lives regularly occurred in the same physical locations and no doubt out of related emotional and psychological circumstances.\r\n\r\nOne of the challenges in studying the scribal documents is to figure out what impact Whitman’s work in a series of low-level government positions had on his creative life. To date, critics have almost entirely ignored his ten years of labor in Washington offices. How should we understand and treat the scribal documents? In most cases Whitman acted not as author but as a conduit for the words and thoughts of others. Thus, it could be argued that these documents should not be featured in an archive centrally concerned with Whitman’s writings. If his intellectual contributions to scribal documents are unclear and likely minimal, perhaps these documents should be excluded altogether from the <em>Whitman Archive</em>, or at least not prioritized.[ref]It is not clear yet—we need more time to study this trove of documents—how exactly the Attorney General’s office functioned. Did Whitman merely transcribe a clean copy from a draft written by someone else? Did he sometimes generate the letter based on an outline of points provided by another, or based on comments made in conversation to him? Certainly some of those who supervised him recognized his intellectual capacities. James Speed, for example, sought Whitman’s aid when he prepared an oration dedicating a bust of Abraham Lincoln.[/ref] It could be further argued that we should concentrate our finite time on making available additional known Whitman-authored documents (e.g., his journalism or short stories or novel, <em>Franklin Evans</em>). On the other hand, the scribal documents are potentially more revealing to scholars than such Whitman-authored documents, both because of the quantity of information and because the scribal documents were previously altogether unknown. Scholars may lack perfect access to Whitman’s journalism, short stories, and novel, but they do have reasonably good access for the time being. The same is not true for the scribal documents, and, if the <em>Whitman Archive </em>does not work on these materials, they are likely to remain buried, unavailable to enrich future biographical and critical studies.\r\n\r\nWhitman\'s experiences in Washington offices have rich implications. In Washington, Whitman was an actor near the epicenter of government efforts to reshape the nation in the aftermath of war. [ref]Rosemary Graham mistakenly argues that “for the most part . . . Whitman spent these postwar years as an observer.” See “Attorney General’s Office, United States,” in <em>Walt Whitman: An Encyclopedia</em>, ed. J.R. LeMaster and Donald D. Kummings (New York: Garland, 1998).[/ref] In his day job as an anonymous clerk, he and others in the office of the Attorney General dealt with postwar experiments with civil rights, war crimes, the rise of the Ku Klux Klan, battles over land claims in the west, and an assortment of other matters. He treated closely related matters while revising <em>Leaves of Grass</em> and drafting his probing cultural analysis “Democratic Vistas.” His network of friendships in Washington offices also shaped his ability to get government jobs and to advance his literary career. For example, Whitman sent a copy of his “Proud Music of the Sea-Storm,” published in the <em>Atlantic Monthly</em> in February 1869, to an acquaintance named Julius Bing,[ref]Julius Bing (dates unknown) served as the clerk of the Joint Select Committee on Retrenchment in 1867 and 1868 and ghostwrote the 1868 report “Civil Service of the United States” before being appointed diplomatic agent for Crete later that year. A major advocate for reform of the Civil Service, Bing wrote a series of articles on the civil service for the <em>North American Review </em>and <em>Putnam’s Magazine</em> in 1867-1868. For more on Bing, about whom little is known, see Art Hoogenboom, <em>Outlawing the Spoils: A History of the Civil Service Reform Movement 1865-1883</em> (Urbana: University of Illinois Press, 1968), especially 40-49.\r\n\r\nAlthough Whitman must have sent at least one letter to Bing, since Bing thanked Whitman for sending a copy of the <em>Atlantic Monthly</em> that included Whitman’s “Proud Music of the Sea-Storm” (the poem was published in the February 1869 issue of the magazine), no additional correspondence between Bing and Whitman has been identified to date.[/ref] a clerk of the Joint Select Committee on Retrenchment in 1867 and 1868. In response, Bing wrote a lengthy letter urging Whitman to write a poem about the Child Crusades. The poem was attempted by Whitman but never realized as such (Whitman’s notes on the topic and trial lines can be found in the Thomas B. Harned Collection of the Library of Congress). To the best of my knowledge, this aborted poem has not received any critical commentary, but I think it is well worth study because it is a rare instance of Whitman, in effect, collaborating on a poem, and it also shows him addressing an international issue of the remote past, but one with continuing resonance in his time and in our own.\r\n\r\nThe scribal documents also help shed light on Whitman’s increasing interest in international issues in his later writings—his work in the Attorney General’s office meant that he, quite literally, had his hand in international incidents involving Canada, Mexico, Ireland, France, Britain, Spain, China, and many other countries. The <em>Whitman Archive</em> recently has focused increasingly on international issues in more direct ways, too. Since most people in the world first encounter Whitman in a language other than English we are attempting to better serve that audience. We currently provide translations of Whitman\'s work into German, Spanish, and Russian; translations into Ukrainian, Portuguese, and Yiddish are far along in development. In addition, we are in conversation with scholars about expanding our work into Chinese, Polish, Italian and other languages soon. It is fascinating to see what happens to Whitman when he crosses linguistic and cultural borders and becomes absorbed in another milieu. This interaction often illuminates both the hosting cultural tradition as it comes to terms with Whitman as well as the ways that American audiences have interpreted Whitman\'s works.\r\n\r\nOne of the strengths of the <em>Archive</em>, related to the digital nature of our work, is the ever-evolving team that has built and continues to build the project. The <em>Whitman Archive</em> has become a training ground and laboratory for the next generation of literary scholars and digital humanists. The staff of the <em>Whitman Archive</em>—largely made up of graduate students—get hands-on experience and serve as apprentices of sorts. These graduate students serve as assistant editors and often attain positions of considerable responsibility within the project. I have been delighted by the diverse career paths our “alumni” have taken: one has gained a faculty position in a library; another works at the vice-chancellor level at a major university in an information technology role; some have gained tenure track positions at research-oriented institutions; others are employed at digital centers in various roles. Collectively they have demonstrated a range of ways to succeed professionally; their lives offer hope in a time of difficult job prospects in the humanities.\r\n\r\nAlthough the creation of the <em>Whitman Archive</em>—a vast and still rapidly growing resource—has cost a great deal of money, we are able to make it freely available. One of the strengths of the <em>Archive</em>, then, stems from success in garnering local support from several key institutions, a steady stream of grant support from four different federal agencies, and donations from various individuals and private foundations. These fundraising efforts culminated in the creation of a permanent endowment to support ongoing editorial work. We realize that this ongoing work could potentially reach far into the future, and we strive to make our work reusable for later scholars (so they can improve upon it) by documenting our practices and decisions. Having an endowment obliges us to think in longer terms than is common for scholars: we have the burden and advantage of a project that should continue well beyond the lives of anyone now working on the <em>Whitman Archive</em>.\r\n\r\nFor end users a key advantage of the <em>Whitman Archive</em> is that it makes freely available what would otherwise be difficult, costly, or impossible to access. The nature and extent of our audience are changed profoundly because the <em>Whitman Archive</em> is freely available, changes that are all to the good in my view. Instead of working with a small audience of specialist scholars in mind, we now also consider our large, varied, international audience as well. The importance of open access can hardly be overestimated. For us, open access means more than making content freely available for reading and analysis; it means making content freely available for reuse and repurposing. We willingly share files and have people work with them and reuse them in projects as long as those projects also are open, and they cite the <em>Archive</em>.\r\n\r\nDespite what the <em>Walt Whitman Archive</em> has accomplished thus far, we recognize that some features are lacking and that other features should be improved. The current search capability of the <em>Archive </em>is fairly limited and fails to take full advantage of our encoding, a key contribution to Whitman scholarship. Upcoming developments make me optimistic about leveraging the <em>Archive</em>’s rich encoding in more sophisticated ways, however, and experiments in indexing and searching the <em>Archive</em> are ongoing. The text base we’ve developed and continue to develop will lend itself to experimentation—by us and others, and we have rightly spent fifteen years developing the corpus so that it can be read, researched, and used by a variety of audiences employing a range of technologies and methodologies. The <em>Whitman Archive</em> also provides for the study of a new scholarly form, thanks to our documentation including encoding guidelines, history, and essays about the <em>Archive</em>. What seems clear is that the <em>Whitman Archive</em> is one of a group of projects that are demonstrating how the print-based monumental scholarly edition can be reimagined and advanced in the form of an electronic archive.','The Walt Whitman Archive – Price 4','At the Whitman Archive we recently have focused on two aspects of Whitman\'s work: 1) what we call his scribal documents—the letters Whitman copied or drafted for others and the notes and summaries he drafted as a clerk in federal government offices; 2) Whitman\'s crossing of international boundaries as seen in translations and in the remaking of “Whitman” as his work is absorbed into other cultural, literary, and political traditions.','publish','open','open','','the-walt-whitman-archive-price-4','','','2013-05-15 02:26:58','2013-05-15 02:26:58','',0,'http://archivejournal.net/?p=114',102,'post','',3),(117,5,'2011-01-21 17:29:42','2011-01-21 17:29:42','The Whitman archive is an example of excellent practice in the creation of digital scholarly resources. Its layout is simple, clear and easy to understand and navigate. It is obvious to a user where she is in the site, how to return to where she started from and what its various contents are. This might seem basic, but many resources, perhaps particularly those designed by and for academics tend not to pay enough attention to the basics of good design and usability, and can, as a result be confusing and frustrating for users. Since we make decisions about web pages in fractions of a second[ref]G. Lindgaard, C. Dudek, F. Fernandes, and J. Brown, “Attention Web Designers: You Have 50 Milliseconds to Make a Good First Impression,” <em>Behaviour &amp; Information Technology</em> 25 (2005): 115-126.[/ref] and humanities users, in particular, are easily deterred from using a resource that seems untrustworthy to them[ref]Claire Warwick, M. Terras, P. Huntington, and N. Pappa, “If You Build It Will They Come? The LAIRAH Study: Quantifying the Use of Online Resources in the Arts and Humanities through Statistical Analysis of User Log Data,” <em>Literary and Linguistic Computing</em> 23:1 (2008): 85-102.[/ref] it is vital that such simple considerations as the look and functionality of the site should instantly seem comprehensible and comfortable for users.[ref]Dana Wheeles, “Accessibility, Usability and the New Face of NINES” <em>Literary and Linguistic Computing</em> 25:4 (2010). Forthcoming.[/ref]\r\n\r\nOne of the most impressive things about the Whitman archive is that it can be addressed in different ways depending on the level of expertise the user may have: this is by no means common in scholarly digital resources. As someone who was once worked on English, but not American, literature and who now regards herself as a full time Digital Humanist, I know relatively little about Walt Whitman\'s life and career. As a result of using the archive, however, I was able to find a considerable amount of information at an appropriate level. In other words, this was content of a level well beyond the introductory but which was not simply directed at other Whitman scholars and other expert users. This is a surprisingly difficult balance to achieve in any medium but seems especially challenging in the digital one. Many digital scholarly resources tend to assume that their users will be experts in the subject matter. This is not necessarily the case and as a result non-expert users may easily be confused or lose interest.[ref]Warwick et al., “If You Build It.”[/ref] This seems particularly perverse, since digital resources are an excellent way for scholars to engage with those outside academia who share their interests and to encourage those with an interest to become to sufficiently intrigued that they become the experts of the future. If the non-expert user is deterred, how will they make progress to expertise? This is an opportunity that the Whitman archive has fully understood.\r\n\r\nThis does not mean that expert users are neglected, however. The archive has evidently been designed with the needs of its academic users in mind. For example, scholars interested in the language of poetry who may want to run linguistic analysis software on these texts will be particularly please that the full TEI marked up texts are available for downloading from the archive as well as being presented on line. The fact that such texts and detailed markup guidelines are available is an example of excellent practice and also rather unusual. Even some of the best TEI practitioners can seem somewhat nervous of making their markup decisions so public, and many digital humanities resources only make texts available as post-processed XHTML.\r\n\r\nThere is also a clear understanding on the part of the Archive’s creators of the way that scholars prefer to work in digital and physical environments. We know, for example, that however many resources are digitised scholars generally want to see the originals. It is now well known that the more digital resources are available the higher the demand that tends to be for original material. As a result, it is especially welcome that the archive has provided such detailed guidance as to how the original materials may be accessed with full bibliographic records. This means that scholars are able to consult manuscript images and transcriptions before they visit physical archives, which enhances, rather than disrupts their use of archival material. This is a particularly effective use of digital resources to complement physical ones.\r\n\r\nOne of the most impressive features of the Whitman Archive is that documentation about the project is so easy to access. As we recommended in the LAIRAH study[ref]Claire Warwick, I. Galina, M. Terras, P. Huntington, and N. Pappa, “The Master Builders: LAIRAH Research on Good Practice in the Construction of Digital Humanities Projects,” <em>Literary and Linguistic Computing</em> 23:3 (2008): 383-396.[/ref] there is a top level link from the title page to documentation about the project. Under this link are to be found a great variety of very useful documents telling readers and users just about anything they might want to know about the archive in terms of its scholarly principles, history, technical standards and encoding guidelines. It is also clear who its creators are their expertise and how this has been used to take decisions about the creation and direction of the archive. This excellent feature is surprisingly difficult to find in many digital archives, editions or resources. However, it is vital, since users require users require this type of contextual information about the processes used to select and interpret data. In the print medium we have evolved techniques and processes to indicate that a selection and evaluation process has taken place (the footnote, the imprimatur, the authorial biography, the bibliography) In the digital world such things are still developing and the digital still remains, for many academic users in particular, less trustworthy than print.[ref]Warwick et al., “If You Build It.”[/ref]','The Walt Whitman Archive – Warwick 1','The Whitman archive is an example of excellent practice in the creation of digital scholarly resources. Its layout is simple, clear and easy to understand and navigate. It is obvious to a user where she is in the site, how to return to where she started from and what its various contents are. This might seem basic, but many resources, perhaps particularly those designed by and for academics...','publish','open','open','','the-walt-whitman-archive-warwick-1','','','2013-05-15 02:26:26','2013-05-15 02:26:26','',0,'http://archivejournal.net/?p=117',95,'post','',2),(122,5,'2011-01-21 19:13:36','2011-01-21 19:13:36','It is genuinely difficult to identify serious weaknesses of the Whitman archive. I might suggest a few relatively minor changes to site design. Some of the content is nested quite deeply within the site and requires several clicks to access it. For example in the Disciples section the user is three clicks away from accessing individual poems. Web log analysis suggests that the more clicks a users is required to make, the less likely they are to use that part of a site.[ref]P. Huntington, D. Nicholas, P. Williams and B. Gunter “Characterising the Health Information Consumer: an Examination of the Health Information Sources used by Digital Television Users,” <em>Libri</em> 52:1 (2002): 16-27[/ref] Thus I would suggest that if at all possible some of the intermediate levels of nesting are removed to allow better access to material.\r\n\r\nI also found it difficult to access the newspaper content, since the page images took a very long time to load, on an average home broadband connection. This will not cause problems for academics using the site on fast campus networks. However it might limit its usefulness and usability of these newspapers for members of the public to high school students who might be accessing them on a slower connection.\r\n\r\nI also had some problems using the search function, or rather understanding the results returned. I typed the words ‘metaphysics’ and ‘books’ into the search box as someone searching for the exact origin of a quotation might do. I would have hoped that the first hit in any general search of the archive might have referred me to published works, but instead it took me to instances of the words in criticism, but it was not clear why this happened, and would, I think be counter intuitive for most users. I then clicked on the top hit of published works, and when I clicked on it, this did indeed take me to Leaves of Grass, but only to the title page. Again this would not be intuitive for users accustomed for example to the functionality of commercial resources such as EEBO who would expect to be taken to the exact hit without a need to use the search function in Firefox to locate it.\r\n\r\nThese are technical problems which should be relatively easily corrected. However, I would also like to point out something which while not exactly being a weakness may more correctly be thought of as an opportunity that has not yet been exploited: that is the possibility of involving users more extensively in the Archive’s activities. At present, apart from leaving comments, it is difficult to see how academic users or members of the public interested in Whitman might be able to get involved in the project.\r\n\r\nThe current model for the Archive seems very much that of conventional publishing whereby the team produces content for its users, in a one-to-many fashion. It may be that this is a deliberate decision on the part of the editors: involving users is not appropriate for every digital project. However, if further content is to be created in future, the Whitman archive may consider taking part in some kind of crowd sourcing project. This is still a somewhat unusual method, but is being used by projects such as Transcribe Bentham at UCL to access crowd sourced transcriptions of page images of manuscripts. The use of crowd sourcing and social networking by memory institutions such as museums, has demonstrated that those outside academia are interested in participating in projects about their heritage and history and it may be that there is a potential new way for the Archive to engage with its user community, and to add further content while doing so.','The Walt Whitman Archive – Warwick 2','It is genuinely difficult to identify serious weaknesses of the Whitman archive.  I might suggest a few relatively minor changes to site design. Some of the content is nested quite deeply within the site and requires several clicks to access it.For example in the Disciples section the user is three clicks away from accessing individual poems.  Web log analysis suggests...','publish','open','open','','the-walt-whitman-archive-warwick-2','','','2013-05-15 02:26:30','2013-05-15 02:26:30','',0,'http://archivejournal.net/?p=122',96,'post','',8),(125,5,'2011-01-21 19:15:11','2011-01-21 19:15:11','It is difficult for me to answer the final question because most of the scholarly material that I need are now available in digital form. As a digital humanist, rather than a literary scholar I have very little need to use original manuscripts or early printed books in my own work. What we know about the research practices of humanity scholars, however, suggests that this resource is extremely well designed for their needs. It does not assume that the digital will replace the need to use physical books and indeed it makes this easier by the inclusion of complex bibliographic data especially about Whitman\'s manuscripts and their whereabouts. It also follows good practice in digital resource creation in that it provides scanned page images of the books and manuscripts thus allowing users to compare the transcriptions provided in digital form to those images of the original analogue text.\r\n\r\nIt is notable that the website provides links to press material and interviews that scholars involved in it have given. This is especially welcome, since we have found that the strongest single correlation between the use of a digital resource and things that its creators do is effective disseminate of information about the project.[ref]Warwick et al., “The Master Builders.”[/ref] The presence of these transcribed interviews shows that its creators have been doing precisely this.\r\n\r\nAnother intriguing potential of the digital medium which the Whitman Archive makes use of is the ability to record the way that a resource has changed and grown. Books of course may have later editions, but few of us compare them in detail in printed form. This resource gives us clear information about its past as well as the way it is changing, since it not only archives two previous versions of the project, but provides a detailed change log, which tells users in detail what has been altered and when. For those of us interested in digital resources, this is an unusual insight into their evolution; for regular users of the material it gives instant information about what has changed since their last visit. Both are very much to be welcomed.','The Walt Whitman Archive – Warwick 3','It is difficult for me to answer the final question because most to the scholarly material that I need are now available in digital form. As a digital humanist, rather than a literary scholar I have very little need to use original manuscripts or early printed books in my own work. What we know about the research practices of humanity scholars, however...','publish','open','open','','the-walt-whitman-archive-warwick-3','','','2013-05-15 02:26:33','2013-05-15 02:26:33','',0,'http://archivejournal.net/?p=125',97,'post','',2),(127,5,'2011-01-21 19:26:18','2011-01-21 19:26:18','In the following section I would like to reflect on some questions about the nature of digital resources, humanities scholarship and the uses to which such material may be put. One of these is the still-contentious issue of whether the creation of such resources is regarded as scholarship in itself or as a way of facilitating the work of other scholars. Even the most recent studies indicate that opinions still remain sharply divided about whether the creation of digital resources such as the Whitman archive is considered to be scholarship and worthy of being rewarded us such by promotion, tenure or in the UK Research Assessment Exercise.[ref]D. Harley, S.K. Acord, S. Earl-Novell, S. Lawrence, and C.J. King, “Assessing the Future Landscape of Scholarly Communication: An Exploration of Faculty Values and Needs in Seven Disciplines” (UC Berkeley: Center for Studies in Higher Education, 2010).[/ref] There is an understandable tendency in digital humanities to regard this as an outrageous undervaluation of what we do, and to wish to advocate for our work to be better understood. Yet if we can resist this temptation, the question at issue is an important one. The argument against granting digital resources scholarly status equivalent to a journal article, monograph or critical edition must surely be that such resources are performing a service, akin to that provided by an archive or library in the analogue world: that of bringing together useful materials for other scholars to use.\r\n\r\nIt has long been the case that as Melissa Terras has argued so eloquently, in order for our digital work to be valued we must publish in traditional media.[ref]M. Terras, “Present, Not Voting: Digital Humanities in the Panopticon Digital Humanities” (plenary presented at Digital Humanities 2010 Conference, Kings College London, 2010). http://melissaterras.blogspot.com/2010/07/dh2010-plenary-present-not-voting.html[/ref] However, this is about to change, at least for some of us. In the forthcoming Research Excellence Framework in the UK, digital resources will be assessed in all subject areas as a comparable output to print. This is a vitally important change, carrying with it the implication of a re-evaluation of the scholarly value of the digital; but it places ever more emphasis on the need for us to consider in a rational, not evangelistic, fashion what may distinguish a digital scholarly work from that which renders a service.\r\n\r\nIn this context, nomenclature is not a useful guide. The Whitman project’s creators chose to call their creation an archive, perhaps because like the Rosetti Archive or Valley of the Shadow it contains a collection of various different types of material. However, McGann himself describes Rosetti as a digital edition.[ref]Jerome McGann, “Electronic Archives and Critical Editing,” <em>Literature Compass</em> 7:10 (2010): 37-42.[/ref] While I do not mean to imply that creating and curating an archive in the analogue world is not an intellectual exercise, it is not in itself something for which scholars gain credit. Thus the metaphor would hold that if scholarship done as the result of the use or creation of a physical archive as opposed to in its curation is recognised, then it should be similar in the digital sphere. But is this really appropriate, and does the name ‘archive’ under value the complex nature of what is being achieved in digital resources such as this? Conversely, why is it then that creating a critical edition, whether print or digital form is considered to be a scholarly activity worthy of credit in its own right?\r\n\r\nIt may be because in the print world editors are called upon to make selections and decisions about the best possible copy text, and which textual variants to include. Yet as Gabler argues, as digital technology progresses, digital editions increasingly try to make as many different texts and variants available to readers as possible, to the point that while we may choose to read a literary text in print, the digital medium is most appropriate for complex comparison and study of variants.[ref]H. W. Gabler “Theorizing the Digital Scholarly Edition,” <em>Literature Compass</em> 7:10 (2010): 43–56.[/ref] The theory of social editions also suggests that the literary text should be presented with reference to its broader social and intellectual milieu.[ref]Jerome McGann, <em>A Critique of Modern Textual Criticism</em> (Chicago: University of Chicago Press, 1983) and D. F. McKenzie, <em>Bibliography and the Sociology of Texts</em>(London: The British Library, 1986).[/ref]\r\n\r\nThe Whitman archive provides page images and transcriptions of all six printed editions of <em>Leaves of Grass</em>, as well as manuscript material and newspaper copy. It calls itself an archive, yet could as easily be considered an excellent example of the digital social edition, where users are encouraged to become part of the scholarly process by comparing transcribed manuscripts with the page images or making judgements about which version of a given poem to use. So this is this, an edition (scholarly product) or an archive (service for others)? I would argue that this distinction is no longer meaningful in the digital sphere where boundaries between what we consider to be editions and archives have become blurred.\r\n\r\nEven if we assert that this is a resource for others to use, that could as easily describe a scholarly edition. It is also arguable that the value of such a resource as a scholarly product in its own right is in the choices made about what types of different materials should be brought together, and how contextual material about Whitman’s life, work and even disciples should be presented. Once again, these are just the kind of decisions that editors of scholarly editions also make. As all digital humanists are aware, the act of marking up text is in itself one of scholarly interpretation, which is why it is so vital that the full marked up texts are presented here. This, like the decision to present page images alongside transcription is an act of intellectual openness: it allows other scholars to understand, and if necessary question the decisions that have been made in their presentation. Far from being a sub-scholarly process, digital resources such as Whitman achieve a lustration of the decision making processes that are the silent underpinning of the task of editors or literary scholars in general. In this sense, digital humanities is ahead of many other fields. Science is only beginning to discover the potential of using digital technologies to link experimental data to articles written as a result of its analysis, so that other scholars may use such data to replicate the experiments that are reported on.[ref]C. Bizer, T. Heath, and T. Berners-Lee, “Linked Data - The Story So Far,” <em>International Journal on Semantic Web and Information Systems</em> (IJSWIS), Special Issue on Linked Data, ed. T. Heath, M. Hepp, and C. Bizer, (forthcoming). http://linkeddata.org/docs/ijswis-special-issue[/ref] Yet resources such as the Whitman archive have been providing this kind of functionality for some time. Texts are the primary data of literary scholars after all.\r\n\r\nThere is, it appears, a good case to be made for the scholarly robustness of digital resources, even those which modestly refer to themselves as an archive. The other question we must address, however, in making the case for our discipline is not just whether such resources constitute scholarly activity, but what kind of new types of research they make possible which would not have been achievable in an analogue world. This is surely the main criterion by which digital humanities must be judged. At present this is much less clear.\r\n\r\nWe know that the digital medium presents many new possibilities for editors and resource creators themselves, but we still know too little about whether research and scholarship themselves are changing as a result of their use. Vanhoutte, for example, has argued that most users simply require a reading text despite the fact that digital resources make a deeper kind of scholarly engagement possible.[ref]E. Vanhoutte, “Every Reader His Own Bibliographer – An Absurdity?” in <em>Text Editing, Print and the Digital World</em>, ed. Marilyn Deegan and Kathryn Sutherland (London: Ashgate, 2002): 99-112.[/ref] Even the most recent study of humanities users of digital resources[ref]C. Madsen, “Communities, Innovation, and Critical Mass: Understanding the Impact of Digitization on Scholarship in the Humanities through the Case of Tibetan and Himalayan Studies” (PhD diss, Oxford University, 2010): Chapters 6-7.[/ref] suggests they still make relatively simple uses of digital resources, which they value as a way to access greater amounts of primary texts without the need to travel, to search them faster, and ultimately, overwhelmingly, to read them. Digital humanists may be using computational analysis or visualisation techniques on huge data sets, (for example Dan Cohen’s recent studies of Google Books[ref]Patricia Cohen, “Analyzing Literature by Words and Numbers,” <em>New York Times</em>, December 3, 2010, <a href=\"http://www.nytimes.com/2010/12/04/books/04victorian.html?_r=1&amp;pagewanted=all\">http://www.nytimes.com/2010/12/04/books/04victorian.html?_r=1&amp;pagewanted=all</a>[/ref]) but it appears that resources such as the Whitman archive may be more transformative of scholarship from the point of view of their creators than of most of their users. Digital Humanities has have moved on from writing evangelising articles and prescribing more training to writing use cases that, arguably, only the converted digital humanists ever read (for example a recent paper on the Monk project[ref]C. Plaisant, T. Clement, R. Vuillemot, S. Steger, and K. Uszkalo, “Use Cases Driving the Tool Development in the MONK project” (paper presented at the Digital Humanities 2009 conference, University of Maryland, USA, June 22-25, 2009).[/ref]) Yet the results appear the same, such excellent resources as Whitman may find that only a few expert users make best use of the potential of what they are being offered.\r\n\r\nThis may seem rather a depressing vision, but social networking theory may offer a more positive interpretation of this. We know that in most online communities only 10% of the participants post, the others may read, enjoy, but not take part.[ref]B. Nonnecke and J. Preece, “Lurker Demographics: Counting the Silent” in <em>Conference on Human Factors in Computing Systems</em> (Proceedings of the SIGCHI, 2000): 73-80. http://portal.acm.org/citation.cfm?id=332040.332409&amp;type=series [/ref] It is also an often repeated law of software development that 80% of users make use of 20% of a given application’s features. Thus if we apply such metrics to digital humanities it seems perverse that we somehow feel we have failed unless all users are making the most extensive use of every last piece of potential a resource has to offer. This is why it is important that, as I argued above, digital resources should be accessible for the interested amateur as well as the academic expert and why we should not be disappointed if most people search for quotations for their college assignments or print out poems to use to teach a class, or to read when writing an article. Digital resources have different types of user, and to expect them all to be expert is a kind of techie arrogance of the worst kind.\r\n\r\nSocial networking is also relevant in another context when consider digital resources. The possibilities of a very different kind of social edition are only beginning to be explored by projects such as UCL’s own Transcribe Bentham project. Yet the popularity of crowd sourcing has been proven in science, and we know that users will support, explore and exploit more fully resources that they help to create.[ref]Claire Warwick, M. Terras and C. Fisher, “iTrench: A Study of User Reactions to the Use of IT in Field Archaeology” (paper presented at Digital Humanities 2008 conference, University of Oulu, Finland, June 25-29 2008).[/ref] Thus it may be that an alternative way of involving users in digital humanities is not only to consult them about what they would like to do, design resources so that they can do it as well as possible, or suggest ways in which a resources might be used, but also to encourage them to take part in their creation.\r\n\r\nIt can be seen therefore that the metaphysics wrought by the digital transformations inherent in the Whitman archives take us well beyond the limitations of books. We can appreciate the new potential inherent in digital production for the scholars who produce such resources, but further work remains to be done on exactly how such editions or archives may transform the lives of their users. Part of this work will be undertaken in the coming year by researchers from the INKE project, when we will consider digital scholarly editions. However, in a more general sense it will be fascinating to see whether and how far any kind of crowd sourced content may be integrated into serious scholarly resources such as Whitman. Until that experiment is tried in earnest, we are still some way from utilising the potential of the truly social edition.','The Walt Whitman Archive – Warwick 4','In the following section I would like to reflect on some questions about the nature of digital resources, humanities scholarship and the uses to which such material may be put. One of these is the still-contentious issue of whether the creation of such resources is regarded as scholarship in itself or as a way of facilitating the work of other scholars. Even the most recent studies indicate that opinions still remain sharply divided...','publish','open','open','','the-walt-whitman-archive-warwick-4','','','2013-05-15 02:26:37','2013-05-15 02:26:37','',0,'http://archivejournal.net/?p=127',98,'post','',15),(130,8,'2011-01-21 19:53:57','2011-01-21 19:53:57','Though the <em>Walt Whitman Archive</em> seems well designed for researchers at all levels of expertise, it strikes me as particularly well-suited for students or for others who may enter the site with limited knowledge about the author and his works. A significant advantage is the clean and inviting appearance of the layout at all levels of the database. The interface is wonderfully uncluttered, making exploration simple and unintimidating. On the homepage left-hand navigation menu, I found the categories to be intuitive and well-organized. I clarified this assessment with an experiment, in which I browsed manually for items that I already knew existed in the archive. In all cases, I was able to locate the target items with little or no backtracking.\r\n\r\nI found the most valuable feature of the site for the non-expert visitor to be the contextual information that was present on many of the pages in the database. For example, when clicking on any of the major links under the “published works” tab, I was given a short blurb that generally included a preface to the contents of the page, its status of development and coming additions, and any important contextual knowledge that would help me situate it in culture or among Whitman’s other works. It was also extremely helpful to find each of Whitman’s published books (excluding the foreign editions) furnished with a detailed and thoughtful “About” page, which provided enough background and compelling analysis to give me, the student and non-expert, a firm grasp of the material I was about to browse.\r\n\r\nI would feel confident and comfortable investigating a specific topic, browsing for research material, or exploring new content out of curiosity on the <em>Archive</em>. More than a repository, it is well-developed as a learning tool for those who are new to Whitman scholarship.','The Walt Whitman Archive – McGonagill 1','Though the Walt Whitman Archive seems well designed for researchers at all levels of expertise, it strikes me as particularly well-suited for students or for others who may enter the site with limited knowledge about the author and his works. A significant advantage is the clean and inviting appearance of the layout at all levels of the database. The interface is wonderfully uncluttered, making exploration simple and unintimidating.','publish','open','open','','the-walt-whitman-archive-mcgonagill-1','','','2013-05-15 02:26:08','2013-05-15 02:26:08','',0,'http://archivejournal.net/?p=130',91,'post','',2),(132,8,'2011-01-21 19:55:06','2011-01-21 19:55:06','While I found the basic navigability of the site to be well-designed, I wish that it was easier to discover new things in the database. The obvious place to begin would be the search tool, which is very limited. While more robust features are promised for the future (according to a notice at the top of the page), the current tool falls short of expectations for a database of this size and quality. Discovery of new material depends upon the possibility of encountering random bits of data and the ability to arrange information in new permutations such that new synchronies arise; currently, the <em>Archive </em>is not well configured for such active contact between the reader and the raw data. In addition to random data, an improved search tool would also better allow the user to conduct specific paths of inquiry. For a hypothetical student with an assignment to follow, it can be important to view thematic cross sections rather than vertical stacks of data under folders.\r\n\r\nThe addition of tagging would help to increase the fluidity of the site. In order to maintain the rigor of its editorship, the <em>Archive</em> might prefer to use tags that are curated by a team rather than a ‘folksonomy’ approach that opens up tag authorship to all users and lets the system grow on its own, minimally governed. The functionality of the search tool might improve, also, by responding to terms that have demonstrated relevance to users rather than random syntax in content.\r\n\r\nNavigation between pages on the <em>Archive </em>is smooth and intuitive; however, it could benefit form the implementation of same-page navigation tools. Many of the pages on the site feature very long texts, which require excessive scrolling and are difficult to read in a non-linear fashion. A hyperlinked table of contents at the top might be a first step, but many of the long critical articles do not have obvious breaking points and would not divide naturally into a table. Eventually, it would be good to see a more sophisticated tool for navigating through content on the same page—as it is, a database that deliberately embraces the fluidity of digital forms traps the reader in a format that is ironically dependent upon rigid sequence and imitated print forms. Reducing this rigidity would greatly improve the user experience.','The Walt Whitman Archive – McGonagill 2','While I found the basic navigability of the site to be well-designed, I wish that it was easier to discover new things in the database. The obvious place to begin would be the search tool, which is very limited. While more robust features are promised for the future (according to a notice at the top of the page), the current tool falls short of expectations for a database of this size and quality.','publish','open','open','','the-walt-whitman-archive-mcgonagill-2','','','2013-05-15 02:25:41','2013-05-15 02:25:41','',0,'http://archivejournal.net/?p=132',92,'post','',7),(134,8,'2011-01-21 19:55:37','2011-01-21 19:55:37','As the <em>Archive</em> is very aware, the Whitman corpus presents a particular set of linguistic challenges to the reader that seem to appeal for a more open and flexible form than what is offered by their original editions of print. Digital forms often work well for such challenging texts because they provide a-linear approaches of exploration and analysis, but in my opinion the <em>Archive </em>has not yet developed into a format that takes full advantage of this possibility. Though I was able to navigate around the site easily from any point with the aid of the menu across the top of the page and the breadcrumb links, my general experience of the Whitman archive was that it remains limited by linear arrangements of data. The structure of the database, which is dominated by a hierarchical folder system, can make it difficult to stir up new configurations of information: the volume of the repository is still impressive, but in this case a physical archive might allow better non-linear entry.\r\n\r\nAnd yet, the hierarchical folders and the linear browsing process they suggest also garnered my praised in an earlier question, due to their “clean” and “intuitive” qualities. While limiting to the agile Whitman scholar, these features are very advantageous in one’s initial foray into the <em>Archive</em> because they present easier options and clear delineations.\r\n\r\nPhysical archives fit well into folder systems while maintaining an element of the random and a-linear because each page is a potential entry-point. Web pages, however, favor top-view and selection rather than the act of flipping through or diving in at a random point. The <em>Walt Whitman Archive </em>has moved past the limitations of print in many ways already; if there was a way to reincorporate some of the random browsability of the physical archive, without sacrificing the intuitive appearance, the experience might benefit. This might be accomplished by exposing more metadata on the surface of the site in order to cut new cross-sections through the repository; for example, making it possible to browse by year rather than type and title of work, or organizing clusters of data by theme or biographical reference. If the editors can find a way to take the information out of its silos across the site, their users might enjoy an even more fluid and organic approach to the text.','The Walt Whitman Archive – McGonagill 3','As the Archive is very aware, the Whitman corpus presents a particular set of linguistic challenges to the reader that seem to appeal for a more open and flexible form than what is offered by their original editions of print. Digital forms often work well for such challenging texts because they provide a-linear approaches of exploration and analysis, but in my opinion the Archive has not yet developed...','publish','open','open','','the-walt-whitman-archive-mcgonagill-3','','','2013-05-15 02:25:49','2013-05-15 02:25:49','',0,'http://archivejournal.net/?p=134',93,'post','',2),(136,8,'2011-01-21 20:01:09','2011-01-21 20:01:09','In the Digital Humanist’s tool belt, the database is the trusty stand-by. Robust and indispensable, it has become a basic tool of modern academic research. One of the primary endeavors of the Digital Humanities, however, is to re-focus the perspective on the tools we use, and perhaps to redefine the term “tool” in the process. The Oxford English Dictionary defines it as “a thing … with which some operation is performed; a means of effecting something.”[ref]<em>Oxford English Dictionary</em>, 2<sup>nd</sup> ed., s.v. “Tool.”[/ref] This definition points plainly toward outcome, the tool’s utility at accomplishing “some operation,” as if it were an extension of the user’s will as a wrench is an extension of his or her hand. But by emphasizing results only, the dictionary neglects a tool’s significant influence over process.\r\n\r\nTools define process as much as they do outcome. When one searches a database, its individual design mediates the experience, filters it, frames it. A sleek database makes the act of use nearly imperceptible—it stays out of the way, as it were, by anticipating the needs and intuitions of the general user in its design. However, the specific user will always be limited by these presuppositions. It is tempting to imagine a database as a neutral container, a kind of Tupperware 2.0, while in fact the tool guides the searches that one can make, the items that they will return, and which will appear prominent. Facets of the design guide what sorts of orderings of information, or narratives, the researcher will construct out of the raw data, such that the database itself can form a subtle argument or narrative claim.\r\n\r\nAcknowledging the skewed nature of any tool that presents information, <em>Walt Whitman Archive</em> co-editor Ed Folsom describes his approach to structuring the database: “Initially, [co-editor Kenneth] Price and I had ideas of how we would control the material in the database, and we knew the narratives we wanted to tell, the frames we wanted to construct. But the details of the database quickly exceeded any narrative we might try to frame the data with. Little roots shot out everywhere and attached to particulars we could not have imagined. Only if we insulated the narrative from the database could the narrative persist.”[ref]Ed Folsom, “Database as Genre: the Epic Transformation of Archives,”<em> The Walt Whitman Archive</em>, accessed November 2010,<em> </em><a href=\"http://www.whitmanarchive.org/about/articles/anc.00142.html\">http://www.whitmanarchive.org/about/articles/anc.00142.html</a>.[/ref] To me, the <em>Walt Whitman Archive</em> is rife with narrative paths for the user. Some of these are micro-narratives, unavoidably emerging from details of the interface. Because the left-hand navigation menu is more visually prominent than the search bar, the user is more strongly guided into a browsing mode of exploration, which encourages him or her to consider Whitman through a compartmentalized view of his life and works. By featuring a simple search bar without advanced specifications or filtration[ref]A notice on the site informs the user that this feature is soon slated to undergo an enhancement, which will include the development of faceted search capabilities.[/ref], the database allows the user to cast a virtual fishing line for an assortment of items but makes it more difficult to conduct a narrowly directed search—thus, one is likely to encounter information that seems scattered rather than tight and contextual.\r\n\r\nApart from these micro-narratives, the database also cradles a deep narrative claim pertaining to Whitman’s corpus: throughout the database there is an open discussion examining the suggestive congruity between Whitman’s work and the digital medium in which it is takes form. The documentation of this resonance begins with observations about Whitman’s language and works, which seem to share characteristics of digital structure. For example, Ed Folsom to the organic networks present in Whitman’s language, an intertextual and burgeoning web of words. He compares this quality to the dense entanglement of leaves and roots that adorn the lettering on the first edition of <em>Leaves of Grass</em>, recalling the rhizome[ref]Defined as “an elongated, usually horizontal, subterranean stem which sends out roots and leafy shoots at intervals along its length.” <em>Oxford English Dictionary</em>, 3rd ed., s.v. \"Rhizome.\"[/ref]—“that subterranean stem that grows every which way and represents the nomadic multiplicity of identity—no central root but an intertwined web of roots.”[ref]Folsom, “Database as Genre.<em>”</em>[/ref] Databases, too, are rhizomorphous, he argues—and this accordance between Whitman’s work and its digital format allows the two to reflect through and off of one another, revealing new permutations of form and language.\r\n\r\nIn a proleptic twist, Whitman’s work predates its own ideal medium. A common observation in the various articles about the database is the fact that the work is perhaps better displayed in digital form that it ever was in print: the digital medium is better equipped to represent the shapes and forms of the Whitman corpus, and flexible enough to accommodate the complex relationship between the many iterations of <em>Leaves of Grass</em>. The database does not privilege one edition over any other, and treats them as autonomous but entwined works rather than pieces of a distinct whole or drafts leading up to a definitive version. The sheer multiplicity of his writing is betrayed by the rigidity of print mediums. “Whitman’s work was always being revised, was always in flux, and fixed forms of print do not adequately capture his incessant revisions,” argues Price.[ref]Kenneth M. Price, “About the <em>Archive</em>: History,” <em>The Walt Whitman Archive</em>, accessed November 2010, http://www.whitmanarchive.org/about/history.html.[/ref] Whitman himself advocated methods of reading and taking meaning from his texts that today seem almost designed for digital tools. A line from <em>Leaves of Grass</em>, first appearing in the 1881-82 edition, reads “the words of my book nothing, the drift of it every thing.”[ref]Walt Whitman, <em>Leaves of Grass</em>, (Washington, D.C, 1881-82), http://whitmanarchive.org/published/LG/1871/whole.html.[/ref] Taking long-view of literature, Whitman’s remark resonates with the current practice of distant reading, in which vast quantities of text can be analyzed as an entity using statistical information and visualizations. Predating this practice, Whitman draws the reader away from the individual minutiae of his poetry and towards impressionistic views. If any text was written for a database, this one was.\r\n\r\nThus, the <em>Archive</em> attempts not only to exhibit its contents, but to carry out a vision that Whitman may have offered in the original work. This narrative is present throughout the site primarily via the apparent compatibility between the content and form. The claim is so elegant, so fluid and simple, that the argument almost makes itself.\r\n\r\nThe <em>Walt Whitman Archive</em> is able to transcend its (considerable) utility as a research tool, performing simultaneously as a critical analysis, a new edition of Whitman, and independent artistic work. I imagine four theoretical levels at which a format can manage a text, with increasing involvement: presentation, description, criticism, and artistic response. The sophistication of this particular database is in how it blurs the lines between those acts, seeming to realize all at once and none predominantly, and, further, how it reveals the fact that this multiplicity of function must be true of all databases, however subtly, however unintentionally.\r\n\r\nThis remarkable plurality within a single tool (if tool is still an adequate term) is both fitting, in the context of Whitman, and disruptive to the user’s relationship with the technology. It remains to be addressed how, or whether, the user should adjust his or her approach to such a complex mechanism. At the recent undergraduate digital humanities symposium Re: Humanities, keynote speaker Amanda French advocated for the “rehumaniz[ation of] the inhuman mass of data.”[ref]Amanda French, “Humanities Research Methods from 1860 to 2060” (presentation at Re:Humanities, Haverford, PA, November 11-12, 2010).[/ref] She suggests that scholars who favor distant reading may be losing track of a meaningful element of the text. Rather than conducting interpretive based on massive aggregates of information, why not reacquaint ourselves with an affection for individual pieces of data, find “datum love” among the mass of details? The two methods appear to be mutually exclusive. However, by reconceiving the practice of data mining, it is arguably possible to find personal touches in the thrill of broad claims as well as the nuance of the particular.\r\n\r\nIf each database frames its contents in an array of narrative claims, then each one is specific, disputable, and limited. Rather than markers of failure, however, we might use these idiosyncracies to reawaken us to the particular experience that that tool offers. We could use the fact that a database mediates actively to inject an element of personal interaction into the task of digital research. In the course of achieving proficiency with any tool, one gains an understanding of its particular advantages and limitations through repeated contact and experimentation, returning to the interactive original meaning of “interface.”[ref]Defined as “a means or place of interaction between two systems, organizations, etc.; a meeting-point or common ground between two parties, systems, or disciplines; also, interaction, liaison, dialogue.” <em>Oxford English Dictionary</em>, 2nd ed., s.v. \"Interface.\"[/ref] Here is an opportunity to find a better alternative to the impersonal database experience, an escape from hard vocabulary statistics untempered by readerly love.\r\n\r\nThe management of scale is a challenge that each database must address by determining how the user will navigate between detail and distance. Due to Whitman’s distinctive engagement with matters of scale, especially the fluidity between the individual and the masses, the <em>Walt Whitman Archive</em> may be uniquely able to offer a distant reading that is paradoxically intimate in its connection to the philosophy of the poet. How can a distant reading cheat the humanist if it scrutinizes the work of the man who wrote, exhilarated, “Here is not merely a nation but a teeming nation of nations. Here is action untied from strings necessarily blind to particulars and details magnificently moving in vast masses?”[ref]Walt Whitman, <em>Leaves of Grass: 150<sup>th</sup> Anniversary Edition</em>, (New York: Oxford University Press, 2005), iii.[/ref] Ed Folsom describes Whitman’s “poetic project” as an endeavor “to move from a particular person, period, or place toward an absorptive embrace of all people, periods, and places,”[ref]Folsom, “Database as Genre.”[/ref]emphasizing the blurred distinctions between love of the particular and love of the vast. TokenX, a textual analysis tool that is available through the database, numerically charts the uses of particular words throughout the six editions of <em>Leaves of Grass</em>, giving a visual representation to the exponential growth and organic proliferation of certain words as the poetry burgeoned in its various iterations. Statistical tools such as these, when applied to the work of this particular author, are not reductive but in fact profoundly resonant with the tone and principles of the poetry they describe. Perhaps this is the database to wed tender devotion to individual data and multiplicity.\r\n\r\nFeatured prominently on the home page of the <em>Archive</em> is a striking engraving of Whitman’s face.[ref]William J. Linton, (1870-72), engraving, (http://whitmanarchive.org/multimedia/image044.html?sort=year&amp;order=ascending&amp;page=5).[/ref] The poet appears as if caught in motion, whipping past the viewer with his eddies of hair scattered about his face like sprouts. The beard connotes a general outward drift as it spreads from his face in swells and waves. And then, from somewhere in the profusion of hair and wrinkles emerges an arresting pair of dark eyes: Whitman’s eyes simultaneously confront and confide in the viewer, imparting a personal moment amidst a storm of minutiae.','The Walt Whitman Archive – McGonagill 4','In the Digital Humanist’s tool belt, the database is the trusty stand-by. Robust and indispensable, it has become a basic tool of modern academic research. One of the primary endeavors of the Digital Humanities, however, is to re-focus the perspective on the tools we use, and perhaps to redefine the term “tool” in the process. The Oxford English Dictionary defines it as “a thing … with which some operation is performed; a means of effecting something.\"','publish','open','open','','the-walt-whitman-archive-mcgonagill-4','','','2013-05-15 02:25:53','2013-05-15 02:25:53','',0,'http://archivejournal.net/?p=136',94,'post','',12),(138,6,'2011-01-21 20:02:18','2011-01-21 20:02:18','From my perspective as a scholar, the greatest strength of the Whitman Archive is that it provides free and open access to the essential texts for studying the life and work of Walt Whitman. I’ve consulted the Whitman Archive every time I’ve ever written about Whitman, whether it’s to check the precise wording of a text, to follow the life cycle of a poem as it moves from manuscript to print and on through the various editions of <em>Leaves of Grass</em>, to identify the location of a primary document in a brick-and-mortar archive, to read nineteenth-century reviews of Whitman’s writing, or to search the Archive’s exhaustive database of Whitman scholarship. Using the Whitman Archive is like having immediate access to shelves and shelves worth of valuable (and often expensive) books.\r\n\r\nWhen I was a graduate student I burned through a toner cartridge printing out page images of the antebellum editions of <em>Leaves of Grass</em> from the Whitman Archive. The poems in these early editions went through radical revisions from one edition of <em>Leaves of Grass</em> to the next, and I really needed to get to know these poems in order to make the argument I was making in my dissertation about Whitman’s antebellum period. Being able to access these poems in various states gave me a much better sense of Whitman’s pre-Civil War career than the variorum of <em>Leaves of Grass</em>—with its decontextualized snippets from the antebellum editions—was able to give me.\r\n\r\nI’ve also recently learned that the Whitman Archive is more than just a repository of raw materials that scholars can mine for the resources we need to tell our stories about Whitman’s life and work; rather, the Archive is a storyteller in its own right. Here’s an example: <em>With Walt Whitman in Camden,</em> the multi-volume collection of Whitman’s conversations with his friend Horace Trauble, was not yet available on the Archive when I was writing an essay a few years ago about Elizabeth Porter Gould, the editor of a gift-book edition of Whitman’s poems called <em>Gems from Walt Whitman</em> (1889). Without the benefit of a searchable, digital edition of <em>With Walt Whitman in Camden</em> I had to find references to Gould the old-fashioned way: cribbing from Ed Folsom’s footnotes—and, of course, slogging through the poorly indexed volumes themselves. Since I published the essay, however, I’ve had the opportunity to search for Gould in the Archive’s edition of <em>With Walt Whitman in Camden</em>, and the effect of having the Archive’s search engine generate a list of these references had a remarkable impact on me. The essay that I had written demanded a certain amount of focus in order to make the argument about gender and authorship that I wanted to make, and I was always left with a touch of regret that I never had the chance to unfold the fascinating relationship between Whitman and Gould as fully as I would have liked. Opening up different tabs in my browser to read each of these references on the Whitman Archive, however, allowed me to track the progress of their relationship as they negotiated their competing goals for what <em>Gems from Walt Whitman </em>should be. I’m proud of the story that I was able to tell about Whitman and Gould, but I’m also glad to know that the Whitman Archive can tell that story another way.','The Walt Whitman Archive – Whitley  1','From my perspective as a scholar, the greatest strength of the Whitman Archive is that it provides free and open access to the essential texts for studying the life and work of Walt Whitman. I’ve consulted the Whitman Archive every time I’ve ever written about Whitman, whether it’s to check the precise wording of a text, to follow the life cycle of a poem...','publish','open','open','','the-walt-whitman-archive-whitley-1','','','2013-05-15 02:25:33','2013-05-15 02:25:33','',0,'http://archivejournal.net/?p=138',87,'post','',1),(140,6,'2011-01-21 20:02:40','2011-01-21 20:02:40','I would like to see the Whitman Archive make more transparent the choices that go into deciding how texts are marked-up and encoded. Archive co-director Kenneth M. Price has written that the “ongoing decision-making” regarding the mark-up of texts on the Archive is “interpretive rather than mechanical,” and that this interpretive coding “adds intelligence to an electronic text . . . mak[ing] it robust and illuminating as a tool for analysis.”[ref]Kenneth M. Price,\"\'Debris,\' Creative Scatter, and the Challenges of Editing Whitman,\" in <em>Walt Whitman, Where the Future Becomes Present</em>, ed. David Haven Blake and Michael Robertson (Iowa City: University of Iowa Press, 2008), 67.[/ref] I admire Price’s forthright admission that marking-up a text for the digital medium is not merely a change in format, but an act of interpretation. As someone who visits the Whitman Archive on a regular basis, I’d like to have a clearer sense of what kinds of decisions—and, therefore, interpretations—are being made as texts are digitally encoded, and, specifically, what those decisions reveal about the textual condition of Whitman’s works.\r\n\r\nThis request is not based in a suspicion of any kind that the Archive directors are placing a biased interpretation onto Whitman’s poetry as they encode it for presentation on the Archive; rather, my request is based in a desire to following along on the process of discovery that Matt Cohen describes as an integral part of digital encoding: “As a student in the 1990s, doing transcription and basic encoding of Whitman documents, I learned a lot about textual structures that I had not encountered in seminars; when discussing these observations with the project directors, sometimes new areas of concern or future development would emerge.”[ref]Matt Cohen, “Design and Politics in Electronic American Literary Archives,” in <em>The American Literature Scholar in the Digital Age</em>, ed. Amy Earhart and Andrew Jewell (Ann Arbor: University of Michigan Press, 2011), 233.[/ref] The Archive is already a valuable resource for gaining access to Whitman’s works; it can also be a resource for learning about how Whitman constructed his texts in manuscript and in print by eavesdropping on the process by which these texts are reconstructed for the digital medium.\r\n\r\nDirectors and editors at the Archive have already begun to provide the kind of running commentary on the encoding process that I would like to see more of. Brett Barney, the Senior Associate Editor of the Archive, has written an insightful essay about his encoding the 1867 edition of <em>Leaves of Grass</em> that is available on the Archive, and both Price and Folsom have published, in a number of different venues, provocative essays that detail the lessons about textuality that they have learned from preparing texts for the Archive.[ref]Brett Barney, \"‘Each Part and Tag of Me is a Miracle: Reflections after Tagging the 1867 Leaves of Grass,” <em>The <em>Walt Whitman Archive, </em></em><em>accessed December 2, 2010 </em><a href=\"http://www.whitmanarchive.org/about/articles/anc.00002.html\">http://www.whitmanarchive.org/about/articles/anc.00002.html</a>. Additional essay by Folsom and Price are also available at http://www.whitmanarchive.org/about/articles/index.html.[/ref] Currently, the Whitman Archive makes available the TEI-encoded XML source files for the major texts on the Archive as well as the Archive’s encoding guidelines and related DTD files. As much as I value this peek into the inner workings of the Archive, the process by which these XML files are created—the “ongoing decision-making” Price refers to—is as important as the product itself. The Archive could benefit from more self-reflexive commentaries on the encoding process, perhaps using Barney’s essay as a model. The recently added <a href=\"http://wwa-changelog.blogspot.com/\">WWA-Changelog</a>—a blog connected to the Archive that details the changes that editors make to files once they are posted online—could provide a model for how such commentaries could be more fully integrated into the experience of working with the Archive.','The Walt Whitman Archive - Whitley 2','I would like to see the Whitman Archive make more transparent the choices that go into deciding how texts are marked-up and encoded. Archive co-director Kenneth M. Price has written that the “ongoing decision-making” regarding the mark-up of texts on the Archive is “interpretive rather than mechanical,” and that this interpretive coding...','publish','open','open','','the-walt-whitman-archive-whitley-2','','','2013-05-15 02:25:11','2013-05-15 02:25:11','',0,'http://archivejournal.net/?p=140',88,'post','',3),(142,6,'2011-01-21 20:02:56','2011-01-21 20:02:56','Archive co-director Ed Folsom once noted that printed editions of Whitman’s works have had the unfortunate tendency of becoming irrelevant the moment that scholars unearth a new letter, manuscript, or biographical fact about the poet. The Whitman Archive, however, has the benefit of being able to change and adapt as often as new discoveries are brought to the attention of the directors. In such an environment, Folsom writes, “All users are potential co-editors.”[ref]Ed Folsom, “Projecting Whitman: The Evolution and Remediation of The Collected Writings of Walt Whitman,” <em>The Walt Whitman Archive</em>, accessed December 2, 2010 http://www.whitmanarchive.org/about/articles/anc.00003.html.[/ref] I love the notion that everyone is a “potential co-editor” of the Whitman Archive, and I\'d like to consider how the Archive could make better use of its digital form as a way to more fully realize this potential. I would never advocate for crowd-sourcing the Archive on the model of sites like Wikipedia, but I would like the Archive directors to take more seriously the implication that “All users are potential co-editors.”\r\n\r\nI have a tremendous amount of respect for how the Archive directors have responded to public criticisms from other scholars. In a 2007 <em>PMLA</em> forum on the Whitman Archive, for example, Meredith McGill took the Archive to task for decontextualizing the poems that Whitman had published in newspapers and magazines by clipping the poems from their original sources and excluding all the other articles, poems, and advertisements that appeared alongside Whitman’s poems.[ref]Meredith L. McGill, “Remediating Whitman,” <em>PMLA</em> 112.5 (2007):1594.[/ref] The Archive promptly responded to this criticism by including the entire page of the periodical where a Whitman poem appeared. But not every user of the Whitman Archive can get the attention of the Archive directors in the pages of <em>PMLA</em>. And even those fortunate enough to do so don\'t have a mechanism for providing additional feedback to the Archive directors regarding their response to suggestions for improvement. I wonder, does McGill think it was sufficient to include the complete newspaper page where a Whitman poem appeared, or would she rather that the Archive include the rest of the issue is well? Or would she even prefer a link to some external site that hosts the entire run of the paper?\r\n\r\nThe Archive could make better use of its digital form by providing “user accounts or other community-hosting capabilities,” as Matt Cohen has recently suggested.[ref]Cohen, “Design and Politics,” 241.[/ref]Integrating Web 2.0 components such as user accounts and a comment section to the Whitman Archive would have considerable implications for the Archive: while a comments section would give scholars such as McGill a much more dynamic venue for engaging with the Archive\'s directors, it would also make the Archive feel less like a scholarly edition of Whitman\'s works and more like a Facebook fan page. Nevertheless, Archive co-director Kenneth M. Price has already said that “scholarly edition” doesn\'t necessarily describe what the Whitman Archive actually is. Instead, Price has characterized the Archive as something more like a workshop, or, as he puts it, a “group of people who are now joined together for a common purpose.”[ref]Kenneth M. Price, \"Edition, Project, Database, Archive, Thematic Research Collection: What\'s in a Name?\" <em>The Walt Whitman Archive</em>, accessed December 2, 2010 http://www.whitmanarchive.org/about/articles/anc.00346.html.[/ref] If that group of people could also include the hundreds (if not thousands) of scholars, students, and non-academic readers who visit the Archive every day, it would not only make better use of the digital medium, but it would also go some distance toward fulfilling Folsom\'s claim that “All users are potential co-editors.”','The Walt Whitman Archive - Whitley  3','Archive co-director Ed Folsom once noted that printed editions of Whitman’s works have had the unfortunate tendency of becoming irrelevant the moment that scholars unearth a new letter, manuscript, or biographical fact about the poet. The Whitman Archive, however, has the benefit of being able to change and adapt as often as new discoveries are brought to the attention of the directors.','publish','open','open','','the-walt-whitman-archive-whitley-3','','','2013-05-15 02:25:07','2013-05-15 02:25:07','',0,'http://archivejournal.net/?p=142',89,'post','',1),(144,6,'2011-01-21 20:03:16','2011-01-21 20:03:16','Ed Folsom has written that one of the goals of the Whitman Archive is to “grow the database so that the surprises of searching and juxtaposing will become richer and more frequent.\" Folsom’s vision is that the Whitman Archive will become not only a centralized repository for all of Whitman’s texts, but also a discovery tool for exploring what he calls “the wild and unpredictable intersections of the data that the interface allows us to generate.”[ref]Ed Folsom, “Database as Genre: The Epic Transformation of Archives,” <em>PMLA</em> 112.5 (2007): 1609-10.[/ref] The prospect of having the Archive uncover meaningful relationships between texts is, indeed, an exciting one. As Jonathan Freedman notes, the “ability to link heterogeneous subjects and find once-occulted connections and interconnections makes scholarship invigoratingly fun.”[ref]Jonathan Freedman, “Whitman, Database, Information Culture,” <em>PMLA</em> 112.5 (2007): 1597.[/ref] As a frequent user of the Whitman Archive, I’ve experienced this “invigorating fun” first-hand, and I look forward to the Archive including more texts by and about Whitman, and incorporating more discovery tools like Brian Pytlik Zillig’s <a href=\"http://www.whitmanarchive.org/resources/tools/index.html\">TokenX</a>.\r\n\r\nAs someone working on digital humanities projects of my own, however, I’m as interested in understanding what it takes to create such tools for discovery as I am the end-user experience of having digital tools make “unpredictable” and “invigorating” discoveries on my behalf. For the remainder of this essay, I’m going to share some thoughts on what has to happen on the back end of a digital project in order to make an otherwise rigorously structured digital artifact feel “wild and unpredictable” to its users. I’ll start with Kenneth M. Price’s description of the necessary labor that goes into structuring data such that it will yield surprising results for end users: \"A database is not an undifferentiated sea of information out of which structure emerges,” Price writes. “Argument is always there from the beginning in how those constructing a database choose to categorize information.\"[ref]Price, “Edition.”[/ref] To an end user who searches a database and finds an interesting juxtaposition between a handful of the hundreds (or thousands) of total documents on that database, it can seem as if those documents have emerged out of “an undifferentiated sea of information.” The reality, however, is far different.\r\n\r\nWhen Price alludes to the process that the creators of a database go through as they decide how to “categorize information,” he makes it clear that whenever a user generates a surprising set of juxtapositions between documents it is because someone, somewhere, at some point, has meticulously categorized those documents in such a way that a search engine (or other text analysis tool) will be able to process those documents in a meaningful way. Jerome McGann, who has also commented on the rigorous process of structuring data that is required to create a digital archive, writes that “databases and all digital instruments require the most severe kinds of categorical forms. The power of database—of digital instruments in general—rests in its ability to draw sharp, disambiguated distinctions.”[ref]Jerome McGann, “Database, Interface, and Archival Fever,” <em>PMLA</em> 112.5 (2007): 1590.[/ref] As both Price and McGann indicate, what can feel like a surprising juxtaposition for the end user has, to a certain extent, already been determined in advance through a time- and labor-intensive process of marking-up, encoding, or otherwise categorizing data.\r\n\r\nThis is not to say that those who structure the data for a digital archive have already anticipated every possible search string that users could ever imagine. On the contrary, what interests me as both the user and the creator of digital archives is the effect by which this “sharp, disambiguated” structuring of data can, indeed, produce juxtapositions that archivists could never have predicted. The fundamental preconditions for cultivating such serendipitous discoveries, it seems to me, are a large enough data set and a sufficiently intelligent schema for categorizing that data (not to mention the time, money, software, hardware, human resources, and expertise required to process and categorize the data in the first place).\r\n\r\nAllow me to cite an example from outside the realm of digital archiving to illustrate what’s involved in structuring data that yields serendipitous juxtapositions. Pandora Radio is an Internet music service whose goal is to create customized, online radio stations for its users. This customization is based on the work of the Music Genome Project, which has categorized the musical attributes of thousands of different songs. Taking into consideration “everything from melody, harmony and rhythm, to instrumentation, orchestration, arrangement, lyrics, and . . . singing and vocal harmony,” the Music Genome Project assigns anywhere between 150 and 400 different descriptors to a single song. These descriptors are based on both objective criteria such as the types of instruments used in the song or whether the song is in a major or a minor key, as well as more subjective criteria such as whether or not a song features “Acoustic Sonority,” “Prevalent Use of Groove,” or a “Wet Recording Sound.\"[ref]“The Music Genome Project,” Pandora Radio, accessed December 2, 2010 <a href=\"http://www.pandora.com/mgp.shtml\">http://www.pandora.com/mgp.shtml</a>.[/ref] (These descriptors are referred to as musical “genes,” but they could just as easily be called metadata or tags.) Visitors to Pandora Radio type in the name of a song that they like, and then based on the attributes that have been pre-assigned to that song, Pandora will play other songs with similar attributes. The promise of Pandora is that once a database of songs is categorized according to a controlled vocabulary capable of being processed by a computer, listeners will be pleasantly surprised to discover songs that they never knew they already liked. (These songs are, of course, available for purchase so that no serendipitous discovery goes un-capitalized.)\r\n\r\nI cite this example within the context of the Whitman Archive not necessarily because Pandora Radio provides a model for digital scholarship of nineteenth-century literature, but because the process of categorizing songs for the Music Genome Project is remarkably similar to the archivist’s effort of structuring data in such a way that it can produce surprising results for the end user. For both Pandora and the Whitman Archive, then, the goal is to reach the tipping point where methodical structuring becomes unexpected discovery, where the left hand doesn’t know what the right hand is doing and structured data takes on forms that the structure-ers never quite imagined. I like to think that this tipping point where structure yields serendipity is similar to the moment in a fractal pattern where geometry becomes art, the moment where a rigorous, mathematically defined structure takes on an aesthetic quality that was never explicitly intended by the mathematical code that undergirds it, but that is nevertheless absolutely dependent upon that code for its very existence.\r\n\r\nMy hope as both the user and creator of digital archives is that we can come to a better understanding of the processes of classification and naming that are involved in these efforts structure data in meaningful ways. Scholars of literature are already comfortable thinking about the power of language to represent—and even create—the world around us. We already have at our disposal a variety of theoretical apparatuses for thinking about the power of language to name and define the world, from the formalism of the New Critics to the semiotics of the Post-Structuralists and even the focus on the materiality of language in Book History scholarship. What we need to add to this list of theories and methodologies is a more sophisticated understanding of taxonomy and categorization. This will not only require an interdisciplinary rendezvous with librarians and scholars of information architecture, but it will also demand that we do the cultural history of such seemingly mundane phenomena as filing cabinets and accounting ledgers. Compared to the work being done by digital humanities scholars in the areas of data visualization, text mining, social networking, and geo-spatial analysis, studying the history of cataloging, sorting, and organizing seems to be the intellectual equivalent of a trip to Target to buy hard-plastic storage bins when you’d rather be at the Apple Store picking up an iPad. Nevertheless, everything that we want digital technology to do to help us better understand literary texts depends upon our ability to properly name, sort, and categorize the information that we put into a computer. We do ourselves a disservice to ignore or even minimize this crucial stage of the process.\r\n\r\nOne of the most frequently quoted statements about the future of digital scholarship in the humanities comes from Jerome McGann, who wrote that “the digital technology used by humanities scholars has focused almost exclusively on methods of sorting, accessing, and disseminating large bodies of materials. In this respect the work has not engaged the central questions and concerns of the [humanities, which is] . . . . the exploration and explanation of aesthetic works.”[ref]Jerome McGann, <em>Radiant Textuality: Literature after the World Wide Web</em> (New York: Palgrave, 2001), xi-xii.[/ref] I don’t want to make a straw-man out of McGann’s powerful insight, but I can’t help but take issue with his claim that the “sorting” of texts will not aid us in our goal of using digital technology to explore and explain aesthetic works. Before a digital tool of any kind can work with a text in any way, the elements of that text must be sorted, classified, and categorized according to a schema that the computer will understand. This is not to say that scholars in the digital humanities should put aside their text visualization projects and their geo-spatial analyses in order to do the Dewey Decimal system one better, but rather that the foundational tasks of organizing and classifying should more completely theorized and more intimately woven into the fabric of digital scholarship.\r\n\r\nBy attending to the tedium of taxonomy we may begin to feel like nineteenth-century scriveners rather than twenty-first century techies. Like those scriveners of old, we may prefer not to spend our time with such mundane things. Nevertheless, if we wish to generate the kinds of “wild and unpredictable intersections of . . . data” that “makes scholarship invigoratingly fun” we should embrace what actually promises to be a fascinating conversation about the history of taxonomy, structure, classification, and form. This conversation will take us through the Library of Alexandria, the Great Chain of Being, medieval bestiaries, Wunderkammer, the Mundaneum, the Six Degrees of Kevin Bacon, cryptography, tarot cards, and Vannevar Bush’s Memex. Every time we tag, code, or classify a text for a digital archive, we are participating in the long history of human classification systems. The better able we are to understand that history and to situate ourselves within it, the better understanding we will have of our digital archives and what they can do.','The Walt Whitman Archive - Whitley  4','Ed Folsom has written that one of the goals of the Whitman Archive is to “grow the database so that the surprises of searching and juxtaposing will become richer and more frequent.\" Folsom’s vision is that the Whitman Archive will become not only a centralized repository for all of Whitman’s texts, but also a discovery to...','publish','open','open','','the-walt-whitman-archive-whitley-4','','','2013-05-15 02:25:02','2013-05-15 02:25:02','',0,'http://archivejournal.net/?p=144',90,'post','',3),(222,11,'2011-02-09 01:06:16','2011-02-09 01:06:16','<a href=\"http://stage.archivejournal.net/wp-content/uploads/2011/02/castle-book1.png\"><img class=\"size-full wp-image-2008 clear\" title=\"Castle Book\" src=\"http://stage.archivejournal.net/wp-content/uploads/2011/02/castle-book1.png\" alt=\"Castle Book\" width=\"526\" height=\"357\" /></a><span class=\"caption\">Castle Book of Hours #2, use of Rouen. Manuscript, written and illustrated in Rouen, France, mid-15th century. Bryn Mawr College Library.</span>\r\n\r\nThe encounter of the person with the object: that is the object of this journal and the focus of this first issue.   This particular object, the <em>Castle Book of Hours #2</em>, a gift to the Bryn Mawr College Library, has been in my hands several times and is now part of an exhibition of objects from the College’s Special Collections.  All of the objects in the exhibition have been in the hands of students and faculty over the years, encountered in classrooms, used in assignments, touched.\r\n\r\nHow do people encounter the <em>Castle Book of Hours #2</em>? We get some answer to this question in <a href=\"http://www.brynmawr.edu/library/exhibitions.html\" target=\"_blank\">“Worlds to Discover”</a>, an exhibit in honor of the 125<sup>th</sup> anniversary of Bryn Mawr College. The exhibit features objects that are set off by statements from students and faculty about how the object matters.  With this <em>Book of Hours</em>, faculty member Martha Easton remarks that instead of one page – out of context – when one has this manuscript in one’s hands, one gets a better sense of how this object “might have been used and consumed.” The encounters for Anne Harding, a student at Bryn Mawr, seem to be moving her towards a career that will keep her in touch with objects like these.\r\n\r\n<!--[if IE]><object width=\"545\" height=\"349\" id=\"viddlerOuter-ab2b7739\" classid=\"clsid:D27CDB6E-AE6D-11cf-96B8-444553540000\"><param name=\"movie\" value=\"//www.viddler.com/player/ab2b7739/0/\"><param name=\"allowScriptAccess\" value=\"always\"><param name=\"allowNetworking\" value=\"all\"><param name=\"allowFullScreen\" value=\"true\"><param name=\"flashVars\" value=\"f=1&#038;autoplay=f&#038;disablebranding=f\"><object id=\"viddlerInner-ab2b7739\"><video id=\"viddlerVideo-ab2b7739\" src=\"//www.viddler.com/file/ab2b7739/html5mobile/\" type=\"video/mp4\" width=\"545\" height=\"307\" poster=\"//www.viddler.com/thumbnail/ab2b7739/\" controls=\"controls\" x-webkit-airplay=\"allow\"></video></object></object><![endif]--> <!--[if !IE]> <!--> <object id=\"viddlerOuter-ab2b7739\" width=\"545\" height=\"349\" classid=\"clsid:d27cdb6e-ae6d-11cf-96b8-444553540000\" codebase=\"http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0\"><param name=\"allowScriptAccess\" value=\"always\" /><param name=\"allowNetworking\" value=\"all\" /><param name=\"allowFullScreen\" value=\"true\" /><param name=\"flashVars\" value=\"f=1&amp;autoplay=f&amp;disablebranding=f\" /><param name=\"src\" value=\"//www.viddler.com/player/ab2b7739/0/\" /><embed id=\"viddlerOuter-ab2b7739\" width=\"545\" height=\"349\" type=\"application/x-shockwave-flash\" src=\"//www.viddler.com/player/ab2b7739/0/\" allowScriptAccess=\"always\" allowNetworking=\"all\" allowFullScreen=\"true\" flashVars=\"f=1&amp;autoplay=f&amp;disablebranding=f\" /><img src=\"http://stage.archivejournal.net/wp-includes/js/tinymce/themes/advanced/img/trans.gif\" id=\"viddlerInner-ab2b7739\" class=\"mceItemMedia mceItemFlash\" width=\"320\" height=\"240\" data-mce-json=\"{\'video\':{},\'params\':{\'src\':null},\'name\':null,\'object_html\':\'&lt;video id=&quot;viddlerVideo-ab2b7739&quot; src=&quot;//www.viddler.com/file/ab2b7739/html5mobile/&quot; type=&quot;video/mp4&quot; width=&quot;545&quot; height=&quot;307&quot; poster=&quot;//www.viddler.com/thumbnail/ab2b7739/&quot; controls=&quot;controls&quot; x-webkit-airplay=&quot;allow&quot;&gt;&lt;/video&gt;\',\'hspace\':null,\'vspace\':null,\'align\':null,\'bgcolor\':null}\"></img></object> <!--<![endif]-->\r\n\r\nI want to point to another encounter with this same object.  The teacher of a fifth grade art class, teaching the students to create their own illuminated manuscripts, asked that I bring in examples of illuminated manuscripts, and this was one of two that I brought along.  The fascination to the students was two-fold:  one, was the value of the object – how much was it worth?  This is something that college students ask too, so I say something like – well, as much as maybe a house is worth.  But that fascination was replaced quickly by the issue at hand:  the students had work to do; they were creating their own illumination and they wanted to use and consume this manuscript themselves.  Each of them had an initial letter, the first letter in their first name, to create for their own manuscript.  So the hunt was on, and luckily for them and for me, each of those letters could be found in the pages of this manuscript. Unlike Easton and Harding, the fifth graders themselves consumed the manuscripts, as opposed to getting the sense of how the manuscript was consumed.  They served as a reminder of the many ways that objects now in special collections speak to those who encounter them, from the first users of the Castle Book of Hours #2 to 21st-century students of all ages.','Same Object, Different Audiences','The encounter of the person with the object: that is the object of this journal and the focus of this first issue.   This particular object, the Castle Book of Hours #2, a gift to the Bryn Mawr College Library, has been in my hands several times and is now part of an exhibition of objects from the College’s Special Collections.  All of the objects in the exhibition have been in the hands of students and faculty over the years, encountered in classrooms, used in assignments, touched.','publish','open','open','','same-object-different-audiences','','','2013-07-01 02:20:30','2013-07-01 02:20:30','',0,'http://archivejournal.net/?p=222',82,'post','',0),(235,12,'2011-02-09 01:36:58','2011-02-09 01:36:58','Having cut my teeth on <em>From the Mixed-Up Files of Mrs. Basil E. Frankenweiler </em>and the Indiana Jones films as a kid<em>, </em>it comes as no surprise perhaps that my scholarly career is informed and driven by archival research. I am addicted to the smell and feel of yellowed paper, ancient vellum, and the sight of spidery, faded fountain pen inscriptions makes my heart race—yes, I suffer from an incurable case of archive fever.\r\n<a href=\"http://stage.archivejournal.net/wp-content/uploads/2011/02/code-letter1-810x10241.jpg\"><img class=\"size-medium wp-image-2005 alignright\" title=\"civil-war-letter\" alt=\"\" src=\"http://stage.archivejournal.net/wp-content/uploads/2011/02/code-letter1-810x10241-197x250.jpg\" width=\"197\" height=\"250\" /></a> In grad school my interest in archives led me to Britain (thank you, University of Florida!) where, beneath the blue and gold and white dome of the <a href=\"http://www.britishmuseum.org/the_museum/history_and_the_building/reading_room.aspx\">old British Library</a>, I fancied I could still almost hear the whispered wishes for enlightenment that scholars and revolutionaries and historians had prayed for. Later, in the <a href=\"http://www.bronte.org.uk/\">Brontë parsonage museum</a> on the edge of the moors, I sat in a research room off the Brontës’ kitchen, reading their juvenilia <em>in situ. </em>In the <a href=\"http://www.uflib.ufl.edu/spec/baldwin/baldwin.html\">Baldwin archive</a> at UF I encountered E.R.’s <em>Geography and History by a Lady for the Use of her own Children </em>(1790), the book that changed my life by opening up an entire forgotten genre of writing by middle-class women who sought to participate in the imperial project through socially sanctioned writing for children. This taught me that archives still hold so many stories and secrets; their potential sleeps very patiently.\r\n\r\nThe lesson helped me during my postdoc at Lehigh when, in the process of cataloguing over 400 miscellaneous letters for the <a href=\"http://digital.lib.lehigh.edu/remain/\">“I remain…”</a> project, I ran across a document whose garbled syntax at first suggested too long a day, but then thrillingly emerged as a coded Civil War letter. All that year I researched the letter, talking about it to computer scientists who tried to develop an algorithm to break the Stager Cipher, discussing it with historians, presenting it to local fourth graders who eagerly peppered me with questions, and even corresponding with the NSA cryptology center to track down one of the few remaining code books about the ciphers. Though I never managed to crack it, the mystery was sustaining, engaging, and a great conversation starter wherever I went. I carried its story with me, imagined its content, and marveled at its survival. It came from the smoke of the battlefield, from the anxious hands of a telegraph operator who hurriedly crossed out mistakes and scrawled incorrect calculations in the margins on the eve of the second battle of Bull Run when so many lives and the military career of the writer hung in the balance. With the Digital Library Team, we scanned the letter, sketched its history, and <a href=\"http://digital.lib.lehigh.edu/cdm4/remain_viewer.php?DMTHUMB=1&amp;cat=Civil%20War&amp;ptr=124&amp;CISOSTART=21\">put it online</a> so that others could enjoy the mystery. This year, it was gratifying when special collections librarian Ilhan Citak forwarded me an article by computer scientists Ali Assarpour and Kent D. Boklan detailing how they broke the 148-year old code. In the end, the story of the letter goes on and so many of us have yoked our own stories to it. It seems that Derrida was right when he said that the archive opens out of and into the future, gathering associations, richness, devotees, and memories as it glides past us into the future. The past becomes a present in every sense.','Cracking a Civil War Code','Having cut my teeth on From the Mixed-Up Files of Mrs. Basil E. Frankenweiler and the Indiana Jones films as a kid, it comes as no surprise perhaps that my scholarly career is informed and driven by archival research. I am addicted to the smell and feel of yellowed paper, ancient vellum, and the sight of spidery, faded fountain pen inscriptions makes my heart race—yes, I suffer from an incurable case of archive fever.','publish','open','open','','cracking-a-civil-war-code','','','2013-07-01 03:03:22','2013-07-01 03:03:22','',0,'http://archivejournal.net/?p=235',85,'post','',0),(946,13,'2012-02-09 07:25:27','2012-02-09 07:25:27','The images below are a small fraction of the materials made available through the project and James (Jimmy) Barnett\'s work. The full range can be seen in the <a href=\"http://ufdc.ufl.edu/caha/all\" target=\"_blank\">Carrère &amp; Hastings Digital Collection</a>, part of the University of Florida Digital Collections. Click on the images below to access the item in the digital collection.  You can read more at the project blog: <a href=\"http://flaglerdrawings.wordpress.com/\" target=\"_blank\">flaglerdrawings.wordpress.com</a>.<br/>\r\n<img class=\" wp-image-957\" style=\"width: 638px;\" title=\"uf_student  action photo_barnett 3\" alt=\"\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-3-1024x682.jpg\" width=\"819\" height=\"546\" />\r\n<strong><span class=\"wp-caption-text\"> Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings’ “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890. Photo credit: Joe Kaleita, University of Florida Libraries.</span></strong>\r\n\r\n&nbsp;\r\n\r\n<a href=\"http://ufdc.ufl.edu/UF00082657/00001\" target=\"_blank\"><img class=\" wp-image-959\" style=\"width: 638px;\" title=\"Ground Plan, Presbyterian Church\" alt=\"\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-1.jpg\" width=\"504\" height=\"730\" /></a>\r\n<strong><span class=\"wp-caption-text\">An example of the results Barnett’s work digitizing and preserving a large-scale architectural drawing. John Carrère and Thomas Hastings. “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890.</span></strong>\r\n\r\n&nbsp;\r\n\r\n<a href=\"http://ufdc.ufl.edu/UF00089836/00001\" target=\"_blank\"><img class=\"size-full wp-image-958\" style=\"width: 638;\" title=\"Part Plan of Fourth Floor\" alt=\"\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-2.jpg\" /></a>\r\n<strong><span class=\"wp-caption-text\">Another example of Barnett\'s work. John Carrère and Thomas Hastings. “Part Plan of Fourth Floor. Architectural drawings of the Hotel Ponce de Leon, St. Augustine, Florida.” 96 x 40 inches.</span></strong>','Digitizing Large-Format Architectural Plans','This case study showcases an undergraduate’s work as the lead digital scanner of architectural drawings for the <em>Carrère & Hastings</em> Digital Collection, a collaborative project between the University of Florida (UF) and Flagler College to conserve and digitally preserve the large and fragile drawings. For years the drawings were stored in a basement boiler room and suffered from exposure to high Florida temperatures, humidity, insects, and rodents. The collection is now under the care of a team of faculty, staff, and students from the UF’s Special Collections, Conservation Unit, and Digital Library Center.','publish','open','open','','digitizing-large-format-architectural-plans','','','2013-06-27 21:45:23','2013-06-27 21:45:23','',0,'http://www.archivejournal.net/?p=946',70,'post','',0),(967,13,'2012-02-09 08:18:23','2012-02-09 08:18:23','Digitally scanning archival objects requires not only technical know-how but also an appreciation for the subject matter. My fine-arts background gave me the knowledge and skill set to digitize architectural renderings by Carrère &amp; Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.\r\n\r\nGoing into the project, I thought my experience in printmaking would influence the way I scanned the drawings, not realizing that the reverse would happen; the scanning actually affected my art practice. In printmaking I have dealt with large paper before, but never anything quite as large as these archival renderings. My experience handling large paper for the digitization project scaled up my thinking in my own work outside of the project. Consequently, my own art work got larger. With confidence in my newly learned ability to handle paper larger than me, I started a large installation piece in which I put together staging proofs of an etching plate into a single four-by-six feet layered installation. The scale and construction would have never come to mind had I not worked with these large architectural drawings.\r\n\r\n<span class=\"alignright wp-caption\" style=\"width: 333px;\"><img class=\"alignright size-medium wp-image-969\" style=\"margin-left: 20px; margin-bottom: 10px;\" title=\"uf_student  action photo_barnett 6\" alt=\"\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-6-333x222.jpg\" width=\"333\" height=\"222\" /> <span class=\"wp-caption-text\">Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings’ “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890. Photo credit: Joe Kaleita, University of Florida Libraries.</span></span>Working with the photo editing software to optimize the scanned images for online viewing has also affected my art. Most of the archival pieces were so large they had to be captured in successive scans of two or more and stitched together in a photo editing program. In the digital stitching process, layers are important in getting a seamless product. When scanning the segments, I had to figure out where the respective scans would overlap in their respective digital layers so that when I got to the stitching, they all line up correctly. This takes planning, calculating, and configuring measurements in relation to the object. This idea of smaller units constructing a whole informed my process in constructing the art installation mentioned above, and it continues to affect my work.\r\n\r\nWhile I did not realize it at the time, my artwork reflects the processes I was dealing with at work. All together, the many different renderings that are part of the Carrère &amp; Hastings project build a picture of the architects’ process. I learned to see their end result, the building itself, as not the whole story but the final step in the process that you can only see if you include the drawings. This idea influenced my own installation. I felt that my whole process had to be shown; the print proofs (the intermittent states) are just as important as the end result. I never would have come to this idea had I not worked on the Carrère &amp; Hastings project.','James Barnett','Digitally scanning archival objects requires not only technical know-how but also an appreciation for the subject matter. My fine-arts background gave me the knowledge and skill set to digitize architectural renderings by Carrère & Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.','publish','open','open','','james-barnett-commentary','','','2013-07-08 17:32:07','2013-07-08 17:32:07','',0,'http://www.archivejournal.net/?p=967',69,'post','',0),(4440,1,'2013-05-15 03:55:31','2013-05-15 03:55:31','<img class=\"alignleft size-full wp-image-977\" style=\"margin-right: 20px; margin-bottom: 10px;\" title=\"uf_leader headshot_nemmers\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_leader-headshot_nemmers.jpg\" alt=\"\" width=\"75\" height=\"100\" />In 2010, Flagler College and the University of Florida (UF) were awarded a <em>Save America’s Treasures</em> grant by the National Endowment for the Humanities to preserve and provide access to architectural drawings for the National Historic Landmark Hotel Ponce de Leon (1885-1887) and the Memorial Presbyterian Church (1889-1890) in St. Augustine, Florida. During this two-year project, the UF Smathers Libraries are conserving and digitizing an irreplaceable collection of the earliest architectural drawings of the Carrère &amp; Hastings firm. The drawings were created for the oil and railroad tycoon Henry Flagler beginning in the 1880s, but the majority of the drawings subsequently had been “lost” for decades. The few people who knew of their existence were unaware of their historical significance, and the drawings remained stored for years in a boiler room under high Florida temperatures and humidity, and exposed to insects and rodents.\r\n\r\nThis treasure trove remained unknown and endangered until its rediscovery in 2004 at Flagler College. To ensure that the drawings are protected and accessible to researchers, the drawings were deposited in 2005 in the UF Architecture Archives, a unit of Special &amp; Area Studies Collections. Comprised of over 260 fragile objects, the St. Augustine collection includes original drawings on cloth, silk, and paper, and a variety of blueprints, diazotypes, and other reproductions. Sizes range from eight by eight inches to over four by eight feet. Many of the drawings could not be unrolled or handled because they were literally crumbling on the shelves; it is very likely that some of these drawings had not been unrolled since they were last used in the 1890s. The grant funding has enabled UF to hire personnel and supplies to properly conserve and digitize all of the drawings.\r\n\r\nThe UF Digital Library Center (DLC) has an excellent track record employing students to digitize materials in all formats and conditions. One undergraduate student, James (Jimmy) Barnett, already had experience digitizing architectural drawings in the DLC, so we were happy to hire him as the imaging technician for this project. We knew that we could trust Jimmy to handle the items properly during imaging, which is crucial since many of the drawings are in extremely poor condition and are over eight feet long. Moreover, with his background and coursework in art we were confident that Jimmy could appreciate the drawings as cultural objects and be sensitive to the techniques and media used to produce them. Our trust was well placed, and Jimmy has been an exemplary steward of the drawings placed temporarily in his custody.\r\n\r\nIn planning for this project, there was no hesitation about employing an undergraduate student to work with fragile drawings. The archivists and curators in Special Collections have long relied on undergraduate students to assist with processing, research, and outreach activities. We offer an internship course through the History Department, and we have had great success retaining former interns as either paid employees or volunteers. We are able to maintain a pool of highly-trained, motivated assistants, and the students gain practical experience working with historical records. Several of these students have gone on to pursue archives, library, or public history master’s degrees. But regardless of their educational and career paths, we have found that many undergraduate students truly appreciate the value of cultural heritage materials, and many, such as Jimmy, can be trusted to treat them with the care they require.','John Nemmers','In 2010, Flagler College and the University of Florida (UF) were awarded a Save America’s Treasures grant by the National Endowment for the Humanities to preserve and provide access to architectural drawings for the National Historic Landmark Hotel Ponce de Leon (1885-1887) and the Memorial Presbyterian Church (1889-1890) in St. Augustine, Florida. During this two-year project, the UF Smathers Libraries are conserving and digitizing an irreplaceable collection of the earliest architectural drawings of the Carrère & Hastings firm. The drawings were created for the oil and railroad tycoon Henry Flagler beginning in the 1880s, but the majority of the drawings subsequently had been “lost” for decades. The few people who knew of their existence were unaware of their historical significance, and the drawings remained stored for years in a boiler room under high Florida temperatures and humidity, and exposed to insects and rodents.','inherit','open','open','','976-revision-6','','','2013-05-15 03:55:31','2013-05-15 03:55:31','',976,'http://dev.archivejournal.net/issue//uncategorized/976-revision-6/',0,'revision','',0),(976,13,'2012-02-09 09:18:01','2012-02-09 09:18:01','In 2010, Flagler College and the University of Florida (UF) were awarded a <em>Save America’s Treasures</em> grant by the National Endowment for the Humanities to preserve and provide access to architectural drawings for the National Historic Landmark Hotel Ponce de Leon (1885-1887) and the Memorial Presbyterian Church (1889-1890) in St. Augustine, Florida. During this two-year project, the UF Smathers Libraries are conserving and digitizing an irreplaceable collection of the earliest architectural drawings of the Carrère &amp; Hastings firm. The drawings were created for the oil and railroad tycoon Henry Flagler beginning in the 1880s, but the majority of the drawings subsequently had been “lost” for decades. The few people who knew of their existence were unaware of their historical significance, and the drawings remained stored for years in a boiler room under high Florida temperatures and humidity, and exposed to insects and rodents.\r\n\r\nThis treasure trove remained unknown and endangered until its rediscovery in 2004 at Flagler College. To ensure that the drawings are protected and accessible to researchers, the drawings were deposited in 2005 in the UF Architecture Archives, a unit of Special &amp; Area Studies Collections. Comprised of over 260 fragile objects, the St. Augustine collection includes original drawings on cloth, silk, and paper, and a variety of blueprints, diazotypes, and other reproductions. Sizes range from eight by eight inches to over four by eight feet. Many of the drawings could not be unrolled or handled because they were literally crumbling on the shelves; it is very likely that some of these drawings had not been unrolled since they were last used in the 1890s. The grant funding has enabled UF to hire personnel and supplies to properly conserve and digitize all of the drawings.\r\n\r\nThe UF Digital Library Center (DLC) has an excellent track record employing students to digitize materials in all formats and conditions. One undergraduate student, James (Jimmy) Barnett, already had experience digitizing architectural drawings in the DLC, so we were happy to hire him as the imaging technician for this project. We knew that we could trust Jimmy to handle the items properly during imaging, which is crucial since many of the drawings are in extremely poor condition and are over eight feet long. Moreover, with his background and coursework in art we were confident that Jimmy could appreciate the drawings as cultural objects and be sensitive to the techniques and media used to produce them. Our trust was well placed, and Jimmy has been an exemplary steward of the drawings placed temporarily in his custody.\r\n\r\nIn planning for this project, there was no hesitation about employing an undergraduate student to work with fragile drawings. The archivists and curators in Special Collections have long relied on undergraduate students to assist with processing, research, and outreach activities. We offer an internship course through the History Department, and we have had great success retaining former interns as either paid employees or volunteers. We are able to maintain a pool of highly-trained, motivated assistants, and the students gain practical experience working with historical records. Several of these students have gone on to pursue archives, library, or public history master’s degrees. But regardless of their educational and career paths, we have found that many undergraduate students truly appreciate the value of cultural heritage materials, and many, such as Jimmy, can be trusted to treat them with the care they require.','John Nemmers','In 2010, Flagler College and the University of Florida (UF) were awarded a Save America’s Treasures grant by the National Endowment for the Humanities to preserve and provide access to architectural drawings for the National Historic Landmark Hotel Ponce de Leon (1885-1887) and the Memorial Presbyterian Church (1889-1890) in St. Augustine, Florida. During this two-year project, the UF Smathers Libraries are conserving and digitizing an irreplaceable collection of the earliest architectural drawings of the Carrère & Hastings firm. The drawings were created for the oil and railroad tycoon Henry Flagler beginning in the 1880s, but the majority of the drawings subsequently had been “lost” for decades. The few people who knew of their existence were unaware of their historical significance, and the drawings remained stored for years in a boiler room under high Florida temperatures and humidity, and exposed to insects and rodents.','publish','open','open','','john-nemmers-commentar','','','2013-07-08 17:35:11','2013-07-08 17:35:11','',0,'http://www.archivejournal.net/?p=976',68,'post','',0),(4976,3,'2013-07-01 02:33:37','2013-07-01 02:33:37','<b>Introduction</b>\r\n\r\nIn her article, “Disciplinarity and Disorder,” in Issue 1 of this journal, Gabrielle Dean opens her essay with a detailed and expressive “fantasy” describing the “primal scene of archival research [that] takes place in a dreary reading room,” featuring an archivist, a researcher, a cart, dusty gray boxes, and a “numbered file folder.” As her fantasy takes flight, with the researcher scribbling away and papers swirling and new collections sprouting up organically, she crafts an evocative metaphor for the life cycle of preservation and regeneration that archivists aim to enable through access to primary sources. Dean cogently deconstructs the origins and implications of this “primal scene” over the course of her essay. But what also merits highlighting in her opening metaphor are the accoutrements that populate it—the cart, the box, the file folder—familiar players on the stage of the archival encounter. These objects and symbols are evocative of that idealized moment of archaeological discovery that characterizes the use of the archive. They are objects and symbols of history, certainly, but relics, alas, of an analog age.\r\n\r\nA similar fantasy, one potentially more fraught with anxiety and dread, must darken the reveries of archivists as they attempt to provide access to more contemporary materials. A daydream involving the researcher of tomorrow may instead feature dreadful moments of “file cannot be opened” error messages, of FTP transfers gone awry, of decaying media orphaned from long-lost playback devices. Our imaginary researcher will not be awaiting archival discovery sitting in a dreary reading room, but instead exist in some networked who-knows-where, furiously emailing an endless stream of access and transfer request and constantly griping about obsolete formats and buggy interfaces. At the same time, our imaginary archivist will not be pushing carts or shelving boxes, but creating user accounts for virtual reading rooms, running pattern-recognition text-mining queries, uploading disk images, or helping users with emulation software. Like the content of our archives themselves, the props and symbols of our archival fantasies increasingly will be associated with born-digital materials.\r\n\r\nHow will traditional principles of archival arrangement and description be challenged or modified to account for born-digital materials? Arrangement and description have long been the primary method of facilitating the use of archives, and their methodologies have been dependent upon the principle of <i>respect des fonds</i>. The articulation of this theory in 1841 has been held as the “starting point” or beginning of the modern era of archival theory, a “watershed” event establishing the “basic principle” and “very core” of the archival endeavor. Superlatives abound. <i>Respect des fonds</i>, “more than any other principle, has come to provide the archival profession with a unique identity.” ((Nancy Bartlett, “The Origins of the Modern Archival Principle of Provenance,” in <i>Bibliographical Foundations of French Historical Studies</i> (New York: Haworth Press, 1992), 108.))\r\n\r\nBut <i>respect des fonds</i> was born of a particular historic moment, for a particular type of archival document, and was conceived to address the practical needs of specific social circumstances. Even as <i>respect des fonds</i> has mutated and evolved over the decades, subject to revisions, contestations, and reaffirmations, its methodologies have largely been a product of the nature of the archival record as a physical document to be sorted, grouped, and described after receipt from a single donating entity. In an era defined by digital materials and their affordances and limitations, one in which narrative linearity often seems replaced by data-driven relationalism, the meaning of <i>respect des fonds</i> is ever more slippery.\r\n\r\nBroadly stated, <i>respect des fonds</i> is the principle of grouping records by the administration, organization, individual, or creating body in which they originated. <i>Respect des fonds</i> mandates that the records of the creating entity not be mixed with those of a different entity. It prioritizes the “organic” nature of archival records, identifying the locus of their generation, and the evidence their consolidation provides about that originating body, as essential to preserving and maintaining context. Comprised of the related “principle of original order” and “the principle of provenance,” <i>respect des fonds</i> displaced prior methods of archival arrangement that were predicated upon classifications by subject, function, topic, legal utility, chronology, and other categories. Though often referenced as a core component of archival identity, as a theoretical concept, <i>respect des fonds</i> is, as one writer says, “elusive and oft-misunderstood.” ((Dan Zelenyj, “Linchpin Imperilled: The Functional Interpretation of Series and the Principle of Respect des Fonds,” <i>Archivaria</i> 42 (1996): 126.))\r\n\r\nThe introduction of born-digital records into the archives offers an opportunity to examine how the practical methodologies of arrangement and description are shifting and how those changing practices lead to a reconsideration of <i>respect des fonds</i>. Much as digital records’ technological dependencies, ease of duplication, and subordination to features of systems and storage have led to a reassessment of the existing precepts of archival appraisal and selection, they also prompt a similar analysis of arrangement and description. One of those axioms due reassessment is the theory of <i>respect des fonds</i>.\r\n\r\nThis essay details the social and material conditions of the emergence of <i>respect des fonds</i>, the theory’s complex practical implementations and contested assumption, the emergence of alternate models, and how born-digital materials illuminate the theory’s analog origins and limitations. I will also explain the specific qualities of digital objects, including the nature of inscription and its impact on notions of original order and authenticity, as well as how nonlinear retrieval supplants the narrative logic of <i>respect des fonds</i> with a broader notion of context and discoverability. I will then consider recent interpretive methods, such as data visualization and text mining, as potential harbingers of new modes of representing and creating interfaces to digital collections—representations that better capitalize on the possibilities of digital materials. Finally, I will argue that the affordances of born-digital archives—such as their potential for parallel representation, machine-enabled interpretation, and expansive contextual and intellectual availability—provoke a reconsideration of the place of privilege of <i>respect des fonds </i>in archival arrangement and description.\r\n\r\n<b>The Old Regime</b>\r\n\r\nBefore <i>respect des</i> <i>fonds</i> can be respected, disrespected, or neglected, a better understanding of its origins is warranted, along with an examination of how the principle has (or has not) been applied and its periodic contestation. The seductive purity of the principle of <i>respect des fonds</i> often overshadows the concept’s decidedly complex origins. <i>Respect des fonds</i> as a guiding method of archival control was never as ennobled an idea as its contemporary evocation often implies. Its original articulation was mired in professional infighting, reductive practicalities, and the tumult and disorganization of political change.\r\n\r\nWhile we can find records grouped according to creator in some earlier instances, ((Luciana Duranti, “Origin and Development of Archival Description,” <i>Archivaria</i> 35 (1993): 50.)) the formal articulation of the concept of <i>respect des fonds</i> was, like much of modernity, a by-product of the French Revolution. The Revolution featured a simultaneous destruction and reconstruction of the archive, an attempt to both erase and recast the historical record. Most famously, when revolutionaries stormed the Bastille they destroyed its documentary contents—records that instantiated the subjugation and exploitation of the despised monarchy. (See Figure 1.)\r\n\r\n[caption id=\"attachment_4724\" align=\"alignleft\" width=\"300\"]<a href=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image1.jpg\"><img class=\"size-medium wp-image-4724\" alt=\"Figure 1. Storming of the Bastille and arrest of the Governor M. de Launay, July 14, 1789. Those are probably archival records burning in the background.  Public domain Image via Wikimedia Commons. Artist unknown.\" src=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image1-300x237.jpg\" width=\"300\" height=\"237\" /></a> Figure 1. Storming of the Bastille and arrest of the Governor M. de Launay, July 14, 1789. Those are probably archival records burning in the background. Public domain Image via Wikimedia Commons. Artist unknown.[/caption]\r\n\r\nYet the revolutionaries’ also scrupulously preserved the record of their own activities. The <i>Archives Nationales</i> was established in 1790, with a head archivist, hours designated for the general public, and a centralized administration tasked both with preserving the legacy of the new government and managing select records of the Old Regime. Those tasks, however, were segregated in ways that impacted how each class of documents was handled. Records of the National Assembly were to be scrupulously maintained, while feudal titles were widely destroyed. As one Minster put it, “all the old documents with gothic script are … only legal titles of feudalism, of the subjection of the feeble to the strong.” ((As cited in Posner, “Some Aspects of Archival Development since the French Revolution,” <i>The American Archivist</i> 3, no. 3 (1940): 162.))\r\n\r\nThe management of archives during this time was chaotic. Property records were sent to one administrative body within the <i>Archives Nationales</i>, legal records to another, and documents of historical interest went to the <i>Bibliotheque Nationales</i>. At the same time, archivists were tasked with maintaining a distinction between records documenting pre- and post-Revolutionary activities. In addition, the first two administrative heads of the <i>Archives Nationales</i>, Armand-Gaston Camus and Pierre Daunou, were both trained as librarians and had, by the early 1800s, established twenty-four “groupings” of records into which future accessions were to be integrated. Within these groups, additional classifications and intellectual methods of ordering existed. The archives, then, were “arranged in accordance with an arbitrarily devised ‘methodical’ scheme that was derived from library experience.” ((T. R Schellenberg, <i>Modern Archive : Principles and Techniques</i> (Chicago: University of Chicago Press, 1956), 169.)) As well, political tumult and instability of governance continued to have an impact on the arrangement of the archives, and “decisions about preservation, classification, inventory, and access were therefore the result not just of practical considerations or the opinions of individual archivists and librarians, but also of key shifts in national politics.” ((Lara Moore, <i>Restoring Order: The Ecole Des Chartes and the Organization of Archives and Libraries in France, 1820-1870</i> (Duluth, Minnesota: Litwin Books, 2008), 17.))\r\n\r\n<b>The Origins of <i>Respect des Fonds</i></b>\r\n\r\nWhile the true extent of records destruction during the post-Revolutionary years is disputed, ((Carl Lokke, “Archives and the French Revolution,” <i>The American Archivist</i> 31, no. 1 (January 1968): 30-31.)) as Judith Panitch notes, “this chaotic episode of archival history reveals much about archives themselves, suggesting specifically their fundamental fragility and malleability.” ((Judith Panitch, “Liberty, equality, posterity? Some Archival Lessons from the Case of the French Revolution,” <i>The American Archivist</i> 59, no. 1 (Winter 1996): 33.)) That malleability is evident in the conflicting approaches to archival arrangement and description that characterized this era, practices that lead up to the declaration of the principle of <i>respect des fonds</i>. Records of the time were arranged primarily by sometimes-quixotic methods of classification, by schema idiosyncratic in origin and inconsistent in application. ((Posner, “Some Aspects of Archival Development,” 167.))\r\n\r\nA number of developments in the next few decades pushed this lack of uniformity to its breaking point and helped impel the conceptualization of <i>respect des fonds</i> as an archival principle, if, as I will show, less of an actual practice. The establishment of the <i>Ecole des Chartes</i> in 1821 created a formal institution to train archivists to staff both the <i>Archives Nationales</i> and the over 2500 provincial archives across France. Laws passed in the 1830s also drastically expanded the number of archivists mandated to work both in the <i>Archives Nationales</i> and in the provincial archives. Formal training and new positions, however, when combined with lax oversight and inconsistent guidance on practices, led, predictably, to a near-comic proliferation of methods of classification and arrangement. (See Figure 2.) Due to the proliferation of classification systems and schema, change was inevitable.\r\n\r\n[caption id=\"attachment_4725\" align=\"alignnone\" width=\"480\"]<a href=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image2.jpg\"><img class=\"size-full wp-image-4725\" alt=\"Figure 2. The many arrangement methods of some Ecole des Chartes graduates prior to the emergence of respect des fonds as a methodology. Image from Lara Moore\'s &quot;Restoring Order,&quot; 114.\" src=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image2.jpg\" width=\"480\" height=\"383\" /></a> Figure 2. The many arrangement methods of some Ecole des Chartes graduates prior to the emergence of respect des fonds as a methodology. Image from Lara Moore\'s \"Restoring Order,\" 114.[/caption]\r\n\r\nThat change came in the form of the infamous “Circular no. 14,” released in 1841 by Natalis de Wailly, Administrative Head of the <i>Archives Nationales</i>. This document is recognized as the first articulation of the fonds as the fundamental method of archival arrangement, the purpose of which was “to form a collection of all the documents which originate from a body, an organization, a family or an individual, and to arrange the different fonds according to a certain order.” ((As quoted in Nancy Bartlett, “The Origins of the Modern Archival Principle of Provenance,” 107.)) <i>Respect des fonds</i> made creatorship the organizing principle of archival records and espoused the formation of collections according to the organization, entity, family, or individual responsible for their creation. Such an arrangement would ensure, as one writer later put it, the essential need “to know where it [the archival document] was created, in the framework of what process, to what end, for whom, when and how it was received by the addressee, and how it came into our hands.” ((Michael Duchein, “Theoretical Principles and Practical Problems of Respect des fonds in Archival Science,” <i>Archivaria</i> 16 (Summer 1983): 67.))\r\n\r\nHowever, as Nancy Bartlett has explicated, this “watershed” moment was less momentous than contemporary evocations suggest. For one, de Wailly’s circular dictated “that <i>respect des fonds</i> was prescribed only for archival records created prior to 1789.” More contemporary fonds were to continue to be arranged categorically. In addition, minutes from subsequent meetings of the commission overseeing the work of archivists—a commission on which de Wailly served—reveal that “<i>respect des fonds</i> was if nothing more a preliminary standard for archival arrangement and description in departmental archives, a means of insuring that beginning archivists without the benefit of direct supervision might not cause too much intellectual damage to vulnerable records in their care.” ((Bartlett, “The Origins of the Modern Archival Principle of Provenance,” 111.))\r\n\r\nThe principle was, in fact, a practical exigency, a method to simplify archival arrangement seen as more easily implemented by novice archivists than the more rigorous arrangement by classification. Bartlett also notes that <i>respect des fonds</i> remained absent from both the curriculum of the <i>Ecole des Chartes</i> as well as the publications of the professional society of its graduates. Lastly, the principle was, at the time, not applied to accessions into the <i>Archive Nationales</i> itself, as it operated under a different administrative department than de Wailly’s Interior Ministry.\r\n\r\n<i>Respect des fonds</i>, then, was never a perfectly realized theory. Its formation was a contingency of a unique historical moment; its conception depended upon practical necessities and its implementation was inconsistent and disputed. What today seems near dogma—that archives be arranged by fonds—was at the time novel and simplistic, more the product of utility and political manipulation than a grand inspiration regarding the functional authenticity of fonds or evidential purity towards their arrangement.\r\n\r\n[caption id=\"attachment_4726\" align=\"alignright\" width=\"183\"]<a href=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image3.jpg\"><img class=\"size-medium wp-image-4726 \" alt=\"Figure 3. Front page of the proceedings of the 1910 Congres de Bruxelles, the First International Congress of Archivists and Librarians. The full proceedings are available online at http://extranet.arch.be/congres1910/menu.html. Google Translate does a passable job of translating.\" src=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image3-183x300.jpg\" width=\"183\" height=\"300\" /></a> Figure 3. Front page of the proceedings of the 1910 Congres de Bruxelles, the First International Congress of Archivists and Librarians. The full proceedings are available online at http://extranet.arch.be/congres1910/menu.html. Google Translate does a passable job of translating.[/caption]\r\n\r\n<b>The Original Original Order</b>\r\n\r\nThough implemented inconsistently in its home country, the principle of <i>respect des fonds</i> gained a wide acceptance across Europe. In Prussia, the theory (known as <i>Provenienzprinzip,</i> the principle of provenance) mandated that “official papers are to be maintained in the order and with the designations which they received in the course of the official activity of the agency concerned.” ((Schellenberg, <i>Modern Archives</i>, 175.)) <i>Respect des fonds</i> received its most elaborate and sustained justification, and expansion, however, in the Netherlands, where the Dutch archivists Muller, Feith, and Fruin produced their famous <i>Manual for the Arrangement and Description of Archives</i> in 1898. Often referred to colloquially as the “Dutch Manual” and seen as the “starting point of archival theory and methodology,” ((Peter Horsman, Eric Ketelaar, and Theo Thomassen, “New Respect for the Old Order: The Context of the Dutch Manual,” <i>The American Archivist </i>66, no. 2 (2003): 249.)) the work provided a detailed set of guidelines for the arrangement of records. The principle of <i>respect des fonds</i> gained even wider acceptance and popularity after its ratification at the First International Congress of Archivists meeting in Brussels in 1910. ((Lawrence D. Geller, “Joseph Cuvelier, Belgian Archival Education, and the First International Congress of Archivists, Brussels, 1910,” <i>Archivaria</i> 16 (Summer 1983): 16. Proceedings from the 1910 meeting can be found online at <a href=\"http://extranet.arch.be/congres1910/\">http://extranet.arch.be/congres1910/</a>.)) (See Figure 3.)\r\n\r\nThe Dutch Manual, and the methodologies implemented in its wake, not only forbid the intermingling of the fonds of one agency with those of another—in keeping with the French conception of <i>respect des fonds</i>—but also expanded the theory to apply to the records within each fond—the internal arrangement of the archival collection. Or as the Dutch Manual put it, “the system of arrangement must be based on the original organization of the archival collection.” ((Samuel Muller, Johan Adriaan Feith, and Robert Fruin, <i>Manual for the Arrangement and Description of Archives</i> (H.W. Wilson Co., 1968), 52.)) This concept has come to be known as the “principle of original order,” an intra-fonds corollary to the external means of arrangement associated with the principle of provenance; <i>respect des fonds</i> encompasses both principles.\r\n\r\nA closer examination of the Dutch Manual, however, reveals certain methodological impracticalities that even its authors admit. First, they claim that the original order within a fonds may be modified or “restored” to account for multiple transfers from an agency, not all of which may truly represent the idealized “original order.” As well, records may be reorganized to account for “inconsequential irregularities attributable to record-keeping officials.” The authors also note that reconstituting the original order may be avoided when “the trouble which would have to be taken in order to reconstruct the old organization is out of proportion to the result to be obtained.” ((Muller et al., <i>Manual</i>, 83.)) Needless to say, the simple idea of “restoring original order” seems itself problematic, fraught with subjective decision-making likely far removed from whatever idealized “organic” origin archivists may discover within fonds. The complicated approach to “restoration” and “reconstruction” that the Dutch Manual advises often borders on, as one writer put it, “abandoning entirely their carefully developed ethic of conservation.” ((Frank Boles, “Disrespecting Original Order,” <i>The American Archivist </i>45, no. 1 (1982): 28.))\r\n\r\n<b>Critique des Fonds</b>\r\n\r\nThe widespread adoption <i>of respect des fonds</i> did not proceed unquestioned, however. As early as the 1930s, some archivists were taking issue with the methodology of arranging collections according to original order. In his survey of the development of archival theory, Ernst Posner points to the German Max Bar and two Swedish archivists who demonstrated “that slavish preservation of the original arrangement of a fonds is often insufficient,” the principle of provenance “is subject to certain restrictions” that make blanket adoption impractical, and adherence to <i>respect des fonds</i> often impedes use of archival materials. ((Posner, “Some Aspects of Archival Development,” 169.))\r\n\r\n[caption id=\"attachment_4747\" align=\"alignleft\" width=\"300\"]<a href=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image4.jpg\"><img class=\"size-medium wp-image-4747 \" alt=\"Figure 4. Peter Scott\'s diagram depicting his system of archival arrangement based on grouping records at the series level. From Scott, &quot;The Record Group Concept: A Case for Abandonment,&quot; 1966. \" src=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image4-300x177.jpg\" width=\"300\" height=\"177\" /></a> Figure 4. Peter Scott\'s diagram depicting his system of archival arrangement based on grouping records at the series level. From Scott, \"The Record Group Concept: A Case for Abandonment,\" 1966.[/caption]\r\n\r\nSome Australian and American archivists in the 1960s, primarily Peter Scott and Mario Fenyo, challenged the definition of fonds even further. The problems with the traditional concept of the fonds were manifold. Defining fonds as the records of a “transferring or controlling agency” was problematic since the agent of transfer was not always the creating agency. Fonds could also be mixed or “broken” into multiple transfers to an archive, making reconstitution difficult. Fonds could also be the result of “a succession of agencies,” blurring true creatorship. Ordering series within fonds was difficult since future accessions may need to be inserted at different places in the existing organizational system, leading to physical disorder or the constant revision of finding aids or inventories. After reviewing minutes of early NARA meetings in an attempt to define what, exactly, constitutes a fonds, Fenyo succinctly pointed out, “no one knows what the word fonds means, not even the French who invented it.” ((Mario D. Fenyo, “The Record Group Concept: A Critique,” <i>The American Archivist </i>29, no. 2 (April 1966): 230.)) For Scott, his belief that “the very arbitrariness of the concept [of the fonds] is sufficient to make one question its usefulness,” ((Peter Scott, “The Record Group Concept: A Case for Abandonment,” <i>The American Archivist </i>29, no. 4 (October 1966): 497.)) led him to develop the “series system” (See Figure 4) which sought to orient arrangement and description according to function and use instead of agent or material type—a theory that, Terry Cook noted, “shifted the entire archival description enterprise from a static cataloging mode to a dynamic system of multiple interrelationships.” ((Terry Cook, “What is Past is Prologue: A History of Archival Ideas since 1898, and the Future Paradigm Shift,” <i>Archivaria</i> 43 (1999): 38.))\r\n\r\nThe principle of original order underwent a similar critique. A lack of clarity on the custodianship of records prior to their delivery to an archive, the problem of multiple and ongoing accessions, and the potential for incoherent or unknown methods of ordering or classification by creating bodies all led Fenyo to proclaim, “archivists generally believe that the arrangement of series within a record group reflects to some extent the organization and even history of the agency that created those records.… But the records in the National Archives reflect no such thing.” ((Fenyo, \"The Record Group Concept,\" 236.)) For archives consisting of personal papers, original order is seen as particularly problematic, since a chronological arrangement seemingly provides the greatest meaning and value to the records of an individual, but is unlikely to be the order of records upon accession. Restoration of original order also risks destroying the contextual information accrued by collections that have passed through multiple states of custodianship prior to their acceptance into the archive. ((Debra Barr, “Protecting Provenance: Response to the Report of the Working Group on Description at the Fonds Level,” <i>Archivaria</i> 28 (Summer 1989): 141-145. See also Robert Edwards, “‘With Respect to Original Order’: Changing Values in Archival Arrangement,” <i>Archives Association of British Columbia</i> 11, no. 1 (Winter 2001).)) Lastly, the principle of original order prioritizes filing systems of unknown or dubious legitimacy over the principle of use or accessibility. As Frank Boles states, “usability acknowledges the evidential superiority of documents over filing systems by placing primary emphasis on access to documents.” ((Boles, “Disrespecting Original Order,” 31.)) In this critique, usability and original order are often in conflict.\r\n\r\n<b>Of Bonds and Parallels</b>\r\n\r\nOther conceptual models besides the series system have attempted to address these critiques by forming new ideas about how order or grouping can evidence archival authenticity, identity, and meaning. One theory to articulate the interrelations of individual records can be found in Luciana Duranti’s notion of the archival bond, which she defines as the “network of relations that each record has with the records belonging in the same aggregation.” ((Luciana Duranti, “The Archival Bond,” <i>Archives and Museum Informatics</i> 11 (1997): 213-18.)) Not to be confused with context, which exists outside the record, the archival bond, for Duranti, is core to the identity of the record. As she states, “documents that are expressions of a transaction are not records until they are put into relation with other records.” ((Ibid., 216.)) Emerging from research into the authenticity of electronic records (including the InterPARES project), the archival bond identifies a web of documentary co-dependencies that presumes an inheritance and relationship between records based on functional proximity. ((“The InterPARES Project,” accessed October 2012, <a href=\"http://www.interpares.org\">www.interpares.org</a>.))\r\n\r\nPerhaps the most exhaustive attempt to deal with many difficulties that exist within the gulf between <i>respect des fonds</i> as principle and practice was undertaken by Michel Duchein in 1983. ((Duchein, \"Theoretical Principles and Practical Problems,\" 64–82.)) While Duchein proposes solutions to the many problems of the fonds concept, the reader cannot help but be overwhelmed by the fact that his cataloging of the “theoretical problems” and “practical difficulties” far outnumber, and begin to drown out, his proposed solutions. For Duchein, within fonds there can be all sorts of nebulous, arbitrary, and forgotten methods of classification “from which all imaginable disorders flow.” He calls these, in a poetic moment, “brutal manipulations.” ((Ibid., 77.)) But after this disquisition, on the last page of his article Duchein mentions one idea that seems if not prescient, then at least transitive in the way it conceives of context: the <i>parallelismus membrorum</i>, “the similarity of parallel files.” <i>Parallelismus membrorum</i> is a rhetorical term referring to the patterns within a text formed by the utilization of repeated grammatical structures. (“I came. I saw. I conquered,” is a brief example). Duchein here employs the motif to refer to the contextual relations that exist between records of different fonds, the network of meanings that stretch across the archive.\r\n\r\n[caption id=\"attachment_4927\" align=\"alignright\" width=\"300\"]<a href=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image5.gif\"><img class=\"size-medium wp-image-4927  \" alt=\"Figure 5. Chris Hurly\'s diagram of parallel provenance, &quot;The Little Truck.&quot; The little truck is a metaphor for archival description. From Hurley, &quot;Parallel Provenance: (1) What if Anything is Archival Description?”\" src=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image5-300x199.gif\" width=\"300\" height=\"199\" /></a> Figure 5. Chris Hurly\'s diagram of parallel provenance, \"The Little Truck.\" The little truck is a metaphor for archival description. From Hurley, \"Parallel Provenance: (1) What if Anything is Archival Description?”[/caption]\r\n\r\nChris Hurley explored an idea similar to <i>parallelismus membrorum</i> in his delineation of “parallel provenance” a concept built around “composing different things from the same particles—combining things in different ways to produce a variety of views of what they look like in the aggregate … not so much about identifying a different creator as recognizing manifold context.” ((Chris Hurley, “Parallel Provenance: (1) What if Anything is Archival Description?,” <i>Archives and Manuscripts</i> 33, no. 1 (2005): 126.)) (See Figure 5.) Other contemporary writers, such as Laura Millar and Geoffrey Yeo, have sought to stretch the meaning of the fonds even further, arguing it exists purely at the conceptual level. ((Geoffrey Yeo, “The Conceptual Fonds and the Physical Collection,” <i>Archivaria</i> 73 (Spring 2012): 43-91; Laura Millar, “The Death of the Fonds and the Resurrection of Provenance: Archival Context in Space and Time,” <i>Archivaria</i> 53 (Spring 2002): 1-15.)) But as the definition of the fonds becomes more distant, more abstract, its privileging as a form of aggregation seems less certain, especially in a digital environment in which creatorship is but one of many means of grouping records.\r\n\r\nThe archival bond, the series system, <i>parallelismus membrorum, </i>and parallel provenance all mark attempts to theorize relationships between records and collections in ways that can elide the practical problems of <i>res</i><i>pect des fonds</i>. Equally, these ideas represent a continued expansion of context beyond the limitations of grouping by creatorship or creator-derived order. In each case, similarities and dependencies emerge out of cross-collection networks or semantically derived principles. As the models gain distance from the vagaries of the individual records, one starts to recognize a familiar pattern of removal—not a disjunction, exactly, but a subtle passage from the material trace to the abstract representation. The familiarity is borne of the similar movement from item to representation that characterizes electronic records and their attendant phenomenological tension between the physical inscription on a drive and the symbolic interface on a screen.\r\n\r\n<b>Bit Level Processing</b>\r\n\r\nBut enough of models. Consider instead the bit, the binary, the magnetic flux reversal of the spinning disk that is the origin of the digital object. Material inscription offers a good point to segue into an examination of digital records and how they both complicate or even circumvent historical notions of <i>respect des fonds </i> while at the same time enabling realization of a more expansive notion of context and interrelation.\r\n\r\nStarting at the bit level, the characteristics of inscription (how digital information is written onto storage media) call into question the idea of original order. When data is written to a storage device, it has a material, physical trace, but that trace is far from the legibility or interpretability we associate with analog documents. As Matt Kirschenbaum has noted in his study of new media and digital forensics, “we write <i>on</i> paper, but we write <i>to</i> a magnetic disk (or tape)”; the semantic difference signifies that the act of inscription is “logically distinct” from the act of creation and intellectual manipulation. ((Matt Kirschenbaum, <i>Mechanisms: New Media and the Forensic Imagination</i> (Cambridge: MIT Press, 2008), 87. Emphasis in original.)) (See Figure 6.) In addition, a key component of storage media is that it is random access; that means the bits composing a record are inscribed to available clusters across the platter of a drive depending on which tracks and sectors are available for inscription. That is, the component bits of a digital object are non-sequential in their material physical arrangement. Aggregated, they can create an interpretable object, but their component location is nonlinear. Here, even at the bit level of a single item, there is no original order. Furthermore, each time these bits are reconstructed, each time the file is accessed and translated into an interpretable, editable representation, the file will be altered in minute ways (for instance, a file’s “last opened” date) and thus be composed of a new order as new bits are assigned to other available areas of the disk. As Kirschenbaum notes, quoting a dictum of forensic science, “every contact leaves a trace.” The act of interpreting a digital object, thus, continually alters its material order.\r\n\r\n[caption id=\"attachment_4729\" align=\"aligncenter\" width=\"300\"]<a href=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image6.jpg\"><img class=\"size-medium wp-image-4729 \" title=\"bailey_archivejournal_image6\" alt=\"Figure 6. Close-up of a disk drive at the Computer History Museum, showing arms and a read/write head. Processing Born-Digital Materials Using AccessData FTK at Special Collections, Stanford University Libraries, 2011.\" src=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image6-300x225.jpg\" width=\"300\" height=\"225\" /></a> Figure 6. Close-up of a disk drive at the Computer History Museum, showing arms and a read/write head.<br />Processing Born-Digital Materials Using AccessData FTK at Special Collections, Stanford University Libraries, 2011.[/caption]\r\n\r\nMoving beyond the non-sequential arrangement of bits of individual records, but remaining at the forensic level, other features of the digital environment challenge long-standing presumptions of authenticity and uniqueness that are dependent upon physical arrangement or description. Temporary files, such as those stored by auto-save or recovery programs, mean that a drive can contain multiple versions of identical files, many of them beyond the management (or even awareness) of their creator. This “ambient data” is matched by other features of data dispersal throughout a storage system, such as “swap space” (disk space sometimes allocated for use by RAM) and “disk slack” (which accounts for the difference between the actual file size and the disk space used for storage) that themselves complicate ideas of order and linearity. Storage becomes a hidden, dynamic world in which physical arrangement on a spinning drive consists of the equivalent of dispersed crevices, hidey-holes, and secret areas where data proliferates. Kirschenbaum asserts, “there is, in short, no simple way to know how many instances of a single file are residing in how many states, in how many different locations, at any given moment in the operating system.” ((Ibid., 52.)) As well, digital objects themselves have the potential to contain trace data that, while possibly not achieving the singular identity of a record, can have evidential value or help establish provenance.\r\n\r\nTake, for instance, Kirschenbaum’s exploration of a floppy disk image, in which he finds evidence of how the storage media was used over time and what its hidden and partially deleted data can manifest about its user: “[W]e discover on the original diskette the incompletely overwritten remains of previous software … a piece of 1980s software culture frozen in allographic amber.” ((Ibid., 140.)) Discovering this legacy information reveals multiple levels of creatorship and a trail of ownership and social and cultural meaning that extend beyond the object, the creator, or the fonds. In this case, the unintentionally preserved (by the user, at least) data provides a testament to its origins that is not visible in the individual files themselves. Here provenance is not a result of aggregation or description but a characteristic of how digital information is created and transmitted. Context is not just relational, implied, or conceptualized, but can be a part of the very media itself, like secret, half-formed barnacles clinging to the vessel of the digital record. Incomplete but decipherable. Fragmentary but meaningful. Allographic amber.\r\n\r\n<b>Fonds Essentialism</b>\r\n\r\nNeedless to say, most people do not interact with digital information at the forensic level. In Kenneth Thibodeau’s useful model, digital objects are compounds, composed of a physical, logical, and conceptual object. Respectively, those adjectives refer to the physical inscription on storage media; the logical suite of translational software and processes that access and “read” that inscription; and the conceptual object the user interacts with, such as the text, image, or interface on a screen. ((Kenneth Thibodeau, “Overview of Technological Approaches to Digital Preservation and Challenges in Coming Years,” in <i>The State of Digital Preservation: An International Perspective</i> (Washington D.C.: Council on Library and Information Resources, 2002).)) The conceptual object—the representational environment of the screen as experienced in the word processing program, the image editor, the social media app—inculcates its own affordances and logic on the creation or use of records. In fact, given the hidden, inscrutable nature of storage and inscription, the formal representation of digital objects on a screen can have an outsized influence on their creation, management, and perception—an interpretive tendency that Nick Montford calls “screen essentialism.” Considering the extensive influence that the theory of <i>respect des fonds</i> has had, historically, on how archival collections are arranged and described, a similar predilection may characterize the archival enterprise—call it <i>fonds essentialism</i>.\r\n\r\nThe conceptual object—the screen—presents its own challenges to the implied narrative of current modes of archival description. The way that a user interacts with an aggregation of digital materials is fundamentally different from how a user would interact with a set of document boxes or a finding aid. The screen imposes its own logic, its own “formal regimen,” in Kirschenbaum’s terms, on how digital objects are interpreted or accessed, but also how they are described. Traditional archival representation for analog materials emerges from a narrative: a story about what a collection is, what it holds, and the order and location of its contents. It moves through a descriptive summary of contextual detail and administrative information and on to a hierarchy of series and subseries often arranged by type, function, chronology, or other broad categories. Papers, folders, boxes, and series must be arranged in physical space, after all, and that comes to shape how they are arranged in the intellectual space of description. A finding aid is a narrative to be read and its intellectual availability is largely linear and structural. The conceptual object of the digital record and the interface to an aggregation of digital records offer quite a different type of interaction.\r\n\r\nText mining and hyperlinks are simple examples of ways to navigate large groups of materials absent a singular narrative sequence. Lev Manovich, in theorizing new media, has noted that the database (or, the database logic) has supplanted narrative as the method of interacting with digital information. In new media, “narrative becomes just one method of accessing data among others,” and digital information assumes “the projection of the ontology of a computer onto culture itself.” ((Lev Manovich, “Database as a Genre of New Media,” <i>Journal of A&amp;I Society</i> 14, no. 2 (May 2000): 176-77.)) In a database, objects are related but not ordered. The database logic is nonlinear and there is no original order because order is dependent upon query. Search and navigation become algorithm-dependent and not predetermined by a creator, an archivist, or a static finding aid—though all of those organizations are themselves available. Digital objects will have an identifier, yes, but where they “rest” in intellectual space is contingent, mutable. The key point is that, even at the level of representation, arrangement is dynamic: access and representation need not depend on the fonds. Description becomes relational as well and can extend beyond individual aggregations of records. The logic of physical space no longer drives retrieval or predominates in description. Original order and provenance are not lost or obviated in this model, but they are not the exclusive means of access, either.\r\n\r\n<b>Recent Practices</b>\r\n\r\nCase studies from projects handling significant amounts of born-digital records provide insight into the theoretical and practical problems of <i>respect des fonds</i>. As the Emory University project asked of the born-digital content in its Salmon Rushdie acquisition, “Would we treat the born-digital files the same as print material? Would we impose any sort of arrangement on the materials? How much added description could we provide? As the following discussion will reveal, the application of archival theory and principles may shift to accommodate the differences between paper and born-digital archives.” ((Laura Carroll et al., “A Comprehensive Approach to Born-Digital Archives,” <i>Archivaria</i> 72 (Fall 2011): 72.)) Or, as the large-scale, born-digital Vancouver Olympics project team put it, “core archival activities may diverge from long-established practices when moving into the digital environment.” ((Courtney C. Mumma, Glenn Dingwall, and Sue Bigelow, “A First Look at the Acquisition and Appraisal of the 2010 Olympic and Paralympic Winter Games Fonds: Or, SELECT * FROM VANOC_Records AS Archives WHERE Value=‘true’;,” <i>Archivaria</i> 72 (Fall 2011): 93.)) Along with the multi-institutional AIMS project and the PARADIGM (Personal Archives Accessible in Digital Media) project in the UK, these case studies detail the practical issues involved in rethinking arrangement and description in born-digital archives. ((AIMS Work Group, “AIMS Born-Digital Collections: An Inter-Institutional Model for Stewardship,” 2012, <a href=\"http://www2.lib.virginia.edu/aims/whitepaper/\">http://www2.lib.virginia.edu/aims/whitepaper/</a>; Paradigm project, “Workbook on Digital Private Papers,” The Personal Archives Accessible in Digital Media (Paradigm) Project, accessed October 2012,  <a href=\"http://www.paradigm.ac.uk/workbook/index.html\">http://www.paradigm.ac.uk/workbook/index.html</a>.))\r\n\r\nTaken together, the projects provide an overview of how arrangement may look in entirely born-digital collections. All note the difficulty in parsing user-generated description and the often quixotic or meaningless nature of directory structures and naming. The projects largely employed filtering, text mining, and other cross-record queries to determine the content of most files. The sheer volume of files contained in accessions precluded any item-level content review or hierarchical rearrangement; yet, at the same time, “the creation of file and item descriptions and inventories is not only easier and faster, it yields much richer information.… What takes hours or days to perform in the paper environment takes mere seconds to accomplish in the digital environment, and is done to a greater level of detail.” ((Mumma et al., \"A First Look,\" 115-16.))\r\n\r\nThough the many technical processes necessary for format validation, emulation, automated metadata extraction, and other methods of processing born-digital archives are too complex to be fully recounted here, these case studies point to their key characteristics. (See Video 1.) Arrangement, as we think of it, is no longer a process of imposing intellectualized hierarchies or physical relocation; instead, it becomes largely automated, algorithmic, and batch processed. At the same time, archival representation will build upon the affordances of the digital objects themselves to extract and compile metadata that can then be repurposed to bridge and augment a wealth of contextual relations far beyond the order of their creation and their agency of origin.\r\n\r\nhttp://www.youtube.com/watch?v=hDAhbR8dyp8\r\n<div class=\"wp-caption-text\">Video 1. Processing Born-Digital Materials Using AccessData FTK at Special Collections, Stanford University Libraries. 2011.</div>\r\n&nbsp;\r\n\r\n<b>Visual Descriptions</b>\r\n\r\nAs the “logical associations of records extend beyond the records themselves and embrace relations with other entities in the wider world,” as Geoffrey Yeo puts it, archivists will be tasked with building interfaces that draw upon these aforementioned possibilities and linking them to the online interfaces through which records will be made available. ((Yeo, “The Conceptual Fonds,” 71.)) The interface thus becomes the “critical element in the interaction between documentary evidence and its consumers.” ((Margaret Hedstrom, “Archives, Memory, and Interfaces with the Past,” <i>Archival Science</i> 2, no. 1-2 (2002): 24.))\r\n\r\nSince few archives are accessioning entirely born-digital collections, it is difficult to find archival examples of a description for such a collection. Born-digital content that is currently being processed is usually a small portion of a larger physical collection and, as such, is integrated in a hybrid fashion into traditional finding aids; see, for instance, \"<a href=\"http://www.oac.cdlib.org/findaid/ark:/13030/kt9p3038mq/\">Series 8: Born digital files</a>,\" \"<a href=\"http://findingaids.library.emory.edu/documents/rushdie1000/\">Series 11: Computers and related devices</a>,\" or \"<a href=\"http://www-sul.stanford.edu/depts/hasrg/ablit/amerlit/creeley.html\">Series 13: Computer files</a>.\"\r\n\r\nThere are, however, some archival projects, as well as work in the digital humanities, that offer a window into how researchers and scholars are making using of large sets of digital data. While the data sets and digital records being utilized are not necessarily archival collections, the tools, methods of inquiry, and cross-collection, multi-institutional repositories that emerge from these projects presage both how entirely born-digital archives may come to be used and what digital archival collection interfaces may look like in the future.\r\n\r\n[caption id=\"attachment_4928\" align=\"alignright\" width=\"300\"]<a href=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image7.gif\"><img class=\"size-medium wp-image-4928  \" alt=\"Figure 7. Image from &quot;Data Mining with Criminal Intent&quot; presentation by Briquet et al. at Digging into Data Challenge, Washington D.C., 2009. Slides available at http://criminalintent.org/wp-content/uploads/2011/06/criminal_intent_digging_into_data_meeting_10jun2011.pdf.\" src=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image7-300x179.gif\" width=\"300\" height=\"179\" /></a> Figure 7. Image from \"Data Mining with Criminal Intent\" presentation by Briquet et al. at Digging into Data Challenge, Washington D.C., 2009. Slides available at http://criminalintent.org/wp-content/uploads/2011/06/criminal_intent_digging_into_data_meeting_10jun2011.pdf.[/caption]\r\n\r\nTwo projects taking an innovative, insightful approach to exploring archival collections through the mining of large archival corpora are The Proceedings of the Old Bailey Online and Cameron Blevins’s work text mining and topic modeling Martha Ballard’s diary. ((The Proceedings of the Old Bailey Online can be found at <a href=\"http://www.oldbaileyonline.org/\">http://www.oldbaileyonline.org/</a>, and the associated Criminal Intent project can be found at <a href=\"http://criminalintent.org/category/old-bailey-online/\">http://criminalintent.org/category/old-bailey-online/</a>. Cameron Blevin’s work with Martha Ballard’s diary can be found online at <a href=\"http://historying.org/martha-ballards-diary/\">http://historying.org/martha-ballards-diary/</a> and at <a href=\"http://dh2011abstracts.stanford.edu/xtf/view?docId=tei/ab-173.xml\">http://dh2011abstracts.stanford.edu/xtf/view?docId=tei/ab-173.xml</a>.)) The Old Bailey Proceedings provides access to nearly 200,000 digitized trial records from London’s criminal courts, spans almost 250 years, allows full text searching, and has an API through which users can query the archive. The With Criminal Intent project has built a suite of related tools that can help perform data-mining projects using this archive. (See Figure 7.) This project measures and visualizes trends over time as a means of revealing historical themes, building and revealing new narratives, and providing insights into the past through data-driven analysis.\r\n\r\n&nbsp;\r\n\r\n[caption id=\"attachment_4731\" align=\"alignleft\" width=\"300\"]<a href=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image8.jpg\"><img class=\"size-medium wp-image-4731 \" alt=\"Figure 8. Screenshot from &quot;Mining the Dispatch&quot; website, http://dsl.richmond.edu/dispatch/Topics/view/27.\" src=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image8-300x210.jpg\" width=\"300\" height=\"210\" /></a> Figure 8. Screenshot from \"Mining the Dispatch\" website, http://dsl.richmond.edu/dispatch/Topics/view/27.[/caption]\r\n\r\nBlevins’s work with Martha Ballard’s diary features a different collection, a single diary by an eighteenth-century housewife composed of almost 10,000 entries from 1785 to 1812. This project aspires to a similar goal of revealing novel insights into, and interpretations of, historical material through the ability of digital tools to mine vast sets of information. Blevins uses topic modeling—an algorithmic method that searches word patterns and groupings throughout large collections of texts (for Ballard’s diary, each entry was treated as a different “text”)—to chart and track thematic trends across the diary. A similar approach has been taken by the Mining the Dispatch project, which examines changing sentiments toward the Civil War over the course of six years (over 112,000 items) in the Richmond, Virginia <i>Daily Dispatch</i> newspaper. ((“Mining the Dispatch,” accessed October 2012, <a href=\"http://dsl.richmond.edu/dispatch/\">http://dsl.richmond.edu/dispatch/</a>.)) (See Figure 8.)\r\n\r\n&nbsp;\r\n\r\nThese projects may fall under the broader rubric of the digital humanities, and the collections they are working with may not be archival collections in the traditional sense, but they offer a glimpse of the discovery, navigation, exploration, and analytic tools that foreshadow uses of digital archival collections. Other initiatives have sought to build upon the network of social relations that influence records creation. The SNAC (Social Networks and Archival Context) Project “provides access to the socio-historical contexts ([including] people, families, and corporate bodies) in which the records were created” through the use of the EAC-CPF standard that describes corporate bodies, persons, and families. ((“SNAC: The Social Networks and Archival Context Project,” accessed October 2012, <a href=\"http://socialarchive.iath.virginia.edu/\">http://socialarchive.iath.virginia.edu/</a>.)) Early results show a promising method for using social context for discovery and interpretation.  (See Figure 9.) The archivists at Stanford University who are managing the Robert Creeley collection, which contains a significant quantity of born-digital content, especially emails, have used the custom-built MUSE tool for exploring semantic patterns in email archives. ((The Robert Creeley collection can be found at <a href=\"http://www-sul.stanford.edu/depts/hasrg/ablit/amerlit/creeley.html\">http://www-sul.stanford.edu/depts/hasrg/ablit/amerlit/creeley.html</a>. For more information on the MUSE tool visit <a href=\"http://mobisocial.stanford.edu/muse/\">http://mobisocial.stanford.edu/muse/</a>.)) (See Figure 10.) Similarly, other projects have explored building unique visual interfaces to archival collections that extend contextual relations across collections, archives, and disciplines. (See Video 2.)\r\n\r\n[caption id=\"attachment_4732\" align=\"alignleft\" width=\"300\"]<a href=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image9.jpg\"><img class=\"size-medium wp-image-4732 \" alt=\"Figure 9. Image from &quot;Historic Social Networks&quot; presentation by Brian Tingle at SAA 2012 Annual Meeting, San Diego, CA. Slides available at http://socialarchive.iath.virginia.edu/images/NAAC-dc-2012_SAA2012_Tingle.pdf.\" src=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image9-300x225.jpg\" width=\"300\" height=\"225\" /></a> Figure 9. Image from \"Historic Social Networks\" presentation by Brian Tingle at SAA 2012 Annual Meeting, San Diego, CA. Slides available at http://socialarchive.iath.virginia.edu/images/NAAC-dc-2012_SAA2012_Tingle.pdf.[/caption]\r\n\r\n[caption id=\"attachment_4727\" align=\"alignright\" width=\"300\"]<a href=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image10.jpg\"><img class=\"size-medium wp-image-4727 \" alt=\"Figure 10. Network analysis of Robert Creeley email archive. Image by Elijah Meeks, captured from https://dhs.stanford.edu/visualization/robert-creeley-e-mail-correspodence-network/.\" src=\"http://dev.archivejournal.net/wp-content/uploads/2013/06/bailey_archivejournal_image10-300x265.jpg\" width=\"300\" height=\"265\" /></a> Figure 10. Network analysis of Robert Creeley email archive. Image by Elijah Meeks, captured from https://dhs.stanford.edu/visualization/robert-creeley-e-mail-correspodence-network/.[/caption]\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\nhttp://vimeo.com/6694353\r\n<div class=\"wp-caption-text\" style=\"text-align: left;\">Video 2. Visible Archive Series Browser, Mitchell Whitelaw. 2012.</div>\r\nWhat distinguishes these projects from archival representations of old is that context and meaning are not exclusively provided through descriptive, narrative details that precede an arrangement and location list, but instead through networks, inter-linkages, modeling, and content analysis. Users can move dynamically within a collection and laterally across collections. Search, query, and tools like topic modeling also allow the user to build their own patterns and hierarchies for discovery. In this view, archival description still plays a crucial role in providing information on what something is or how it came to be created, but no longer is the fonds or idea of original order the sole determinant of representation.\r\n\r\n<b>Conclusion</b>\r\n\r\nAs Luciana Duranti has noted, archival description “has been carried out or not carried out depending on specific needs and conditions, attitudes and requirements, and its products have consistently reflected the conceptions about archives held by the society of the time.” ((Duranti, “Origin and Development,” 53.)) In the physical world of items, folders, boxes, and shelves, the archive must be sorted, ordered, and stored sequentially in space. Those properties, along with social, cultural, and political attitudes have driven how archival arrangement and description are theorized and practiced. Indeed, description itself has always had to serve multiple purposes: to provide historical or biographical information, scope and content detail, physical location for retrieval, administrative information for ongoing management, and restrictions and material types governing use. In a sense, description itself is a compound object, tugged between the needs of physical arrangement, intellectual representation, and user expectation. The properties of digital records allow archivists to revisit that negotiation. At the same time, other qualities of digital information, like the forensic disk image, have the potential to preserve both a mechanical version of “order” as well as provenancial and contextual information that formerly were provided through description. File fixity, forensic imaging, directory manifests, and auto-generated metadata may all come to play a larger role in defining provenance.\r\n\r\nWe disrespect des fonds, then, not as an act of elimination or insubordination, but in order to bring other contextual relations to its same level of privilege. Consider it less a disrespect, perhaps, than a humbling; or, instead, consider it a reaffirmation that the multiplicity of meanings possible with digital records can be better realized through an ongoing interrogation of archival traditions of arrangement and description. In rethinking <i>respect des fonds</i>, we gain a better awareness of the extent to which the material affordances of paper records have had an undue influence on how we conceptualize and practice grouping and describing collections. Bits, however, are fundamentally different at the material and symbolic levels. The use of digital objects is different as well, influenced by computational processing, algorithmic query, automation, and dynamism, not to mention social conditions, user expectations, technology dependencies, storage requirements, and a host of other characteristics of how we create and use technology.\r\n\r\nParallels and bonds, series and topics, models and paradigms; at times these concepts have collided and resulted in a seeming antagonism between ideas like original order and random access, historical contingency and abstract principle, finding aid and dynamic query. But there have been similarities too: how the tension between record and representation mirrors that of inscription and screen; and how the component nature of digital objects resembles the component purpose of traditional archival description. To entrench methods of arrangement and description borne of the qualities of physical collections is to disregard the potential expansion of context that digital information can support. In recognizing how historically and socially contingent traditional practices (and the theories spawning those practices) were, we better recognize their potential dysfunction in a time of born-digital records. This is not to say that we should discard the idea of the fonds or the utility of original order, but perhaps it is time to revoke their privileged place in archival discourse and revisit the true goals of arrangement and description in light of the capabilities of digital records. Maybe then we can begin to understand what is possible when we think of collections as mutually contextual and interrelated instead of cloistered and static. And perhaps then other bonds, other parallels, other contexts, meanings, and interpretations can receive the same amount of respect that we have, for too long now, granted the fonds.\r\n\r\n&nbsp;\r\n\r\nWikipedia articles created as part of this work:\r\n\r\nRespect des fonds: <a href=\"http://en.wikipedia.org/wiki/Respect_des_fonds\">http://en.wikipedia.org/wiki/Respect_des_fonds</a>\r\n\r\nOriginal Order: <a href=\"http://en.wikipedia.org/wiki/Original_order\">http://en.wikipedia.org/wiki/Original_order</a>\r\n\r\nArchival Bond: <a href=\"http://en.wikipedia.org/wiki/Archival_bond\">http://en.wikipedia.org/wiki/Archival_bond</a>','Disrespect des Fonds: Rethinking Arrangement and Description in Born-Digital Archives','','inherit','open','open','','4722-revision-39','','','2013-07-01 02:33:37','2013-07-01 02:33:37','',4722,'http://dev.archivejournal.net/issue//uncategorized/4722-revision-39/',0,'revision','',0),(4442,1,'2013-05-08 01:30:28','2013-05-08 01:30:28','A few years ago, I was an undergraduate in the archive. In a class called “Dead Media Research Studio” at New York University (NYU), Professor Ben Kafka introduced me to the great quip about the chiasmic imperative of good research: to “make the familiar strange and the strange familiar.” With this echoing in my ears, I found myself in the entrails of Bobst Library interviewing two preservation specialists about a small but intriguing collection of wire recordings. The recordings, I found out, were of rather unknown origins in the early 1950s and contained some controversial tirades against President Truman. Though certainly not an exhaustive archive, the recordings provided me with my first meaningful interaction with historical primary sources. And it was a rather lonely endeavor; the hallways leading to troves of under-researched sources were woefully empty compared to the bustling study lounges located just a few floors above.\r\n\r\nMy research on wire recordings ended up as part of a dossier (similar to the format and scope of a Wikipedia entry) I wrote with two classmates for the Dead Media Archive. Professors Ben Kafka and Alex Galloway had rescued this archive from its own ironic demise as an e-mail list created by Bruce Sterling to catalog and describe obsolete technologies. The new Dead Media Archive, technically a wiki platform for simultaneous publishing and editing, became the centerpiece for two classes in the Department of Media, Culture, &amp; Communication (one undergraduate and one graduate). The semester in which I took the class, there were barely ten students enrolled. It puzzled me a bit, since Professor Kafka announced on the first day what every undergraduate seems to dream of hearing: there would be no exams, no papers, and very little reading. Instead, we were to be immersed in the city’s archives for a semester. Each student ended up producing three dossiers for the archive. In addition to one on wire recording, I also wrote an entry on spirit photography, a popular turn-of-the-century practice of “capturing” ghosts on film, which was accompanied by the rise of Spiritualism. A sizeable portion of my hard drive is still taken up by copies of the microform proceedings of the 1869 trial against William Mumler, a New York City spirit photographer accused of fraud (see Figure 1). My final dossier presented a more argumentative take on the “death” of media by cataloging marginalia, the scribbles in a text’s margins, as obsolete relics of a technological paradigm.<span class=\"caption right\" style=\"width: 200px; padding-left: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig1.png\"><img class=\"size-medium wp-image-2331 alignright\" style=\"margin-bottom: 10px;\" title=\"gotkin_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/gotkin_fig1-193x250.png\" alt=\"Figure 1\" width=\"193\" height=\"250\" /></a>Figure 1: Microform copy of the proceedings of a 1869 court case against spirit photographer William Mumler.</span>\r\n\r\nBefore arriving at NYU, I would have scoffed at the idea of studying media history. There was much sighing on my first day in the required “History of Communication” course; I imagined, like many fellow undergraduates, that a degree in media studies would help me land a job in New York’s radio, television, or film industries. History, for us, was a roadblock in the path to careers less concerned with the past than with the frenetic present. The thrill of finding primary sources changed my mind. In the archive, I realized the opportunity to conduct original research. The excitement of archival work is shared by undergraduates, graduate students, and faculty alike; it is the thrill of finding something that has not been thought about enough, and then working hard enough to make it both familiar and strange.','Undergraduates in the Archives - Gotkin 1','','inherit','open','open','','1528-revision-11','','','2013-05-08 01:30:28','2013-05-08 01:30:28','',1528,'http://dev.archivejournal.net/issue//uncategorized/1528-revision-11/',0,'revision','',0),(1018,13,'2012-02-11 00:16:06','2012-02-11 00:16:06','Matthew Saunders worked on the image below. His work on it is now part of the Southeast Tennessee Digital Archive (SETDA). You can find the whole archive <a href=\"http://www.clevelandstatecc.edu/setda/\" target=\"_blank\">here</a>, and the items Saunders contributed <a href=\"http://csccdigital.cdmhost.com/cdm/singleitem/collection/p4024coll8/id/216\" target=\"_blank\">here</a>.\r\n\r\n[caption id=\"attachment_1368\" align=\"aligncenter\" width=\"232\"]<img class=\"wp-image-1368 \" title=\"cscc_student work_sample material\" alt=\"Image of James A. Bible (c. 1860) from the Ramsey Family Papers (MS 81).\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-work_sample-material.jpg\" width=\"232\" height=\"384\" /> Image of James A. Bible (c. 1860) from the Ramsey Family Papers (MS 81). Used by permission of Cleveland Public Library.[/caption]','History Lab: Combining Service Learning, Research Methods, and Digital Archives','This case study features the work of a student who took History Lab, an introductory history and service-learning course at Cleveland State Community College (CSCC). He researched individual items from a local cultural heritage organization that were then digitized, described, and published online in the <a href=\"http://www.clevelandstatecc.edu/setda/\" target=\"_blank\">Southeast Tennessee Digital Archive</a> (SETDA). ','publish','open','open','','history-lab','','','2013-06-10 00:57:25','2013-06-10 00:57:25','',0,'http://www.archivejournal.net/?p=1018',66,'post','',0),(1020,13,'2012-02-11 00:21:24','2012-02-11 00:21:24','<em>1.  How many students worked at the History Branch and Archives of the Cleveland Bradley County Library?</em>\r\nTwo students worked at the History Branch one evening a week for a set number of weeks.\r\n\r\n<em>2.  Will you work with History Lab students again?</em>\r\nCertainly. The students were polite, reliable, diligent in their work, and followed directions with little supervision.\r\n<strong></strong>\r\n\r\n<em>3.  What did you find most productive or enjoyable about the process of working with the students?</em>\r\nIt was rewarding to see the students’ progress from novice researchers to becoming confident in their work. Along the way their project changed from a class assignment to one of discovery. They became excited and interested in their subject and <em>wanted</em> to expand the scope of their work through additional research.\r\n<strong></strong>\r\n\r\n<em>4.  How has the students’ work impacted the History Branch and its collections?</em>\r\n<ul>\r\n	<li>The additional research done by the students will be available to all of the library’s patrons.</li>\r\n	<li>Students have given presentations on their research to the Bradley County Historical and Genealogical Society.</li>\r\n	<li>Observing the students as they worked with the photograph collection helped me to be more aware of the type of material that captures a new researcher’s attention.</li>\r\n</ul>','Barbara Fagen','','publish','open','open','','barbara-fagen-commentary','','','2013-07-08 17:30:20','2013-07-08 17:30:20','',0,'http://www.archivejournal.net/?p=1020',65,'post','',0),(1027,13,'2012-02-11 00:24:17','2012-02-11 00:24:17','Cleveland State Community College (CSCC), a small two-year college in southeast Tennessee, offers freshman and sophomore students a service-learning course as an introduction to research in archives. In this course, the History Laboratory students assist local cultural heritage institutions with digitizing collections and publishing them on the web. As of spring 2012, students have completed service-learning hours at the Cleveland Bradley County Public Library History Branch, the Museum Center at 5ive Points, and the Polk County Historical and Genealogical Society Library. These local archives and museums benefit from increased access to their collections, while CSCC history students gain experience with handling and researching primary sources.\r\n\r\nSeveral developments led the Department of History and the Library to collaborate on the creation of the History Laboratory. The college’s administrators recently encouraged instructors of every discipline, including the humanities, to develop content-appropriate service-learning courses to promote student engagement. Moreover, the history curriculum at CSCC emphasizes the central role of primary sources in historical analysis, even in research projects assigned in introductory courses. A history instructor, Bryan Reed, realized that his students could access a rich learning experience if they contributed to a regional digitization project, the <a href=\" http://www.clevelandstatecc.edu/setda/\">Southeast Tennessee Digital Archive</a>. Thus, Reed and I developed a service-learning history course where students assist local archives, museums, and historical societies that lack staff to digitize their collections.\r\n\r\nAs the primary instructor, I oversee the classroom content of the course, which is informed by my training in both history and information science (MA, History; MS, Information Science). The historian’s need to understand primary sources, where they are found and how they are curated, shapes the goal of the course. Information science, including the philosophy of archives, digitization, and creating metadata, shapes the course activities. Reed serves as the local history expert, assisting students with research in obscure local publications.\r\n\r\nBecause the History Laboratory’s target audience is freshman and sophomore history majors, the course is very basic. The primary goal is to expose students to the cultural heritage institution’s role as curator of artifacts. At the archive I introduce students to the archivist, collections, finding aids, and additional tools for discovering information about a collection. After this introduction to cultural heritage institutions, we discuss the historian’s role as interpreter of artifacts. This discussion is often the students’ initiation to the “historian’s craft”: assembling a narrative, interpreting facts, and determining significance.\r\n\r\nThe learning outcomes for the History Laboratory are similarly basic. By the end of the course, we expect students to demonstrate appropriate handling of unique historical materials, to create digital surrogates of assigned primary documents, to research these primary documents using relevant resources (in paper and electronic formats), and to organize and present their findings in the Southeast Tennessee Digital Archive (SETDA) using a simple content management system (CONTENTdm). The last learning outcome, creating and entering metadata, may seem out of place in a history course. Nevertheless, we felt it was essential for students to complete this step; it gives them the opportunity to digest their research, consider their audience, and share their findings. This process empowers students to take on the role of expert.\r\n\r\nAfter two pilot semesters, the History Laboratory is now an officially sanctioned course in the history curriculum at Cleveland State Community College. Former students have indicated that the course was a valuable first introduction to archives and their importance to historical research. In the future, we look forward to requiring this service-learning experience for all CSCC history majors. Although we believe that the History Laboratory offers an unparalleled initiation to archival research, we look forward to hearing whether our graduates’ experiences remain relevant as they continue their academic careers.','Sarah Shippy Copeland','Cleveland State Community College (CSCC), a small two-year college in southeast Tennessee, offers freshman and sophomore students a service-learning course as an introduction to research in archives. In this course, the History Laboratory students assist local cultural heritage institutions with digitizing collections and publishing them on the web. As of spring 2012, students have completed service-learning hours at the Cleveland Bradley County Public Library History Branch, the Museum Center at 5ive Points, and the Polk County Historical and Genealogical Society Library. These local archives and museums benefit from increased access to their collections, while CSCC history students gain experience with handling and researching primary sources.','publish','open','open','','sarah-shippy-copeland-commentary','','','2013-07-08 17:29:12','2013-07-08 17:29:12','',0,'http://www.archivejournal.net/?p=1027',64,'post','',0),(1031,13,'2012-02-11 00:26:21','2012-02-11 00:26:21','<center><strong>HIST 2802 – HISTORY LABORATORY</strong>\r\nSpring 2011\r\n1 semester-hour credit\r\nIndependent Study/Service-Learning Experience</center>&nbsp;\r\n\r\n<strong>INSTRUCTORS</strong>\r\n\r\nSarah Copeland, Records Catalog Coordinator\r\nBryan Reed, Associate Professor of History\r\n\r\n<strong>COURSE DESCRIPTION</strong>\r\n\r\nThis course allows students to be involved in a service learning experience at an area museum, archive, historical society, or other historical collection. The course is designed to expose students to the practice of researching, digitizing, and preserving historical artifacts. Students will complete 20 hours of service during the semester. (Co-requisite: HIST 2010, 2020, or 2030)\r\n\r\n<strong>LEARNING OUTCOMES</strong>\r\n<ol>\r\n	<li>demonstrate appropriate handling of unique historical materials</li>\r\n	<li>describe the public role of institutions charged with preserving historical materials</li>\r\n	<li>create digital versions of historical documents using best practices</li>\r\n	<li>describe digitized documents using the Dublin Core metadata scheme</li>\r\n	<li>publish newly digitized materials to the Southeast Tennessee Digital Archive (SETDA) using CONTENTdm, a tool for managing digital collections and publishing them on the world wide web</li>\r\n	<li>demonstrate critical thinking and reasoning</li>\r\n</ol>\r\n<strong>REFERENCED READINGS/RESOURCES</strong>\r\n<ol>\r\n	<li>“<a href=\"http://www.library.cornell.edu/preservation/tutorial/contents.html\">Digital Imaging Tutorial</a>,” Cornell University Library</li>\r\n	<li>“<a href=\"http://www.icpsr.umich.edu/dpm/dpm-eng/eng_index.html\">Digital Preservation Management Tutorial</a>,” Cornell University and the National Endowment for the Humanities</li>\r\n	<li>“<a href=\"http://digitalwa.statelib.wa.gov/newsite/best.htm\">Digital Best Practices</a>,” Washington State Library</li>\r\n</ol>\r\n<strong>WHAT COUNTS TOWARD MY 20 “SERVICE LEARNING” HOURS?</strong>\r\n\r\nThere are four tasks that you will undertake in this course: (1) scanning documents, (2) researching the background of those documents, (3) turning your research into “description,” and (4) uploading your documents and description to the CONTENTdm database. Tasks 1 and 2 will count toward your 20 service learning hours. Tasks 3 and 4 are your homework.\r\n\r\n<strong>ASSESSMENTS</strong>\r\n\r\nLearning outcomes will be assessed through the following tools:\r\nStudent’s notebook (journal/log) = 100 points\r\nInstructor’s evaluation of research = 100 points\r\nOn-site supervisor’s evaluation = 100 points\r\nDigital submissions to SETDA = 100 points\r\n\r\nThere are 400 points possible in this course based upon the assessment tools. The grading scale is\r\nA = 360-400 points\r\nB = 320-359 points\r\nC = 280-319 points\r\nD = 240-279 points\r\nF = below 240 points\r\n\r\n<strong>JOURNAL/LOG</strong>\r\n\r\nStudents are required to maintain a notebook where they will log their scanning and research sessions and reflect on their service-learning experience. The notebook should also be used to keep research notes. Notebooks must be brought to every service learning session; entries must be recorded for the session attended. Each entry should include the date and time of both arrival and departure, followed by a thoughtful reflection of your experience. The following questions can help guide your journaling:\r\n<ul>\r\n	<li>How does what you are doing compare to your prior expectations?</li>\r\n	<li>What is the historical significance of the artifacts processed? How are they useful in our understanding of the past?</li>\r\n	<li>How does your work contribute to the institution where you are completing your service-learning hours? How does your work impact the community?</li>\r\n</ul>\r\nNotebooks will be collected for examination periodically during the semester. Students may elect to produce a blog with approval of the instructor at the beginning of the course.\r\n\r\n<strong>ON-SITE SUPERVISOR EVALUATION</strong>\r\n\r\nYour supervisor at the institution where you complete your service learning hours will submit an evaluation at the end of the semester. This evaluation will measure your performance in the following areas: professional conduct, quality of work, and contributive effort.\r\n\r\n<strong>DIGITAL SUBMISSIONS</strong>\r\n\r\nStudents will submit digitized images and descriptive metadata for publication in the Southeast Tennessee Digital Archive. These will be evaluated by the instructors before publication online, and students will receive feedback throughout the course as they contribute digital items. Students will identify the five digital submissions that represent their best work. Ms. Copeland will assess these five submissions according to the archival standards and preservation procedures covered in this class. (The same 5 submissions will be reviewed by Professor Reed for the quality of background research, as described below.) Each digital submission is worth 20 points and will be evaluated for digitization quality, descriptive accuracy, correct application of the tools in CONTENTdm, spelling, and grammar.\r\n\r\n<strong>INSTRUCTOR EVALUATION</strong>\r\n\r\nProfessor Reed will evaluate the quality of your research at the end of the semester. This evaluation will be based on the five digital submissions that represent your best work. (The same 5 submissions will be reviewed by Ms. Copeland, as described above.) Each digital submission is worth 20 points and will be evaluated for quality and integration of source material, historical interpretation, descriptive accuracy, and spelling/grammar.\r\n\r\n<strong>ATTENDANCE</strong>\r\n\r\nEach student is expected to attend and be on time for each training and service learning session. Because of the nature of this course, attendance is critical for preparing for and executing the service learning. More than one unexcused absence from a scheduled training of a service learning session will have a significant adverse effect on your evaluation. Failure to complete the obligations of your service learning assignment in a timely and professional manner will cause substantial deductions from your overall grade. If you cannot meet a scheduled session you must notify the institution and instructor(s) in advance. You are also responsible for rescheduling your missed session in consultation with your on-site supervisor.','CSCC - Project Syllabus','','publish','open','open','','cscc-project-syllabus','','','2013-05-22 03:26:44','2013-05-22 03:26:44','',0,'http://www.archivejournal.net/?p=1031',63,'post','',0),(1040,13,'2012-02-11 00:49:20','2012-02-11 00:49:20','[caption id=\"attachment_1367\" align=\"alignright\" width=\"333\"]<img class=\"size-medium wp-image-1367 \" title=\"cscc_student action photo_saunders\" alt=\"Matthew Saunders exploring the Ramsey Family Papers at the Cleveland Bradley County Library History Branch.\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-action-photo_saunders-333x250.jpg\" width=\"333\" height=\"250\" /> Matthew Saunders exploring the Ramsey Family Papers at the Cleveland Bradley County Library History Branch (CPLHB). Photo credit: Sarah Copeland.[/caption]\r\n\r\nI was one of the first students to take the History Laboratory class at Cleveland State Community College (CSCC). My previous experience during an extra-credit activity in a traditional history course initially sparked my interest. During an American history survey course, Mr. Reed, the CSCC instructor who founded the Southeast Tennessee Digital Archive (SETDA), offered students a chance to digitize historical photographs. He demonstrated how to research a photograph\'s history, starting with the limited information written on the back and clues within the picture itself. I was eager to enroll in a course that was dedicated to digitizing historical photographs.\r\n\r\nFew history majors would turn down the opportunity to go beyond lecture courses and work directly with historical documents, but I never expected a two-year college to offer me this opportunity. The History Laboratory allowed me to gain hands-on experience preserving important records of local history. Moreover, the History Lab transformed how I research. I had to learn to use a library because the most relevant research material was not accessible online. It took a while to get into the groove of picking up a book and reading through the text as opposed to using a search engine to gather information. Using physical books to research is an invaluable experience that I will take with me throughout my future courses and career.\r\n\r\nAnother new experience was the archiving section of the class, in which we digitized photographs and organized the research in a way that would be coherent on the SETDA website. As students, we are accustomed to elaborating and expanding upon our research to produce an essay. The archiving section of the course, instead, forced me to condense my findings into a few concise sentences. The term “metadata” was foreign to me before this class, so working my research into that format was not the easiest task. Entering metadata into ContentDM was a challenge. Nevertheless, this exercise has helped me to convey my thoughts more clearly in other classes.\r\n\r\nOverall, the History Laboratory was a great experience. I had wanted to add some constructive criticism, but after reflecting on my experience I cannot think of any suggestions. The instructors were terrific and the course of study was refreshing. I would recommend this course to history students or any student who is searching for an experience that goes beyond a classroom lecture.','Matthew E. Saunders','I was one of the first students to take the History Laboratory class at Cleveland State Community College (CSCC). My previous experience during an extra-credit activity in a traditional history course initially sparked my interest. During an American history survey course, Mr. Reed, the CSCC instructor who founded the Southeast Tennessee Digital Archive (SETDA), offered students a chance to digitize historical photographs. He demonstrated how to research a photograph\'s history, starting with the limited information written on the back and clues within the picture itself. I was eager to enroll in a course that was dedicated to digitizing historical photographs.','publish','open','open','','matthew-e-saunders-commentary','','','2013-07-08 17:28:30','2013-07-08 17:28:30','',0,'http://www.archivejournal.net/?p=1040',62,'post','',0),(4470,1,'2013-05-22 02:55:10','2013-05-22 02:55:10','[caption id=\"attachment_1367\" align=\"alignnone\" width=\"333\"]<img class=\"size-medium wp-image-1367 \" title=\"cscc_student action photo_saunders\" alt=\"Matthew Saunders exploring the Ramsey Family Papers at the Cleveland Bradley County Library History Branch.\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-action-photo_saunders-333x250.jpg\" width=\"333\" height=\"250\" /> Matthew Saunders exploring the Ramsey Family Papers at the Cleveland Bradley County Library History Branch (CPLHB). Photo credit: Sarah Copeland.[/caption]\r\n\r\nI was one of the first students to take the History Laboratory class at Cleveland State Community College (CSCC). My previous experience during an extra-credit activity in a traditional history course initially sparked my interest. During an American history survey course, Mr. Reed, the CSCC instructor who founded the Southeast Tennessee Digital Archive (SETDA), offered students a chance to digitize historical photographs. He demonstrated how to research a photograph\'s history, starting with the limited information written on the back and clues within the picture itself. I was eager to enroll in a course that was dedicated to digitizing historical photographs.\r\n\r\nFew history majors would turn down the opportunity to go beyond lecture courses and work directly with historical documents, but I never expected a two-year college to offer me this opportunity. The History Laboratory allowed me to gain hands-on experience preserving important records of local history. Moreover, the History Lab transformed how I research. I had to learn to use a library because the most relevant research material was not accessible online. It took a while to get into the groove of picking up a book and reading through the text as opposed to using a search engine to gather information. Using physical books to research is an invaluable experience that I will take with me throughout my future courses and career.\r\n\r\nAnother new experience was the archiving section of the class, in which we digitized photographs and organized the research in a way that would be coherent on the SETDA website. As students, we are accustomed to elaborating and expanding upon our research to produce an essay. The archiving section of the course, instead, forced me to condense my findings into a few concise sentences. The term “metadata” was foreign to me before this class, so working my research into that format was not the easiest task. Entering metadata into ContentDM was a challenge. Nevertheless, this exercise has helped me to convey my thoughts more clearly in other classes.\r\n\r\nOverall, the History Laboratory was a great experience. I had wanted to add some constructive criticism, but after reflecting on my experience I cannot think of any suggestions. The instructors were terrific and the course of study was refreshing. I would recommend this course to history students or any student who is searching for an experience that goes beyond a classroom lecture.','Matthew E. Saunders','I was one of the first students to take the History Laboratory class at Cleveland State Community College (CSCC). My previous experience during an extra-credit activity in a traditional history course initially sparked my interest. During an American history survey course, Mr. Reed, the CSCC instructor who founded the Southeast Tennessee Digital Archive (SETDA), offered students a chance to digitize historical photographs. He demonstrated how to research a photograph\'s history, starting with the limited information written on the back and clues within the picture itself. I was eager to enroll in a course that was dedicated to digitizing historical photographs.','inherit','open','open','','1040-revision-7','','','2013-05-22 02:55:10','2013-05-22 02:55:10','',1040,'http://dev.archivejournal.net/issue//uncategorized/1040-revision-7/',0,'revision','',0),(1047,13,'2012-02-11 01:02:24','2012-02-11 01:02:24','This case study features work that two students completed in an English class at Goucher College. The course, The Archeology of Text, offers students an understanding of the social and historical frameworks for the production and consumption of text, beginning with the digital age and moving backwards in time. Students are also trained in bibliographic research skills, which they apply to objects in Goucher’s Special Collections library. These objects then become the subjects of a research paper that serves as the final course project.','Hands-On Research with Rare Books and Ephemera','This case study features work that two students completed in an English class at Goucher College. The course, The Archeology of Text, offers students an understanding of the social and historical frameworks for the production and consumption of text, beginning with the digital age and moving backwards in time. Students are also trained in bibliographic research skills, which they apply to objects in Goucher’s Special Collections library. These objects then become the subjects of a research paper that serves as the final course project.','publish','open','open','','hands-on-research','','','2013-05-22 02:57:09','2013-05-22 02:57:09','',0,'http://www.archivejournal.net/?p=1047',61,'post','',0),(1049,13,'2012-02-11 01:05:01','2012-02-11 01:05:01','Students prepare for English 241: Archeology of Text research projects in twelve weeks of readings and laboratory experiences, which introduce the skills necessary to work with early printed books and archival documents. (For the text of the assignment, see <a href=\"http://faculty.goucher.edu/eng241/241_individual_research_projects_F09.htm\" target=\"_blank\">here</a>). The goal of these projects is to enable each student to pursue a self-designed creative or descriptive study of books, manuscripts, and other artifacts from Special Collections and Archives. Because the course is interdisciplinary and students come from many majors, it is hard to predict where students’ curiosities will take them. The best way to encourage active student engagement is to prepare students for the widest range of book- and document-related work. Successful projects can lead to further research supported by Goucher’s Peirce Center fellowships.\r\n\r\nBeginning with the study of how a digital document is constructed and the history of the Internet’s “cloud” library, students practice searching online scholarly sites such as the <em>Oxford English Dictionary</em> (OED), WorldCat, <em>English Short-Title Catalog</em> (ESTC), and the continental library collections accessible through the University of Karlsruhe’s online catalog. They also explore using search engines and databases to identify and locate people, places, and things. Those skills provide interpretive context for hand-press books in the course’s next segment. After three weeks of studying typography, format, bindings, and hand-made paper and its manufacture, students have learned the most basic descriptive bibliography skills. This enables them to describe the edition-specific and copy-specific details of their “cadaver books,” a set of early printed books they handle each week to encourage safe and intelligent treatment of early paper and bindings. Finally, paper and parchment manuscript laboratories teach students to decipher secretary and scribal hands from the nineteenth through the thirteenth centuries. This enables them to interpret marginalia in early printed books, including owners’ inscriptions and other provenance and use evidence.\r\n\r\nSarah Kendall’s study of the Burke Austen Collection’s copy of the two-volume American first edition of Jane Austen’s <em>Emma</em> (Philadelphia: M. Carey; for sale by Wells &amp; Lilly, Boston, 1816) represents a creative response to traditional rare-book provenance study, resulting in her discovery of a significant trove of correspondence in the book’s archival container. Before Alberta Burke brought the book to Baltimore, it had passed through the hands of Christina Broun Dalhousie (the Countess Dalhousie); a prominent collector, Frank J. Hogan; and a poet, Siegfried Sassoon. Kendall’s study demonstrates the way a book’s value changes as it moves from owner to owner, becoming as attractive for its associations and rarity as it is for its text. An archives-based approach to using the course’s analytical tools is represented by Cassie Brand’s study of U.S. Naval Academy dance cards found in the scrapbook kept by Goucher student Mary Lee Keith (Class of 1924), augmented by research at The Nimitz Library in Annapolis. Brand showed how the cards could be used to study crucial changes in American courtship conventions as women took control of their relations with potential suitors.\r\n\r\nThese two projects represent the course’s goal: to enable original, undergraduate, hands-on archival research using interdisciplinary skills:\r\n<ul>\r\n	<li>See images from <a href=\"http://faculty.goucher.edu/eng241/cassie_brand_IRP_imaging_Fall%202007.htm\" target=\"_blank\">Brand’s dance card project</a>.</li>\r\n	<li>See a portfolio of images of the <a href=\"http://faculty.goucher.edu/eng241/English_241_IRP_Images_F07.htm\" target=\"_blank\">2007 class researching final projects</a>.</li>\r\n</ul>','Arnold Sanders','Students prepare for English 241, “Archeology of Text,” research projects in twelve weeks of readings and laboratory experiences which introduce skills necessary to work with early printed books and archival documents. The goal of these projects is to enable each student to pursue a self-designed creative or descriptive study of books, manuscripts, and other artifacts from Special Collections and Archives. Because the course is interdisciplinary and students come from many majors, it is hard to predict where students’ curiosities will take them. The best way to encourage active student engagement is prepare students for the widest range of book and document related work. Successful projects can lead to further research supported by Goucher’s Peirce Center fellowships.','publish','open','open','','arnold-sanders-commentary','','','2013-07-08 17:10:30','2013-07-08 17:10:30','',0,'http://www.archivejournal.net/?p=1049',60,'post','',0),(4464,1,'2013-05-22 02:38:41','2013-05-22 02:38:41','Students prepare for English 241: Archeology of Text research projects in twelve weeks of readings and laboratory experiences, which introduce the skills necessary to work with early printed books and archival documents. (For the text of the assignment, see <a href=\"http://faculty.goucher.edu/eng241/241_individual_research_projects_F09.htm\" target=\"_blank\">here</a>). The goal of these projects is to enable each student to pursue a self-designed creative or descriptive study of books, manuscripts, and other artifacts from Special Collections and Archives. Because the course is interdisciplinary and students come from many majors, it is hard to predict where students’ curiosities will take them. The best way to encourage active student engagement is to prepare students for the widest range of book- and document-related work. Successful projects can lead to further research supported by Goucher’s Peirce Center fellowships.\r\n\r\nBeginning with the study of how a digital document is constructed and the history of the Internet’s “cloud” library, students practice searching online scholarly sites such as the <em>Oxford English Dictionary</em> (OED), WorldCat, <em>English Short-Title Catalog</em> (ESTC), and the continental library collections accessible through the University of Karlsruhe’s online catalog. They also explore using search engines and databases to identify and locate people, places, and things. Those skills provide interpretive context for hand-press books in the course’s next segment. After three weeks of studying typography, format, bindings, and hand-made paper and its manufacture, students have learned the most basic descriptive bibliography skills. This enables them to describe the edition-specific and copy-specific details of their “cadaver books,” a set of early printed books they handle each week to encourage safe and intelligent treatment of early paper and bindings. Finally, paper and parchment manuscript laboratories teach students to decipher secretary and scribal hands from the nineteenth through the thirteenth centuries. This enables them to interpret marginalia in early printed books, including owners’ inscriptions and other provenance and use evidence.\r\n\r\nSarah Kendall’s study of the Burke Austen Collection’s copy of the two-volume American first edition of Jane Austen’s <em>Emma</em> (Philadelphia: M. Carey; for sale by Wells &amp; Lilly, Boston, 1816) represents a creative response to traditional rare-book provenance study, resulting in her discovery of a significant trove of correspondence in the book’s archival container. Before Alberta Burke brought the book to Baltimore, it had passed through the hands of Christina Broun Dalhousie (the Countess Dalhousie); a prominent collector, Frank J. Hogan; and a poet, Siegfried Sassoon. Kendall’s study demonstrates the way a book’s value changes as it moves from owner to owner, becoming as attractive for its associations and rarity as it is for its text. An archives-based approach to using the course’s analytical tools is represented by Cassie Brand’s study of U.S. Naval Academy dance cards found in the scrapbook kept by Goucher student Mary Lee Keith (Class of 1924), augmented by research at The Nimitz Library in Annapolis. Brand showed how the cards could be used to study crucial changes in American courtship conventions as women took control of their relations with potential suitors.\r\n\r\nThese two projects represent the course’s goal: to enable original, undergraduate, hands-on archival research using interdisciplinary skills:\r\n<ul>\r\n	<li>See images from <a href=\"http://faculty.goucher.edu/eng241/cassie_brand_IRP_imaging_Fall%202007.htm\" target=\"_blank\">Brand’s dance card project</a>.</li>\r\n	<li>See a portfolio of images of the <a href=\"http://faculty.goucher.edu/eng241/English_241_IRP_Images_F07.htm\" target=\"_blank\">2007 class researching final projects</a>.</li>\r\n</ul>','Arnold Sanders','Students prepare for English 241, “Archeology of Text,” research projects in twelve weeks of readings and laboratory experiences which introduce skills necessary to work with early printed books and archival documents. The goal of these projects is to enable each student to pursue a self-designed creative or descriptive study of books, manuscripts, and other artifacts from Special Collections and Archives. Because the course is interdisciplinary and students come from many majors, it is hard to predict where students’ curiosities will take them. The best way to encourage active student engagement is prepare students for the widest range of book and document related work. Successful projects can lead to further research supported by Goucher’s Peirce Center fellowships.','inherit','open','open','','1049-revision-9','','','2013-05-22 02:38:41','2013-05-22 02:38:41','',1049,'http://dev.archivejournal.net/issue//uncategorized/1049-revision-9/',0,'revision','',0),(1051,13,'2012-02-11 01:06:36','2012-02-11 01:06:36','When I heard about English 241: Archeology of Text, I was immediately excited. I had been working in Special Collections and Archives at Goucher College for about a year, and I knew the class would give me a chance to learn more about books and archives in a setting that would encourage discussions with my peers. When it came time to pick a collection for my final project, I decided to work with archival materials rather than books so that I could challenge myself.\r\n\r\nWhile working in Special Collections, I had often walked by large blue boxes containing scrapbooks, but I had yet to look through them. When I began leafing through them, I found that I learned as much about Goucher College as I did about the women who put the scrapbooks together. Many of the scrapbooks had things in common, including Valentines, pressed flowers, calling cards, and photographs. But what intrigued me most were the dance cards. I had never before encountered dance cards, or even heard of them, even though I had been dancing all my life. Many of the dance cards were from the U.S. Naval Academy, a nearby all-male school in need of women with whom to dance. Goucher girls would often travel to Annapolis for the weekend dances and bring back dance cards as souvenirs.\r\n\r\n[caption id=\"attachment_1275\" align=\"alignright\" width=\"510\"]<img class=\"wp-image-1275 \" title=\"goucher_student action photo_brand\" alt=\"Cassie Brand working in the former Rare Book Collection Seminar Room \" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-action-photo_brand.jpg\" width=\"510\" height=\"382\" /> Cassie Brand working in the former Rare Book Collection Seminar Room (December 2007) with an early Chaucer edition from Special Collections (Ed. John Urry, London: Printed for Bernard Lintot, 1721).[/caption]\r\n\r\nWhen I began researching these cards, I found very little information. I went to all of the reference librarians I could find, but even they had difficulties because very few secondary sources were available. I looked through all the etiquette books I could get my hands on and even asked people to tell me what they knew about dance cards. Those who knew of them provided me with the basic information I needed to study the cards.\r\n\r\nI contacted the U.S. Naval Academy Archives, and with the help of Nancy Magnuson, Goucher College Librarian, I made an appointment to see their collection. There I found an almost complete run of dance cards from the Farewell Ball, which was held every year after graduation. Some were blank, some were filled in, some contained photographs, and some still had their tiny pencils attached. Looking through the cards, I found that they could be studied in several ways. One could examine print history, dance history, social history, or even one woman’s history of dance partners. The first and last dance cards were so drastically different that I chose to look at how the cards changed over the years. I found that the cards’ modifications reflected the changes in social dances.\r\n\r\nThough I have not yet returned to the dance card collections to study them further, they have never been far from my mind. I am still trying to convince people that dance cards are brilliant and should be reinstated for social events. Dance cards remain an interest of mine, and I would love to eventually write their complete history.','Cassie Brand','When I heard about English 241: Archeology of Text, I was immediately excited. I had been working in Special Collections and Archives at Goucher College for about a year, and I knew the class would give me a chance to learn more about books and archives in a setting that would encourage discussions with my peers. When it came time to pick a collection for my final project, I decided to work with archival materials rather than books so that I could challenge myself.','publish','open','open','','cassie-brand-commentary','','','2013-07-08 17:11:11','2013-07-08 17:11:11','',0,'http://www.archivejournal.net/?p=1051',59,'post','',0),(1053,13,'2012-02-11 01:07:53','2012-02-11 01:07:53','As an undergraduate English major with a concentration in creative writing, I had always regarded books as a portal into the world of fiction, a place where I could study plots and themes, setting and syntax. I had never stopped to consider books as historical objects until my first class in English 241: Archeology of Text. The assignment for the final research paper seemed simple: use what we learned during the semester to explore, analyze, and describe a document of interest from Goucher’s Special Collections.\r\n\r\nI knew from the start that I was intrigued by Goucher’s prolific collection of Jane Austen materials, but needed something specific to spark my interest. Walking around the small Special Collections room in the Julia Rogers Library, my gaze landed on a blue box behind a glass case. I soon learned that inside that box lay the first American edition of <em>Emma</em> (Philadelphia: M. Carey; for sale by Wells &amp; Lilly, Boston, 1816).  Nancy Magnuson, college librarian, told me all about Alberta Burke’s letters and thought that they might contain clues for my research. I have always been fascinated with letters (both reading and writing them), and the process of tracking a specific book through personal correspondences captivated me. I chose to study the 1816 first American edition of <em>Emma</em> and explore the letters that track how it found a home in Goucher’s library.\r\n\r\n[caption id=\"attachment_1273\" align=\"alignright\" width=\"320\"]<img class=\"size-full wp-image-1273 \" title=\"goucher_student action photo_kendall\" alt=\"Sarah Kendall working with the Burke copy of the American first edition of Austen\'s Emma\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-action-photo_kendall.jpg\" width=\"320\" height=\"375\" /> Sarah Kendall working with the Burke copy of the American first edition of Austen\'s Emma (Philadelphia: M. Carey; for sale by Wells &amp; Lilly, Boston, 1816) in the former Rare Book Collection Seminar Room (December 2007).[/caption]\r\n\r\nI remain baffled by the amount of information and detailed history I discovered while writing a descriptive bibliography. I wrote detailed accounts of the letters from Alberta Burke and David Gilson, the letters between David Gilson and Henry Burke, and the 1816 first edition of <em>Emma</em>. After seeing the interest that both Alberta Burke and David Gilson had in the first American edition of <em>Emma</em>, I knew that perusing the pages and studying the tome in detail would be essential to revealing the book’s history. Sifting through dozens of letters hoping to find mention of <em>Emma</em> thrilled me to no end. Reading different letters from various sources also illuminated how various people valued the first edition and why they wanted it in their possession. The circuit of corresponding materials proved equally intriguing and helpful for tracking down how the book traveled from Philadelphia to Goucher’s library.\r\n\r\nI learned that by latching on to a specific topic, I could follow a steady thread of conversation about <em>Emma</em>. The experience made me feel like a genuine historian instead of an undergraduate student simply researching journal articles or internet resources. It felt very special and intellectually stimulating to handle history with my own hands! I even discovered two additional letters hidden between the inside cover and the title page of the first volume. Unearthing these two letters felt very encouraging and proved that there is always the possibility of finding something new within the archives.','Sarah Kendall','As an undergraduate English major with a concentration in creative writing, I had always regarded books as a portal into the world of fiction, a place where I could study plots and themes, setting and syntax. I had never stopped to consider books as historical objects until my first class in English 241: Archeology of Text. The assignment for the final research paper seemed simple: use what we learned during the semester to explore, analyze, and describe a document of interest from Goucher’s Special Collections.','publish','open','open','','sarah-kendall-commentary','','','2013-07-08 17:11:46','2013-07-08 17:11:46','',0,'http://www.archivejournal.net/?p=1053',58,'post','',0),(1057,13,'2012-02-11 01:20:13','2012-02-11 01:20:13','The student work for this case study is two archival tools designed by Tom Smith:  a low-cost robotic scanner for paper-based materials and a web application for an oral history archive.  Click on the images below to learn more about these tools.\r\n<a href=\"http://projectgado.org/\"><img class=\"size-full wp-image-1258\" title=\"jhu_student project photo 1_gado\" alt=\"The Gado 2 Robotic Scanner scanning photos at the Afro-American Newspapers archive.\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_student-project-photo-1_gado.jpg\" width=\"638\" height=\"478\" /></a> <span class=\"caption\">The Gado 2 Robotic Scanner scanning photos at the <em>Afro-American Newspapers</em> archive.</span>\r\n\r\n<a href=\"http://eboh.jhu.edu/oralhistoryplayer\"><img class=\" wp-image-2451\" style=\"margin-top: 30px;\" title=\"jhu_student project photo 2_eboh\" alt=\"The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/09/jhu_student-project-photo-2_eboh.jpg\" width=\"630\" /></a> <span class=\"caption\">The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.</span>','Student-Built Archival Tools','This case study focuses on a student who contributed much more than expected to digital projects by creating two archival tools: a web application for an oral history archive and a low-cost robotic scanner for paper-based materials. In a practicum course at Johns Hopkins University, Tom Smith and his peers worked on recording and organizing oral histories. Smith also developed an audio player for the digital archive. This work brought him in contact with the <a href=\"http://archive.magazine.jhu.edu/2011/11/unboxing-history\">Diaspora Pathways Archival Access Project</a> (DPAAP) and led Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>. This powerful, durable robotic scanner digitizes sensitive archival materials and can be built using simple components for less than $500.','publish','open','open','','student-built-archival-tools','','','2013-05-22 03:06:40','2013-05-22 03:06:40','',0,'http://www.archivejournal.net/?p=1057',57,'post','',0),(1059,13,'2012-02-11 01:21:29','2012-02-11 01:21:29','When people think of Johns Hopkins University they think of medicine, and rightly so. JHU prepares people for medical school better than any college in the world. The medical attitude, however, extends beyond the bounded world of pre-meds. Hopkins often values the reductionism of the scientific method and the cleanliness of the lab over holism and real-world, big-picture thinking. In looking for classes during my sophomore year at JHU, then, I was surprised to find The Power of Place taught by Melanie Shell-Weiss. The course was a practicum, and all participants would conduct oral histories as part of the East Baltimore Oral History Project (EBOH). This was a rare chance to get out of the infamous “Hopkins Bubble.” I signed up.\r\n\r\nDuring Power of Place I helped produce several oral histories. As interviews flowed in, however, I began to see a problem. Each interview was around two hours long and included a full transcript. From my class alone, the project would amass nearly thirty hours of audio and several hundred pages of text. Making use of those materials would be tough. As a software developer, I saw a solution. I imagined a tool that could link transcripts with audio, allow people to tag important areas within interviews, and make all the EBOH materials searchable. With support from the university, I spent the next year working with Professor Shell-Weiss to make my idea into a working web application.\r\n\r\nWhile working on EBOH, I started visiting archives. I could find few digital images of East Baltimore, and I wanted to know why. On a trip to the <em>Afro-American Newspapers</em> with Moira Hinderer, I found a plethora of visual materials. Very few, however, had been digitized. The main factor was cost; resources to manually digitize the <em>Afro</em> collection simply were not available. Again, I saw a technical solution: I would build a robot. I proposed creating an automatic scanner that could lift and digitize the <em>Afro</em>’s sensitive artifacts, all for less than $500. No one at JHU thought it would happen. Luckily, Professor Shell-Weiss managed to raise some funds, and I spent a summer prototyping. The result was the Gado 1, a proof-of-concept that would later scan over 1,000 images at the <em>Afro</em>. The price tag was $496.\r\n\r\nAfter graduating from JHU in May 2011, I wanted to continue refining my technology. With support from the JHU Sheridan Libraries and the Abell Foundation (a regional grantsmaker), I secured enough funding to work on my project full time. In December 2011, I completed the Gado 2, a second-generation machine that dramatically outpaces the original. Since testing began, my machine has digitized over 3,000 artifacts at the <em>Afro</em>, at a tiny fraction of the cost of manual scanning. In February 2012, we made these images available to the general public and launched GadoImages.com to distribute them to paying licensors. I believe Gado has the potential to dramatically alter the economics of archival digitization. I would never be at this point without that first push to step outside the classroom and start thinking in broader terms.','Tom Smith','When people think of Johns Hopkins University they think of medicine, and rightly so. JHU prepares people for medical school better than any college in the world. The medical attitude, however, extends beyond the bounded world of pre-meds. Hopkins often values the reductionism of the scientific method and the cleanliness of the lab over holism and real-world, big-picture thinking. In looking for classes during my sophomore year at JHU, then, I was surprised to find The Power of Place taught by Melanie Shell-Weiss. The course was a practicum, and all participants would conduct oral histories as part of the East Baltimore Oral History Project (EBOH). This was a rare chance to get out of the infamous “Hopkins Bubble.” I signed up.','publish','open','open','','tom-smith-commentary','','','2013-07-08 17:24:48','2013-07-08 17:24:48','',0,'http://www.archivejournal.net/?p=1059',56,'post','',0),