(1064,13,'2012-02-11 01:24:09','2012-02-11 01:24:09','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 class=\"size-full wp-image-1253\" title=\"jhu_project photo_afro\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_project-photo_afro.jpg\" alt=\"\" width=\"638\" height=\"425\" /></a> <span class=\"caption\" style=\"margin-bottom: 30px;\">Unprocessed boxes of archival material, Baltimore <em>Afro-American Newspapers</em>, 2008.</span>\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','','publish','open','open','','afro-project-description','','\nhttp://magazine.jhu.edu/2011/11/unboxing-history/','2012-11-30 04:53:34','2012-11-30 04:53:34','',0,'http://www.archivejournal.net/?p=1064',54,'post','',0),(1065,13,'2012-02-11 01:23:52','2012-02-11 01:23:52','This case study focuses on two archival tools designed by Tom Smith, a Cognitive Science and Anthropology major who graduated in 2011: a web application for an oral history archive and a low-cost robotic scanner for paper-based materials.\n	\nIn 2008 Smith took a practicum course called “The Power of Place,” taught by Melanie Shell-Weiss through the Center for Africana Studies [link to http://krieger.jhu.edu/africana].  For the course, students recorded oral histories of residents of Baltimore\'s Middle East neighborhood for the East Baltimore Oral History Project (EBOH), which were later assembled into a digital audio archive [link to http://eboh.jhu.edu/oralhistoryplayer/].  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, he eventually built the player software featured on the project website.  The software that he developed is open source, so anyone can use it for the own collections without any license/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\nSmith’s research on practical archival problems brought him into contact with Moira Hinderer, the project manager for the Diaspora Pathways Archival Access Project (DPAAP), a partnership between the Baltimore Afro-American Newspapers and Johns Hopkins University [link to http://magazine.jhu.edu/2011/11/unboxing-history/].  DPAAP focuses on organizing and preserving the archives of the Afro Newspaper; they have worked on the newspapers’ morgue collections as well as personal papers and institutional records. [link to http://morgue.afro.com/AfroArchon/].  Hinderer, who is also a lecturer in the Center for Africana Studies at Johns Hopkins, teaches classes in which students work directly with the Afro’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 Afro prompted Smith to invent another tool: the Gado scanner [link to http://projectgado.org/].\n','Project Description','','inherit','open','open','','1064-revision','','','2012-02-11 01:23:52','2012-02-11 01:23:52','',1064,'http://www.archivejournal.net/2012/02/1064-revision/',0,'revision','',0),(1066,13,'2012-02-11 01:20:13','2012-02-11 01:20:13','','Student-Built Archival Tools','','inherit','open','open','','1057-revision-2','','','2012-02-11 01:20:13','2012-02-11 01:20:13','',1057,'http://www.archivejournal.net/2012/02/1057-revision-2/',0,'revision','',0),(1067,13,'2012-02-11 01:26:11','2012-02-11 01:26:11','','Student-Built Archival Tools','','inherit','open','open','','1057-revision-3','','','2012-02-11 01:26:11','2012-02-11 01:26:11','',1057,'http://www.archivejournal.net/2012/02/1057-revision-3/',0,'revision','',0),(1068,13,'2012-02-11 01:23:05','2012-02-11 01:23:05','Over the last four years, I have worked as a lecturer teaching courses about Baltimore and African American history, and I have also served as project manager for the Diaspora Pathways Archival Access Project (DPAAP), a partnership between Johns Hopkins University and the Afro-American Newspapers funded by the Andrew W. Mellon Foundation.  These experiences have shown me that students learn best when they are not simply taught history, but when they also act as historians. Baltimore offers both possibilities and challenges  for students doing historical projects.  Much of the city’s history remains unwritten, and historical materials are often tucked away in small archives and private homes.  Records that are not easily accessible present a special problem for students who are constrained by time and transportation.  Both the East Baltimore Oral History Project and the Afro Archives partnership seek to address these challenges by involving students in the process of uncovering, describing, and making accessible historical records, and then encouraging students to use these resources for historical research.  \r\nThe East Baltimore History Project involves students in the work of preserving the memories of established members of the East Baltimore community.  For students this work addresses a major complaint about life as a Johns Hopkins undergraduate—that students are too removed from the life of the city, and that students are not encouraged to interact with the city, and its inhabitants, in meaningful ways.  The interviewing process has the additional benefit of making students experts, allowing them to bring a substantive point of view and body of evidence as they critique course readings and engage in class discussions.  As interviews are added to the project website, students produce an accessible community history resource that will last well beyond the usual semester long class project.\r\nDPAAP also depends heavily on the work of student archival interns, and on the technical skills of the current and former students who form the Project Gado team led by recent Hopkins graduate Tom Smith.  Archival interns have been involved in every step of uncovering the archives, from labeling boxes and shelves, to entering information into our archival database, to writing essays for our database website.  This work has given interns a perspective on African American history usually reserved only for history professionals.  With materials pertaining to almost every local, national, and international aspect of Black history, interns are often asked to describe the central themes and narratives residing of this diverse archives.  This challenge requires them to address the problem of twentieth century information overload familiar to both historians and archivists.  The Project Gado team offers a different set of solutions to the problem of preserving and making accessible vast amounts of archival materials.  The members of Project Gado are involved in innovative work in the digital humanities as they create low-cost options for large scale digitization.  The work of Tom Smith and Project Gado suggests another possibility for hands-on coursework in history, courses that would integrate technical skills and the creation of hardware and software into a rigorous humanities education to prepare students to be 21st century humanities scholars.\r\n','Moira Hinderer','','inherit','open','open','','1062-revision-2','','','2012-02-11 01:23:05','2012-02-11 01:23:05','',1062,'http://www.archivejournal.net/2012/02/1062-revision-2/',0,'revision','',0),(1069,13,'2012-02-11 01:21:40','2012-02-11 01:21:40','	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, permeates 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	During 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 which 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 	While working on EBOH, I started visiting archives. I could find few digital images of East Baltimore, and I wanted to know why. On a visit to the Afro American Newspaper 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 Afro’s collection simply weren’t available. Again, I saw a technical solution. I would build a robot. I proposed creating an automatic scanner which could lift and digitize the Afro’s sensitive artifacts, all for less than $500. No one at JHU thought it would happen. Luckily, Professor Shell-Weiss managed to raise some small funds, and I spent a summer prototyping. The result was the Gado 1, a proof-of-concept which would later scan over 1,000 images at the Afro. The price tag? $496.\r\n	After 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 which dramatically outpaces the original. Since testing began, my machine has digitized over 3,000 artifacts at the Afro, at a tiny fraction of the cost of manual scanning. In February 2012, we will make these images available to the general public, and launch GadoImages.com in order to distribute them to paying licensors. I believe Gado has the potential to dramatically alter the economics of archival digitization. And I would never be at this point without that first push to step outside the classroom and start thinking in broader terms.\r\n','Tom Smith','','inherit','open','open','','1059-revision-3','','','2012-02-11 01:21:40','2012-02-11 01:21:40','',1059,'http://www.archivejournal.net/2012/02/1059-revision-3/',0,'revision','',0),(1070,13,'2012-02-11 01:27:31','2012-02-11 01:27:31','Over the last four years, I have worked as a lecturer teaching courses about Baltimore and African American history, and I have also served as project manager for the Diaspora Pathways Archival Access Project (DPAAP), a partnership between Johns Hopkins University and the Afro-American Newspapers funded by the Andrew W. Mellon Foundation.  These experiences have shown me that students learn best when they are not simply taught history, but when they also act as historians. Baltimore offers both possibilities and challenges  for students doing historical projects.  Much of the city’s history remains unwritten, and historical materials are often tucked away in small archives and private homes.  Records that are not easily accessible present a special problem for students who are constrained by time and transportation.  Both the East Baltimore Oral History Project and the Afro Archives partnership seek to address these challenges by involving students in the process of uncovering, describing, and making accessible historical records, and then encouraging students to use these resources for historical research.  \r\nThe East Baltimore History Project involves students in the work of preserving the memories of established members of the East Baltimore community.  For students this work addresses a major complaint about life as a Johns Hopkins undergraduate—that students are too removed from the life of the city, and that students are not encouraged to interact with the city, and its inhabitants, in meaningful ways.  The interviewing process has the additional benefit of making students experts, allowing them to bring a substantive point of view and body of evidence as they critique course readings and engage in class discussions.  As interviews are added to the project website, students produce an accessible community history resource that will last well beyond the usual semester long class project.\r\nDPAAP also depends heavily on the work of student archival interns, and on the technical skills of the current and former students who form the Project Gado team led by recent Hopkins graduate Tom Smith.  Archival interns have been involved in every step of uncovering the archives, from labeling boxes and shelves, to entering information into our archival database, to writing essays for our database website.  This work has given interns a perspective on African American history usually reserved only for history professionals.  With materials pertaining to almost every local, national, and international aspect of Black history, interns are often asked to describe the central themes and narratives residing of this diverse archives.  This challenge requires them to address the problem of twentieth century information overload familiar to both historians and archivists.  The Project Gado team offers a different set of solutions to the problem of preserving and making accessible vast amounts of archival materials.  The members of Project Gado are involved in innovative work in the digital humanities as they create low-cost options for large scale digitization.  The work of Tom Smith and Project Gado suggests another possibility for hands-on coursework in history, courses that would integrate technical skills and the creation of hardware and software into a rigorous humanities education to prepare students to be 21st century humanities scholars.\r\n','Moira Hinderer','','inherit','open','open','','1062-revision-3','','','2012-02-11 01:27:31','2012-02-11 01:27:31','',1062,'http://www.archivejournal.net/2012/02/1062-revision-3/',0,'revision','',0),(1071,13,'2012-02-11 01:24:09','2012-02-11 01:24:09','This case study focuses on two archival tools designed by Tom Smith, a Cognitive Science and Anthropology major who graduated in 2011: a web application for an oral history archive and a low-cost robotic scanner for paper-based materials.\r\n	\r\nIn 2008 Smith took a practicum course called “The Power of Place,” taught by Melanie Shell-Weiss through the Center for Africana Studies [link to http://krieger.jhu.edu/africana].  For the course, students recorded oral histories of residents of Baltimore\'s Middle East neighborhood for the East Baltimore Oral History Project (EBOH), which were later assembled into a digital audio archive [link to http://eboh.jhu.edu/oralhistoryplayer/].  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, he eventually built the player software featured on the project website.  The software that he developed is open source, so anyone can use it for the own collections without any license/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\nSmith’s research on practical archival problems brought him into contact with Moira Hinderer, the project manager for the Diaspora Pathways Archival Access Project (DPAAP), a partnership between the Baltimore Afro-American Newspapers and Johns Hopkins University [link to http://magazine.jhu.edu/2011/11/unboxing-history/].  DPAAP focuses on organizing and preserving the archives of the Afro Newspaper; they have worked on the newspapers’ morgue collections as well as personal papers and institutional records. [link to http://morgue.afro.com/AfroArchon/].  Hinderer, who is also a lecturer in the Center for Africana Studies at Johns Hopkins, teaches classes in which students work directly with the Afro’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 Afro prompted Smith to invent another tool: the Gado scanner [link to http://projectgado.org/].\r\n','Project Description','','inherit','open','open','','1064-revision-2','','','2012-02-11 01:24:09','2012-02-11 01:24:09','',1064,'http://www.archivejournal.net/2012/02/1064-revision-2/',0,'revision','',0),(1072,13,'2012-02-11 01:28:05','2012-02-11 01:28:05','Over the last four years, I have worked as a lecturer teaching courses about Baltimore and African American history, and I have also served as project manager for the Diaspora Pathways Archival Access Project (DPAAP), a partnership between Johns Hopkins University and the Afro-American Newspapers funded by the Andrew W. Mellon Foundation.  These experiences have shown me that students learn best when they are not simply taught history, but when they also act as historians. Baltimore offers both possibilities and challenges  for students doing historical projects.  Much of the city’s history remains unwritten, and historical materials are often tucked away in small archives and private homes.  Records that are not easily accessible present a special problem for students who are constrained by time and transportation.  Both the East Baltimore Oral History Project and the Afro Archives partnership seek to address these challenges by involving students in the process of uncovering, describing, and making accessible historical records, and then encouraging students to use these resources for historical research.  \r\nThe East Baltimore History Project involves students in the work of preserving the memories of established members of the East Baltimore community.  For students this work addresses a major complaint about life as a Johns Hopkins undergraduate—that students are too removed from the life of the city, and that students are not encouraged to interact with the city, and its inhabitants, in meaningful ways.  The interviewing process has the additional benefit of making students experts, allowing them to bring a substantive point of view and body of evidence as they critique course readings and engage in class discussions.  As interviews are added to the project website, students produce an accessible community history resource that will last well beyond the usual semester long class project.\r\nDPAAP also depends heavily on the work of student archival interns, and on the technical skills of the current and former students who form the Project Gado team led by recent Hopkins graduate Tom Smith.  Archival interns have been involved in every step of uncovering the archives, from labeling boxes and shelves, to entering information into our archival database, to writing essays for our database website.  This work has given interns a perspective on African American history usually reserved only for history professionals.  With materials pertaining to almost every local, national, and international aspect of Black history, interns are often asked to describe the central themes and narratives residing of this diverse archives.  This challenge requires them to address the problem of twentieth century information overload familiar to both historians and archivists.  The Project Gado team offers a different set of solutions to the problem of preserving and making accessible vast amounts of archival materials.  The members of Project Gado are involved in innovative work in the digital humanities as they create low-cost options for large scale digitization.  The work of Tom Smith and Project Gado suggests another possibility for hands-on coursework in history, courses that would integrate technical skills and the creation of hardware and software into a rigorous humanities education to prepare students to be 21st century humanities scholars.\r\n','Moira Hinderer','','inherit','open','open','','1062-revision-4','','','2012-02-11 01:28:05','2012-02-11 01:28:05','',1062,'http://www.archivejournal.net/2012/02/1062-revision-4/',0,'revision','',0),(1139,13,'2012-02-11 01:59:03','2012-02-11 01:59:03','	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, permeates 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	During 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 which 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 	While working on EBOH, I started visiting archives. I could find few digital images of East Baltimore, and I wanted to know why. On a visit to the Afro American Newspaper 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 Afro’s collection simply weren’t available. Again, I saw a technical solution. I would build a robot. I proposed creating an automatic scanner which could lift and digitize the Afro’s sensitive artifacts, all for less than $500. No one at JHU thought it would happen. Luckily, Professor Shell-Weiss managed to raise some small funds, and I spent a summer prototyping. The result was the Gado 1, a proof-of-concept which would later scan over 1,000 images at the Afro. The price tag? $496.\r\n	After 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 which dramatically outpaces the original. Since testing began, my machine has digitized over 3,000 artifacts at the Afro, at a tiny fraction of the cost of manual scanning. In February 2012, we will make these images available to the general public, and launch GadoImages.com in order to distribute them to paying licensors. I believe Gado has the potential to dramatically alter the economics of archival digitization. And I would never be at this point without that first push to step outside the classroom and start thinking in broader terms.\r\n','Tom Smith - Student Commentary','','inherit','open','open','','1059-revision-7','','','2012-02-11 01:59:03','2012-02-11 01:59:03','',1059,'http://www.archivejournal.net/2012/02/1059-revision-7/',0,'revision','',0),(1073,13,'2012-02-11 01:27:52','2012-02-11 01:27:52','	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, permeates 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	During 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 which 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 	While working on EBOH, I started visiting archives. I could find few digital images of East Baltimore, and I wanted to know why. On a visit to the Afro American Newspaper 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 Afro’s collection simply weren’t available. Again, I saw a technical solution. I would build a robot. I proposed creating an automatic scanner which could lift and digitize the Afro’s sensitive artifacts, all for less than $500. No one at JHU thought it would happen. Luckily, Professor Shell-Weiss managed to raise some small funds, and I spent a summer prototyping. The result was the Gado 1, a proof-of-concept which would later scan over 1,000 images at the Afro. The price tag? $496.\r\n	After 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 which dramatically outpaces the original. Since testing began, my machine has digitized over 3,000 artifacts at the Afro, at a tiny fraction of the cost of manual scanning. In February 2012, we will make these images available to the general public, and launch GadoImages.com in order to distribute them to paying licensors. I believe Gado has the potential to dramatically alter the economics of archival digitization. And I would never be at this point without that first push to step outside the classroom and start thinking in broader terms.\r\n','Tom Smith','','inherit','open','open','','1059-revision-4','','','2012-02-11 01:27:52','2012-02-11 01:27:52','',1059,'http://www.archivejournal.net/2012/02/1059-revision-4/',0,'revision','',0),(1074,13,'2012-02-11 01:27:03','2012-02-11 01:27:03','','Student-Built Archival Tools','','inherit','open','open','','1057-revision-4','','','2012-02-11 01:27:03','2012-02-11 01:27:03','',1057,'http://www.archivejournal.net/2012/02/1057-revision-4/',0,'revision','',0),(1075,13,'2012-02-11 01:34:01','2012-02-11 01:34:01','','Student-Built Archival Tools','','inherit','open','open','','1057-revision-5','','','2012-02-11 01:34:01','2012-02-11 01:34:01','',1057,'http://www.archivejournal.net/2012/02/1057-revision-5/',0,'revision','',0),(1076,13,'2012-02-11 01:34:22','2012-02-11 01:34:22','','Student-Built Archival Tools','','inherit','open','open','','1057-revision-6','','','2012-02-11 01:34:22','2012-02-11 01:34:22','',1057,'http://www.archivejournal.net/2012/02/1057-revision-6/',0,'revision','',0),(1077,13,'2012-02-11 01:41:42','2012-02-11 01:41:42','','Student-Built Archival Tools','','inherit','open','open','','1057-revision-7','','','2012-02-11 01:41:42','2012-02-11 01:41:42','',1057,'http://www.archivejournal.net/2012/02/1057-revision-7/',0,'revision','',0),(1078,13,'2012-02-11 01:43:02','2012-02-11 01:43:02','','Student-Built Archival Tools','','inherit','open','open','','1057-revision-8','','','2012-02-11 01:43:02','2012-02-11 01:43:02','',1057,'http://www.archivejournal.net/2012/02/1057-revision-8/',0,'revision','',0),(1079,13,'2012-02-11 01:30:27','2012-02-11 01:30:27','Over the last four years, I have worked as a lecturer teaching courses about Baltimore and African American history, and I have also served as project manager for the Diaspora Pathways Archival Access Project (DPAAP), a partnership between Johns Hopkins University and the Afro-American Newspapers funded by the Andrew W. Mellon Foundation.  These experiences have shown me that students learn best when they are not simply taught history, but when they also act as historians. Baltimore offers both possibilities and challenges  for students doing historical projects.  Much of the city’s history remains unwritten, and historical materials are often tucked away in small archives and private homes.  Records that are not easily accessible present a special problem for students who are constrained by time and transportation.  Both the East Baltimore Oral History Project and the Afro Archives partnership seek to address these challenges by involving students in the process of uncovering, describing, and making accessible historical records, and then encouraging students to use these resources for historical research.  \r\nThe East Baltimore History Project involves students in the work of preserving the memories of established members of the East Baltimore community.  For students this work addresses a major complaint about life as a Johns Hopkins undergraduate—that students are too removed from the life of the city, and that students are not encouraged to interact with the city, and its inhabitants, in meaningful ways.  The interviewing process has the additional benefit of making students experts, allowing them to bring a substantive point of view and body of evidence as they critique course readings and engage in class discussions.  As interviews are added to the project website, students produce an accessible community history resource that will last well beyond the usual semester long class project.\r\nDPAAP also depends heavily on the work of student archival interns, and on the technical skills of the current and former students who form the Project Gado team led by recent Hopkins graduate Tom Smith.  Archival interns have been involved in every step of uncovering the archives, from labeling boxes and shelves, to entering information into our archival database, to writing essays for our database website.  This work has given interns a perspective on African American history usually reserved only for history professionals.  With materials pertaining to almost every local, national, and international aspect of Black history, interns are often asked to describe the central themes and narratives residing of this diverse archives.  This challenge requires them to address the problem of twentieth century information overload familiar to both historians and archivists.  The Project Gado team offers a different set of solutions to the problem of preserving and making accessible vast amounts of archival materials.  The members of Project Gado are involved in innovative work in the digital humanities as they create low-cost options for large scale digitization.  The work of Tom Smith and Project Gado suggests another possibility for hands-on coursework in history, courses that would integrate technical skills and the creation of hardware and software into a rigorous humanities education to prepare students to be 21st century humanities scholars.\r\n','Moira Hinderer Instructor Commentary','','inherit','open','open','','1062-revision-5','','','2012-02-11 01:30:27','2012-02-11 01:30:27','',1062,'http://www.archivejournal.net/2012/02/1062-revision-5/',0,'revision','',0),(1096,13,'2012-02-11 01:45:30','2012-02-11 01:45:30','	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, permeates 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	During 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 which 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 	While working on EBOH, I started visiting archives. I could find few digital images of East Baltimore, and I wanted to know why. On a visit to the Afro American Newspaper 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 Afro’s collection simply weren’t available. Again, I saw a technical solution. I would build a robot. I proposed creating an automatic scanner which could lift and digitize the Afro’s sensitive artifacts, all for less than $500. No one at JHU thought it would happen. Luckily, Professor Shell-Weiss managed to raise some small funds, and I spent a summer prototyping. The result was the Gado 1, a proof-of-concept which would later scan over 1,000 images at the Afro. The price tag? $496.\r\n	After 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 which dramatically outpaces the original. Since testing began, my machine has digitized over 3,000 artifacts at the Afro, at a tiny fraction of the cost of manual scanning. In February 2012, we will make these images available to the general public, and launch GadoImages.com in order to distribute them to paying licensors. I believe Gado has the potential to dramatically alter the economics of archival digitization. And I would never be at this point without that first push to step outside the classroom and start thinking in broader terms.\r\n','Tom Smith - Student Commentary','','inherit','open','open','','1059-revision-6','','','2012-02-11 01:45:30','2012-02-11 01:45:30','',1059,'http://www.archivejournal.net/2012/02/1059-revision-6/',0,'revision','',0),(1080,13,'2012-02-11 01:45:14','2012-02-11 01:45:14','Over the last four years, I have worked as a lecturer teaching courses about Baltimore and African American history, and I have also served as project manager for the Diaspora Pathways Archival Access Project (DPAAP), a partnership between Johns Hopkins University and the Afro-American Newspapers funded by the Andrew W. Mellon Foundation.  These experiences have shown me that students learn best when they are not simply taught history, but when they also act as historians. Baltimore offers both possibilities and challenges  for students doing historical projects.  Much of the city’s history remains unwritten, and historical materials are often tucked away in small archives and private homes.  Records that are not easily accessible present a special problem for students who are constrained by time and transportation.  Both the East Baltimore Oral History Project and the Afro Archives partnership seek to address these challenges by involving students in the process of uncovering, describing, and making accessible historical records, and then encouraging students to use these resources for historical research.  \r\nThe East Baltimore History Project involves students in the work of preserving the memories of established members of the East Baltimore community.  For students this work addresses a major complaint about life as a Johns Hopkins undergraduate—that students are too removed from the life of the city, and that students are not encouraged to interact with the city, and its inhabitants, in meaningful ways.  The interviewing process has the additional benefit of making students experts, allowing them to bring a substantive point of view and body of evidence as they critique course readings and engage in class discussions.  As interviews are added to the project website, students produce an accessible community history resource that will last well beyond the usual semester long class project.\r\nDPAAP also depends heavily on the work of student archival interns, and on the technical skills of the current and former students who form the Project Gado team led by recent Hopkins graduate Tom Smith.  Archival interns have been involved in every step of uncovering the archives, from labeling boxes and shelves, to entering information into our archival database, to writing essays for our database website.  This work has given interns a perspective on African American history usually reserved only for history professionals.  With materials pertaining to almost every local, national, and international aspect of Black history, interns are often asked to describe the central themes and narratives residing of this diverse archives.  This challenge requires them to address the problem of twentieth century information overload familiar to both historians and archivists.  The Project Gado team offers a different set of solutions to the problem of preserving and making accessible vast amounts of archival materials.  The members of Project Gado are involved in innovative work in the digital humanities as they create low-cost options for large scale digitization.  The work of Tom Smith and Project Gado suggests another possibility for hands-on coursework in history, courses that would integrate technical skills and the creation of hardware and software into a rigorous humanities education to prepare students to be 21st century humanities scholars.\r\n','Moira Hinderer Instructor Commentary','','inherit','open','open','','1062-revision-6','','','2012-02-11 01:45:14','2012-02-11 01:45:14','',1062,'http://www.archivejournal.net/2012/02/1062-revision-6/',0,'revision','',0),(1081,13,'2012-02-11 01:31:09','2012-02-11 01:31:09','	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, permeates 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	During 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 which 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 	While working on EBOH, I started visiting archives. I could find few digital images of East Baltimore, and I wanted to know why. On a visit to the Afro American Newspaper 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 Afro’s collection simply weren’t available. Again, I saw a technical solution. I would build a robot. I proposed creating an automatic scanner which could lift and digitize the Afro’s sensitive artifacts, all for less than $500. No one at JHU thought it would happen. Luckily, Professor Shell-Weiss managed to raise some small funds, and I spent a summer prototyping. The result was the Gado 1, a proof-of-concept which would later scan over 1,000 images at the Afro. The price tag? $496.\r\n	After 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 which dramatically outpaces the original. Since testing began, my machine has digitized over 3,000 artifacts at the Afro, at a tiny fraction of the cost of manual scanning. In February 2012, we will make these images available to the general public, and launch GadoImages.com in order to distribute them to paying licensors. I believe Gado has the potential to dramatically alter the economics of archival digitization. And I would never be at this point without that first push to step outside the classroom and start thinking in broader terms.\r\n','Tom Smith Student Commentary','','inherit','open','open','','1059-revision-5','','','2012-02-11 01:31:09','2012-02-11 01:31:09','',1059,'http://www.archivejournal.net/2012/02/1059-revision-5/',0,'revision','',0),(1097,13,'2012-02-11 01:47:05','2012-02-11 01:47:05','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 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 Emma. Nancy Magnuson, college librarian, told me all about Alberta Burk’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 fascinated me. I chose to study the 1816 first American edition of Emma and explore the letters that track how it found a home in Goucher’s library.\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 Emma. After seeing the interest that both Alberta Burke and David Gilson had in the first American edition of Emma, 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 the Emma 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 Emma. 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 title page of the first volume. Unearthing these two letters felt very encouraging and proved that there is always the possibility of finding out something new within the archives.\r\n','Sarah Kendall - Student Commentary','','inherit','open','open','','1053-revision-4','','','2012-02-11 01:47:05','2012-02-11 01:47:05','',1053,'http://www.archivejournal.net/2012/02/1053-revision-4/',0,'revision','',0),(1082,13,'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 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 Emma. Nancy Magnuson, college librarian, told me all about Alberta Burk’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 fascinated me. I chose to study the 1816 first American edition of Emma and explore the letters that track how it found a home in Goucher’s library.\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 Emma. After seeing the interest that both Alberta Burke and David Gilson had in the first American edition of Emma, 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 the Emma 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 Emma. 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 title page of the first volume. Unearthing these two letters felt very encouraging and proved that there is always the possibility of finding out something new within the archives.\r\n','Sarah Kendall','','inherit','open','open','','1053-revision-2','','','2012-02-11 01:07:53','2012-02-11 01:07:53','',1053,'http://www.archivejournal.net/2012/02/1053-revision-2/',0,'revision','',0),(1083,13,'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\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 the scrapbooks, 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 Naval Academy, as it was a nearby school in need of women with which to dance. Goucher girls would often travel to Annapolis for the weekend dances and they brought back dance cards as souvenirs.\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 there were just very few secondary sources out there. 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\nI contacted the 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. I chose to look at how the cards changed over the years because the first and last dance cards were so drastically different. What I found was that the cards changed over the years to reflect the changes in social dances.\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. \r\n','Cassie Brand','','inherit','open','open','','1051-revision-2','','','2012-02-11 01:06:36','2012-02-11 01:06:36','',1051,'http://www.archivejournal.net/2012/02/1051-revision-2/',0,'revision','',0),(1084,13,'2012-02-11 01:08:13','2012-02-11 01:08:13','	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. (For the text of the assignment, see:\r\nhttp://faculty.goucher.edu/eng241/241_individual_research_projects_F09.htm).  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.\r\nBeginning with 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 O.E.D., WorldCat, 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 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 edition-specific and copy-specific details of their “cadaver books,” a set of early printed books they have had handled each week to encourage safe and intelligent treatment of early paper and bindings.  Finally, paper and parchment manuscript laboratories teach them 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	Sarah Kendall’s study of the Burke Austen Collection’s copy of the two-volume American first edition of Emma (Philadelphia: M. Carey, 1818) 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), the prominent collector, Frank J. Hogan, and the 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 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 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  These two projects represent the course’s goal: to enable original, undergraduate, hands-on archival research using interdisciplinary skills.\r\n\r\n','Arnold Sanders','','inherit','open','open','','1049-revision-3','','','2012-02-11 01:08:13','2012-02-11 01:08:13','',1049,'http://www.archivejournal.net/2012/02/1049-revision-3/',0,'revision','',0),(1143,13,'2012-02-11 01:59:47','2012-02-11 01:59:47','I was one of the first students to take the History Laboratory at Cleveland State Community College. 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, 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	Few 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 will be an invaluable experience that I will be able to take with me through my future courses and career.\r\n	Another 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	Overall 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 other that goes beyond a classroom lecture.\r\n','Matthew E. Saunders - Student Commentary','','inherit','open','open','','1040-revision-5','','','2012-02-11 01:59:47','2012-02-11 01:59:47','',1040,'http://www.archivejournal.net/2012/02/1040-revision-5/',0,'revision','',0),(1085,13,'2012-02-11 01:45:50','2012-02-11 01:45:50','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 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 Emma. Nancy Magnuson, college librarian, told me all about Alberta Burk’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 fascinated me. I chose to study the 1816 first American edition of Emma and explore the letters that track how it found a home in Goucher’s library.\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 Emma. After seeing the interest that both Alberta Burke and David Gilson had in the first American edition of Emma, 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 the Emma 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 Emma. 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 title page of the first volume. Unearthing these two letters felt very encouraging and proved that there is always the possibility of finding out something new within the archives.\r\n','Sarah Kendall - Student Commentary','','inherit','open','open','','1053-revision-3','','','2012-02-11 01:45:50','2012-02-11 01:45:50','',1053,'http://www.archivejournal.net/2012/02/1053-revision-3/',0,'revision','',0),(1086,13,'2012-02-11 01:46:13','2012-02-11 01:46:13','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\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 the scrapbooks, 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 Naval Academy, as it was a nearby school in need of women with which to dance. Goucher girls would often travel to Annapolis for the weekend dances and they brought back dance cards as souvenirs.\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 there were just very few secondary sources out there. 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\nI contacted the 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. I chose to look at how the cards changed over the years because the first and last dance cards were so drastically different. What I found was that the cards changed over the years to reflect the changes in social dances.\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. \r\n','Cassie Brand - Student Commentary','','inherit','open','open','','1051-revision-3','','','2012-02-11 01:46:13','2012-02-11 01:46:13','',1051,'http://www.archivejournal.net/2012/02/1051-revision-3/',0,'revision','',0),(1087,13,'2012-02-11 01:46:33','2012-02-11 01:46:33','	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. (For the text of the assignment, see:\r\nhttp://faculty.goucher.edu/eng241/241_individual_research_projects_F09.htm).  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.\r\nBeginning with 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 O.E.D., WorldCat, 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 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 edition-specific and copy-specific details of their “cadaver books,” a set of early printed books they have had handled each week to encourage safe and intelligent treatment of early paper and bindings.  Finally, paper and parchment manuscript laboratories teach them 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	Sarah Kendall’s study of the Burke Austen Collection’s copy of the two-volume American first edition of Emma (Philadelphia: M. Carey, 1818) 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), the prominent collector, Frank J. Hogan, and the 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 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 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  These two projects represent the course’s goal: to enable original, undergraduate, hands-on archival research using interdisciplinary skills.\r\n\r\n','Arnold Sanders - Instructor Commentary','','inherit','open','open','','1049-revision-4','','','2012-02-11 01:46:33','2012-02-11 01:46:33','',1049,'http://www.archivejournal.net/2012/02/1049-revision-4/',0,'revision','',0),(1088,13,'2012-02-11 01:08:42','2012-02-11 01:08:42','','Hands-On Research with Rare Books and Ephemera ','','inherit','open','open','','1047-revision-3','','','2012-02-11 01:08:42','2012-02-11 01:08:42','',1047,'http://www.archivejournal.net/2012/02/1047-revision-3/',0,'revision','',0),(1446,13,'2012-02-14 07:28:09','2012-02-14 07:28:09','','Hands-On Research with Rare Books and Ephemera ','','inherit','open','open','','1047-revision-17','','','2012-02-14 07:28:09','2012-02-14 07:28:09','',1047,'http://www.archivejournal.net/2012/02/1047-revision-17/',0,'revision','',0);
INSERT INTO `wp_posts` VALUES (1089,13,'2012-02-11 00:49:21','2012-02-11 00:49:21','I was one of the first students to take the History Laboratory at Cleveland State Community College. 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, 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	Few 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 will be an invaluable experience that I will be able to take with me through my future courses and career.\r\n	Another 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	Overall 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 other that goes beyond a classroom lecture.\r\n','Matthew E. Saunders','','inherit','open','open','','1040-revision-2','','','2012-02-11 00:49:21','2012-02-11 00:49:21','',1040,'http://www.archivejournal.net/2012/02/1040-revision-2/',0,'revision','',0),(1090,13,'2012-02-11 01:54:11','2012-02-11 01:54:11','I was one of the first students to take the History Laboratory at Cleveland State Community College. 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, 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	Few 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 will be an invaluable experience that I will be able to take with me through my future courses and career.\r\n	Another 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	Overall 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 other that goes beyond a classroom lecture.\r\n','Matthew E. Saunders - Student Commentary','','inherit','open','open','','1040-revision-3','','','2012-02-11 01:54:11','2012-02-11 01:54:11','',1040,'http://www.archivejournal.net/2012/02/1040-revision-3/',0,'revision','',0),(1091,13,'2012-02-11 00:58:23','2012-02-11 00:58:23','','History Lab: Combining Service Learning, Research Methods, and Digital Archives ','','inherit','open','open','','1018-revision-7','','','2012-02-11 00:58:23','2012-02-11 00:58:23','',1018,'http://www.archivejournal.net/2012/02/1018-revision-7/',0,'revision','',0),(1092,13,'2012-02-11 00:51:05','2012-02-11 00:51:05','<center>\r\nHIST 2802 – HISTORY LABORATORY\r\nSpring 2011\r\n1 semester-hour credit\r\nIndependent Study/Service-Learning Experience\r\n</center>\r\n	\r\n\r\nINSTRUCTORS\r\nSarah Copeland, Records Catalog Coordinator\r\nBryan Reed, Associate Professor of History\r\n\r\nCOURSE DESCRIPTION\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\nLEARNING OUTCOMES\r\n1.	demonstrate appropriate handling of unique historical materials\r\n2.	describe the public role of institutions charged with preserving historical materials\r\n3.	create digital versions of historical documents using best practices\r\n4.	describe digitized documents using the Dublin Core metadata scheme\r\n5.	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\r\n6.	demonstrate critical thinking and reasoning\r\n\r\nREFERENCED READINGS/RESOURCES\r\n1.	“Digital Imaging Tutorial,” Cornell University Library, http://www.library.cornell.edu/preservation/tutorial/contents.html\r\n2.	“Digital Preservation Management Tutorial,” Cornell University and the National Endowment for the Humanities, http://www.icpsr.umich.edu/dpm/dpm-eng/eng_index.html\r\n3.	“Digital Best Practices,” Washington State Library, http://digitalwa.statelib.wa.gov/newsite/best.htm\r\n\r\nWHAT COUNTS TOWARD MY 20 “SERVICE LEARNING” HOURS?\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\nASSESSMENTS\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\nJOURNAL/LOG\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•	How does what you are doing compare to your prior expectations?\r\n•	What is the historical significance of the artifacts processed?  How are they useful in our understanding of the past?\r\n•	How does your work contribute to the institution where you are completing your service-learning hours?  How does your work impact the community?\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\nON-SITE SUPERVISOR EVALUATION\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\nDIGITAL SUBMISSIONS\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\nINSTRUCTOR EVALUATION \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\nATTENDANCE\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 toward preparing for and executing the service learning.  More than one unexcused absence from a scheduled training of 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 a scheduled session cannot be met 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.\r\n\r\n','Project Syllabus','','inherit','open','open','','1031-revision-5','','','2012-02-11 00:51:05','2012-02-11 00:51:05','',1031,'http://www.archivejournal.net/2012/02/1031-revision-5/',0,'revision','',0),(1093,13,'2012-02-11 00:49:51','2012-02-11 00:49:51','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, called 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, and CSCC history students gain experience with handling and researching primary sources.  \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\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 need of a historian to understand primary sources – where they are found and how they are curated – shapes the goal of the course.  Information science – including 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\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\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(s), and share their findings.  This process empowers students to take on the role of expert.  \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 for 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.\r\n','Sarah Shippy Copeland','','inherit','open','open','','1027-revision-4','','','2012-02-11 00:49:51','2012-02-11 00:49:51','',1027,'http://www.archivejournal.net/2012/02/1027-revision-4/',0,'revision','',0),(1094,13,'2012-02-11 00:50:39','2012-02-11 00:50:39','1.  How many students worked at the History Branch and Archives of the Cleveland Bradley County Library?\r\n\r\n<strong>Two students worked at the History Branch one evening a week for a set number of weeks.</strong>\r\n\r\n2.  Will you work with History Lab students again?\r\n\r\n<strong>Certainly.  The students were polite, reliable, diligent in their work, and followed directions with 	little supervision.</strong>\r\n\r\n3.  What did you find most productive or enjoyable about the process of working with the students?\r\n\r\n<strong>It 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 wanted to expand the scope of their work through additional research.</strong>\r\n\r\n4.  How has the students’ work impacted the History Branch and its collections?	\r\n\r\n<ul>\r\n	<li><strong>The additional research done by the students will be available to all of the library’s patrons.</strong></li>\r\n	<li><strong>Students have given presentations on their research to the Bradley County Historical and 	Genealogical Society.</strong></li>\r\n	<li><strong>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.</strong></li> \r\n</ul>\r\n\r\n	\r\n','Barbara Fagen','','inherit','open','open','','1020-revision-7','','','2012-02-11 00:50:39','2012-02-11 00:50:39','',1020,'http://www.archivejournal.net/2012/02/1020-revision-7/',0,'revision','',0),(1095,13,'2012-02-11 01:45:22','2012-02-11 01:45:22','Over the last four years, I have worked as a lecturer teaching courses about Baltimore and African American history, and I have also served as project manager for the Diaspora Pathways Archival Access Project (DPAAP), a partnership between Johns Hopkins University and the Afro-American Newspapers funded by the Andrew W. Mellon Foundation.  These experiences have shown me that students learn best when they are not simply taught history, but when they also act as historians. Baltimore offers both possibilities and challenges  for students doing historical projects.  Much of the city’s history remains unwritten, and historical materials are often tucked away in small archives and private homes.  Records that are not easily accessible present a special problem for students who are constrained by time and transportation.  Both the East Baltimore Oral History Project and the Afro Archives partnership seek to address these challenges by involving students in the process of uncovering, describing, and making accessible historical records, and then encouraging students to use these resources for historical research.  \r\nThe East Baltimore History Project involves students in the work of preserving the memories of established members of the East Baltimore community.  For students this work addresses a major complaint about life as a Johns Hopkins undergraduate—that students are too removed from the life of the city, and that students are not encouraged to interact with the city, and its inhabitants, in meaningful ways.  The interviewing process has the additional benefit of making students experts, allowing them to bring a substantive point of view and body of evidence as they critique course readings and engage in class discussions.  As interviews are added to the project website, students produce an accessible community history resource that will last well beyond the usual semester long class project.\r\nDPAAP also depends heavily on the work of student archival interns, and on the technical skills of the current and former students who form the Project Gado team led by recent Hopkins graduate Tom Smith.  Archival interns have been involved in every step of uncovering the archives, from labeling boxes and shelves, to entering information into our archival database, to writing essays for our database website.  This work has given interns a perspective on African American history usually reserved only for history professionals.  With materials pertaining to almost every local, national, and international aspect of Black history, interns are often asked to describe the central themes and narratives residing of this diverse archives.  This challenge requires them to address the problem of twentieth century information overload familiar to both historians and archivists.  The Project Gado team offers a different set of solutions to the problem of preserving and making accessible vast amounts of archival materials.  The members of Project Gado are involved in innovative work in the digital humanities as they create low-cost options for large scale digitization.  The work of Tom Smith and Project Gado suggests another possibility for hands-on coursework in history, courses that would integrate technical skills and the creation of hardware and software into a rigorous humanities education to prepare students to be 21st century humanities scholars.\r\n','Moira Hinderer - Instructor Commentary','','inherit','open','open','','1062-revision-7','','','2012-02-11 01:45:22','2012-02-11 01:45:22','',1062,'http://www.archivejournal.net/2012/02/1062-revision-7/',0,'revision','',0),(1098,13,'2012-02-11 01:47:40','2012-02-11 01:47:40','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\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 the scrapbooks, 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 Naval Academy, as it was a nearby school in need of women with which to dance. Goucher girls would often travel to Annapolis for the weekend dances and they brought back dance cards as souvenirs.\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 there were just very few secondary sources out there. 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\nI contacted the 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. I chose to look at how the cards changed over the years because the first and last dance cards were so drastically different. What I found was that the cards changed over the years to reflect the changes in social dances.\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. \r\n','Cassie Brand - Student Commentary','','inherit','open','open','','1051-revision-4','','','2012-02-11 01:47:40','2012-02-11 01:47:40','',1051,'http://www.archivejournal.net/2012/02/1051-revision-4/',0,'revision','',0),(1099,13,'2012-02-11 01:48:03','2012-02-11 01:48:03','	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. (For the text of the assignment, see:\r\nhttp://faculty.goucher.edu/eng241/241_individual_research_projects_F09.htm).  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.\r\nBeginning with 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 O.E.D., WorldCat, 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 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 edition-specific and copy-specific details of their “cadaver books,” a set of early printed books they have had handled each week to encourage safe and intelligent treatment of early paper and bindings.  Finally, paper and parchment manuscript laboratories teach them 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	Sarah Kendall’s study of the Burke Austen Collection’s copy of the two-volume American first edition of Emma (Philadelphia: M. Carey, 1818) 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), the prominent collector, Frank J. Hogan, and the 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 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 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  These two projects represent the course’s goal: to enable original, undergraduate, hands-on archival research using interdisciplinary skills.\r\n\r\n','Arnold Sanders - Instructor Commentary','','inherit','open','open','','1049-revision-5','','','2012-02-11 01:48:03','2012-02-11 01:48:03','',1049,'http://www.archivejournal.net/2012/02/1049-revision-5/',0,'revision','',0),(1100,13,'2012-02-11 01:54:46','2012-02-11 01:54:46','I was one of the first students to take the History Laboratory at Cleveland State Community College. 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, 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	Few 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 will be an invaluable experience that I will be able to take with me through my future courses and career.\r\n	Another 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	Overall 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 other that goes beyond a classroom lecture.\r\n','Matthew E. Saunders - Student Commentary','','inherit','open','open','','1040-revision-4','','','2012-02-11 01:54:46','2012-02-11 01:54:46','',1040,'http://www.archivejournal.net/2012/02/1040-revision-4/',0,'revision','',0),(1101,13,'2012-02-11 01:57:27','2012-02-11 01:57:27','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, called 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, and CSCC history students gain experience with handling and researching primary sources.  \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\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 need of a historian to understand primary sources – where they are found and how they are curated – shapes the goal of the course.  Information science – including 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\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\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(s), and share their findings.  This process empowers students to take on the role of expert.  \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 for 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.\r\n','Sarah Shippy Copeland - Instructor Commentary','','inherit','open','open','','1027-revision-5','','','2012-02-11 01:57:27','2012-02-11 01:57:27','',1027,'http://www.archivejournal.net/2012/02/1027-revision-5/',0,'revision','',0),(1102,13,'2012-02-11 01:58:19','2012-02-11 01:58:19','1.  How many students worked at the History Branch and Archives of the Cleveland Bradley County Library?\r\n\r\n<strong>Two students worked at the History Branch one evening a week for a set number of weeks.</strong>\r\n\r\n2.  Will you work with History Lab students again?\r\n\r\n<strong>Certainly.  The students were polite, reliable, diligent in their work, and followed directions with 	little supervision.</strong>\r\n\r\n3.  What did you find most productive or enjoyable about the process of working with the students?\r\n\r\n<strong>It 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 wanted to expand the scope of their work through additional research.</strong>\r\n\r\n4.  How has the students’ work impacted the History Branch and its collections?	\r\n\r\n<ul>\r\n	<li><strong>The additional research done by the students will be available to all of the library’s patrons.</strong></li>\r\n	<li><strong>Students have given presentations on their research to the Bradley County Historical and 	Genealogical Society.</strong></li>\r\n	<li><strong>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.</strong></li> \r\n</ul>\r\n\r\n	\r\n','Barbara Fagen - Project Partner Commentary','','inherit','open','open','','1020-revision-8','','','2012-02-11 01:58:19','2012-02-11 01:58:19','',1020,'http://www.archivejournal.net/2012/02/1020-revision-8/',0,'revision','',0),(1148,13,'2012-02-11 02:01:27','2012-02-11 02:01:27','<p>Jimmy Barnett was hired as a student digital imaging technician for the Carrère and Hastings Project. Jimmy worked an average of 10-20 hours per week for on this project for one year, 2010-2011.</p>\r\n<p>The student worker description for Jimmy’s position is below.</p>\r\n<p><strong style=\"text-decoration: underline;\">Student Assistant – Large Format Digital Imaging Technician, Digital Library Center, University of Florida</strong></p>\r\n<p><strong>Job Description</strong></p>\r\n<p>Reporting to the Operations Manager, the Large Format Imaging Technician will capture pages for the Carrère and Hastings Project, perform image optimization and quality control on captured images as needed, and assist in the transportation of materials from Conservation to the Digital Library Center.</p>\r\n<p><strong>Duties and Responsibilities include:</strong></p>\r\n<ul>\r\n	<li>Digitally capture source materials using a Betterlight Super 8K-HS Camera Back.</li>\r\n	<li>Perform quality control on files, process, optimize images as necessary for artifactual fidelity using Adobe Photoshop.</li>\r\n	<li>Monitor work flow history in coordination with Digital Library Center and Conservation staff.</li>\r\n</ul>\r\n<p><strong>Preferred Qualifications</strong></p>\r\n<ul>\r\n	<li>Experience with DSLR and other sophisticated cameras with knowledge of photography. \r\nExperience with Adobe Photoshop.</li>\r\n	<li>Strong computer skills and demonstrated ability to work accurately in detail-oriented, busy production environment.</li>\r\n	<li>Excellent organizational skills, ability to set and follow a written schedule, and the ability to work independently.</li>\r\n	<li>Federal Work Study eligibility.</li>\r\n</ul>\r\n\r\n','UF Student Job Description','','inherit','open','open','','1004-revision-10','','','2012-02-11 02:01:27','2012-02-11 02:01:27','',1004,'http://www.archivejournal.net/2012/02/1004-revision-10/',0,'revision','',0),(1103,13,'2012-02-11 00:45:13','2012-02-11 00:45:13','<p>Jimmy Barnett was hired as a student digital imaging technician for the Carrère and Hastings Project. Jimmy worked an average of 10-20 hours per week for on this project for one year, 2010-2011.</p>\r\n<p>The student worker description for Jimmy’s position is below.</p>\r\n<p><strong style=\"text-decoration: underline;\">Student Assistant – Large Format Digital Imaging Technician, Digital Library Center, University of Florida</strong></p>\r\n<p><strong>Job Description</strong></p>\r\n<p>Reporting to the Operations Manager, the Large Format Imaging Technician will capture pages for the Carrère and Hastings Project, perform image optimization and quality control on captured images as needed, and assist in the transportation of materials from Conservation to the Digital Library Center.</p>\r\n<p><strong>Duties and Responsibilities include:</strong></p>\r\n<ul>\r\n	<li>Digitally capture source materials using a Betterlight Super 8K-HS Camera Back.</li>\r\n	<li>Perform quality control on files, process, optimize images as necessary for artifactual fidelity using Adobe Photoshop.</li>\r\n	<li>Monitor work flow history in coordination with Digital Library Center and Conservation staff.</li>\r\n</ul>\r\n<p><strong>Preferred Qualifications</strong></p>\r\n<ul>\r\n	<li>Experience with DSLR and other sophisticated cameras with knowledge of photography. \r\nExperience with Adobe Photoshop.</li>\r\n	<li>Strong computer skills and demonstrated ability to work accurately in detail-oriented, busy production environment.</li>\r\n	<li>Excellent organizational skills, ability to set and follow a written schedule, and the ability to work independently.</li>\r\n	<li>Federal Work Study eligibility.</li>\r\n</ul>\r\n\r\n','James Barnett - Job Description','','inherit','open','open','','1004-revision-8','','','2012-02-11 00:45:13','2012-02-11 00:45:13','',1004,'http://www.archivejournal.net/2012/02/1004-revision-8/',0,'revision','',0),(1104,13,'2012-02-11 02:01:07','2012-02-11 02:01:07','<p>Jimmy Barnett was hired as a student digital imaging technician for the Carrère and Hastings Project. Jimmy worked an average of 10-20 hours per week for on this project for one year, 2010-2011.</p>\r\n<p>The student worker description for Jimmy’s position is below.</p>\r\n<p><strong style=\"text-decoration: underline;\">Student Assistant – Large Format Digital Imaging Technician, Digital Library Center, University of Florida</strong></p>\r\n<p><strong>Job Description</strong></p>\r\n<p>Reporting to the Operations Manager, the Large Format Imaging Technician will capture pages for the Carrère and Hastings Project, perform image optimization and quality control on captured images as needed, and assist in the transportation of materials from Conservation to the Digital Library Center.</p>\r\n<p><strong>Duties and Responsibilities include:</strong></p>\r\n<ul>\r\n	<li>Digitally capture source materials using a Betterlight Super 8K-HS Camera Back.</li>\r\n	<li>Perform quality control on files, process, optimize images as necessary for artifactual fidelity using Adobe Photoshop.</li>\r\n	<li>Monitor work flow history in coordination with Digital Library Center and Conservation staff.</li>\r\n</ul>\r\n<p><strong>Preferred Qualifications</strong></p>\r\n<ul>\r\n	<li>Experience with DSLR and other sophisticated cameras with knowledge of photography. \r\nExperience with Adobe Photoshop.</li>\r\n	<li>Strong computer skills and demonstrated ability to work accurately in detail-oriented, busy production environment.</li>\r\n	<li>Excellent organizational skills, ability to set and follow a written schedule, and the ability to work independently.</li>\r\n	<li>Federal Work Study eligibility.</li>\r\n</ul>\r\n\r\n','UF Job Description','','inherit','open','open','','1004-revision-9','','','2012-02-11 02:01:07','2012-02-11 02:01:07','',1004,'http://www.archivejournal.net/2012/02/1004-revision-9/',0,'revision','',0),(1105,13,'2012-02-10 23:10:16','2012-02-10 23:10:16','[caption id=\"attachment_957\" align=\"alignright\" width=\"638\" caption=\"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. \"]<img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-3-1024x682.jpg\" alt=\"\" title=\"uf_student  action photo_barnett 3\" width=\"638\" class=\"size-large wp-image-957\" />[/caption]\r\n[caption id=\"attachment_958\" align=\"alignright\" width=\"638\" caption=\"John Carrère and Thomas Hastings.  “Part Plan of Fourth Floor. Architectural drawings of the Hotel Ponce de Leon, St. Augustine, Florida.” 96”x40”. \"]<a href=\"http://ufdc.ufl.edu/UF00089836/00001\" target=\"_blank\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-2.jpg\" alt=\"\" title=\"Part Plan of Fourth Floor\" width=\"638\" class=\"size-full wp-image-958\" /></a>[/caption]\r\n[caption id=\"attachment_959\" align=\"alignright\" width=\"638\" caption=\"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. \"]<a href=\"http://ufdc.ufl.edu/UF00082657/00001\" target=\"_blank\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-1.jpg\" alt=\"\" title=\"Ground Plan, Presbyterian Church\" width=\"638\" class=\"size-full wp-image-959\" /></a>[/caption]\r\n','Digitizing Large-Format Architectural Plans','','inherit','open','open','','946-revision-27','','','2012-02-10 23:10:16','2012-02-10 23:10:16','',946,'http://www.archivejournal.net/2012/02/946-revision-27/',0,'revision','',0),(1106,13,'2012-02-11 00:44:15','2012-02-11 00:44:15','In 2010, Flagler College and the University of Florida (UF) were awarded a <i>Save America’s Treasures</i> 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 is 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.\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 & 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 8 x 8 inches to over 4 x 8 feet. Many of the drawings could not be unrolled or handled because they were literally crumbling on the shelves, and 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, 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 the drawings. 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.\r\n','John Nemmers','In 2010, Flagler College and the University of Florida (UF) were awarded a <i>Save America’s Treasures</i> 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 is 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','','','2012-02-11 00:44:15','2012-02-11 00:44:15','',976,'http://www.archivejournal.net/2012/02/976-revision-6/',0,'revision','',0),(1107,13,'2012-02-11 00:43:55','2012-02-11 00:43:55','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 Carrere and 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; what is being represented. The architectural renderings averaged in a size of six feet by three feet, some larger, some smaller; all difficult to handle. Add the paper’s age and brittleness on top of the immense size and one has to have quite a bit of finesse in the handling of 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 handled scanning the drawings, not realizing that the reverse would happen; the scanning 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 myself, 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 if it hadn’t been for the work with these large architectural drawings. \r\n\r\n<img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-6-333x222.jpg\" alt=\"\" title=\"uf_student  action photo_barnett 6\" width=\"333\" height=\"222\" class=\"alignright size-medium wp-image-969\" />Working with the photo editing software needed to optimize the scanned images for viewing online 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 continues to affect my work and informed my process in constructing the art installation mentioned above.\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 and Hastings project build a picture of the process that the architects went through. I learned to see the architects’ 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 by 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 and Hastings project.\r\n','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 Carrere and 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; what is being represented. The architectural renderings averaged in a size of six feet by three feet, some larger, some smaller; all difficult to handle. Add the paper’s age and brittleness on top of the immense size and one has to have quite a bit of finesse in the handling of the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.','inherit','open','open','','967-revision-9','','','2012-02-11 00:43:55','2012-02-11 00:43:55','',967,'http://www.archivejournal.net/2012/02/967-revision-9/',0,'revision','',0),(1108,13,'2012-02-11 02:13:54','2012-02-11 02:13:54','<h4>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>.</h4>','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.','publish','open','open','','archival-materials-into-documentary-film','','','2012-11-29 03:55:29','2012-11-29 03:55:29','',0,'http://www.archivejournal.net/?p=1108',53,'post','',0),(1109,13,'2012-02-11 02:11:52','2012-02-11 02:11:52','','Archival Materials into Documentary Film','','inherit','open','open','','1108-revision','','','2012-02-11 02:11:52','2012-02-11 02:11:52','',1108,'http://www.archivejournal.net/2012/02/1108-revision/',0,'revision','',0),(1110,13,'2012-02-11 02:16:20','2012-02-11 02:16:20','<img class=\"alignleft size-full wp-image-1374\" title=\"lehigh_instructor head shot_kramp\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_instructor-head-shot_kramp.jpg\" alt=\"\" width=\"120\" height=\"160\" />My fall 2011 English and Women’s Studies upper-level undergraduate class, Theories of Masculinity, was designed to coordinate with the fortieth anniversary of admitting undergraduate women to Lehigh University. A major component of this course was a student-produced documentary film that considers the effects of coeducation on men and masculinity at Lehigh. This film project provided my students with an opportunity to examine critically Lehigh’s institutional history, focusing on the late 1960s and early 1970s. While it was not my initial intention, I was extremely pleased by the students’ abilities to research and study their own school’s history. They made extensive use of Lehigh’s Archives and Special Collections to collect numerous articles, documents, and perhaps most importantly, photographs, and they incorporated these materials into the different sections of the film (see Figures 1-6, below). Students discovered several cultural texts from the 1960s and 1970s that portrayed Lehigh as a haven for privileged masculinity, a sphere in which men appeared largely ignorant of the volatile civil rights movement and the emergent mid-century women’s movement. And yet, my students’ research also revealed that the Lehigh community of this era was also clearly cognizant of impending social changes. As my students tracked this tension between the ossification of male hegemony and the certainty of coming shifts, they developed a newfound appreciation for the importance of institutional history to the present operations of a university.\r\n\r\nThe prominence of Greek life is certainly one such feature of this legacy. Two of the four segments of the film address the role of fraternities and Greek social life, including the final section, which focuses on men and masculinity in Lehigh’s contemporary culture. The students who explored Lehigh’s mid-century Greek culture found ample textual evidence of its importance, including photographs, yearbook coverage, and film footage. When students interviewed alumni from the 1960s and 1970s, the men reported that Greek life had waned significantly in the years following coeducation. But when other students spoke with current male and female students, these individuals emphasized the enduring importance of fraternities and sororities to the culture of Lehigh. In addition, the group of filmmakers who focused on the period prior to coeducation highlighted the ways in which women were brought to campus for Saturday evening social events such as dances. My students interviewed several alumni who commented on the awkwardness of such activities, for both the men and the women. They even include a telling newspaper story in which Cedar Crest College, a small women’s college in nearby Allentown, is referenced as the bordello of Lehigh Valley (see <a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image1.jpg\" rel=\"lightbox\">Figure 1</a>). The student filmmakers who covered the years immediately following coeducation also treated the clumsiness of men’s interactions with women; they point to challenges in managing facilities and planning building construction, developing female athletics, and integrating women into extra-curricular clubs and organizations, such as the marching band. The filmmakers who treated contemporary conceptions of masculinity within the Lehigh community explicitly referenced the enduring legacy of sexual inequality and the perceived intellectual inferiority of women. They cited recent newspaper accounts on persistent gender inequities on campus and conducted numerous interviews on the topic. While it may very well have been unintentional, these students never interviewed a male and female subject together; instead, they consistently showed pairs of male students, suggesting the extant homosocial culture of Lehigh.\r\n\r\nI wanted my students to engage the history and culture of Lehigh through film technology because it would provide them with an opportunity to artistically synthesize a variety of different kinds of texts (photos, newspaper articles, found film footage, interviews, etc.). The film medium also allowed my students to share their work in public forums, respond to questions and concerns, and discuss their own research and artistic strategies. In effect, the film project allowed my students to contribute to the very institutional history of Lehigh University that they were researching. The archival work my students completed for this film has effectively introduced them to both the depths of information housed in Lehigh’s Special Collections and the profound relevance of institutional history to their own educational experiences. As I reflect upon the experience, there is no doubt in my mind that the most important single component of this process was done long before this class started; the cataloguing and digitization of the university newspaper and annual yearbooks made such a classroom project possible. The film has allowed students, faculty, and alumni to look back into Lehigh’s past, and, while this project has undoubtedly opened some uncomfortable topics and discussions, it has also reminded current and former members of the Lehigh community of their shared history.\r\n<div><span id=\"attachment_1388\" class=\"left alignleft\" style=\"width: 333px; margin-bottom: 20px; margin-right: 15px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image1.jpg\" rel=\"lightbox\"><img class=\"size-medium wp-image-1388\" title=\"lehigh_student work_image1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image1-333x159.jpg\" alt=\"The Trade with Cedar Crest.\" width=\"333\" height=\"159\" /></a><span class=\"wp-caption-text\"><em>Figure 1: </em>The Trade with Cedar Crest. From Lehigh’s student newspaper, <em>The Brown &amp; White</em> (September 17, 1971). Image courtesy of Lehigh University Digital Library.</span></span><span id=\"attachment_1410\" class=\"left alignleft\" style=\"width: 183px; margin-bottom: 20px; margin-right: 15px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image2.jpg\" rel=\"lightbox\"><img class=\"size-medium wp-image-1410\" title=\"lehigh_student work_image2\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image2-183x250.jpg\" alt=\"Lehigh Student Work\" width=\"183\" height=\"250\" /></a><span class=\"wp-caption-text\"><em>Figure 2: </em>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.</span></span><span style=\"clear: both; display: block; overflow: auto;\"> </span><span id=\"attachment_1390\" class=\"left alignleft\" style=\"width: 133px; margin-bottom: 20px; margin-right: 15px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image3.jpg\" rel=\"lightbox\"><img class=\"size-medium wp-image-1390\" title=\"lehigh_student work_image3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image3-133x250.jpg\" alt=\"\" width=\"133\" height=\"250\" /></a><span class=\"wp-caption-text\"><em>Figure 3: </em>A Lehigh student dances with his date at a mixer (<em>Epitome</em> 1970, p.252). Reproduced by permission from Special Collections, Lehigh University Libraries.</span></span><span id=\"attachment_1391\" class=\"left alignleft\" style=\"width: 333px; margin-bottom: 20px; margin-right: 15px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image4.jpg\" rel=\"lightbox\"><img class=\"size-medium wp-image-1391\" title=\"lehigh_student work_image4\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image4-333x233.jpg\" alt=\"\" width=\"333\" height=\"233\" /></a><span class=\"wp-caption-text\"><em>Figure 4: </em>Photograph of the Class of 1948’s 15th reunion (1963). Reproduced by permission from Special Collections, Lehigh University Libraries.</span></span><span style=\"clear: both; display: block; overflow: auto;\"> </span><span id=\"attachment_1392\" class=\"left alignleft\" style=\"width: 239px; margin-bottom: 20px; margin-right: 15px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image5.jpg\" rel=\"lightbox\"><img class=\"size-medium wp-image-1392\" title=\"lehigh_student work_image5\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image5-239x250.jpg\" alt=\"\" width=\"239\" height=\"250\" /></a><span class=\"wp-caption-text\"><em>Figure 5: </em>Cartoon by Gene Mater in <em>The Brown &amp; White</em> (September 14, 1971). Image courtesy of Lehigh University Digital Library.</span></span><span style=\"clear: both; display: block; overflow: auto;\"> </span><span id=\"attachment_1393\" class=\"left alignleft\" style=\"width: 333px; margin-bottom: 20px; margin-right: 15px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image6.jpg\" rel=\"lightbox\"><img class=\"size-medium wp-image-1393\" title=\"lehigh_student work_image6\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image6-333x245.jpg\" alt=\"\" width=\"333\" height=\"245\" /></a><span class=\"wp-caption-text\"><em>Figure 6: </em>Student Gene Mater speaking out at a student event (<em>Epitome</em> 1970, p.40). Reproduced by permission from Special Collections, Lehigh University Libraries.</span></span></div>','Michael Kramp - Commentary','My fall 2011 English and Women’s Studies upper-level undergraduate class, Theories of Masculinity, was designed to coordinate with the fortieth anniversary of admitting undergraduate women to Lehigh University. A major component of this course was a student-produced documentary film that considers the effects of coeducation on men and masculinity at Lehigh. This film project provided my students with an opportunity to examine critically Lehigh’s institutional history, focusing on the late 1960s and early 1970s. ','publish','open','open','','michael-kramp-commentary','','','2012-11-29 10:34:10','2012-11-29 10:34:10','',0,'http://www.archivejournal.net/?p=1110',52,'post','',0),(1111,13,'2012-02-11 02:16:04','2012-02-11 02:16:04','My Fall 2011 English and Women’s Studies upper-level undergraduate class, “Theories of Masculinity” was designed to coordinate with the 40th anniversary of undergraduate women at Lehigh University.  A major component of this course was a student-produced documentary film that considers the effects of co-education on men and masculinity at Lehigh.  This film project provided my students with an opportunity to examine critically Lehigh’s institutional history, focusing on the late 1960s and early 1970s.  While it was not my initial intention, I was extremely pleased by the students’ abilities to research and study their own school’s history. They made extensive use of Lehigh’s Archives and Special Collections to collect numerous articles, documents, and perhaps most importantly, photographs, and they incorporated these materials into the different sections of the film (see Figures 1-6).   Students discovered several cultural texts from the 1960s and 1970s that portrayed Lehigh as a haven for privileged masculinity—a sphere in which men appeared largely ignorant of the volatile Civil Rights Movement and the emergent mid-century Women’s Movement.  And yet, my students’ research also revealed that the Lehigh community of this era was also clearly cognizant of impending social changes.  As my students tracked this tension between the ossification of male hegemony and the certainty of coming shifts, they developed a newfound appreciation for the importance of institutional history to the present operations of a university.\n\nThe prominence of Greek Life was certainly one such feature of this legacy.  Two of the four segments of the film addressed the role of fraternities and Greek social life, including the final section that focused on men and masculinity in Lehigh’s contemporary culture.  The students who explored Lehigh’s mid-century Greek culture found ample textual evidence of its importance, including photographs, yearbook coverage, and film footage.  When these members of my course interviewed alumni from the 1960s and 1970s, these men reported that Greek Life had waned significantly in the years following coeducation; but when other students spoke with current male and female students, these individuals emphasized the enduring importance of Fraternities and Sororities to the culture of Lehigh.  In addition, the group of filmmakers who focused on the period prior to coeducation highlighted the ways in which women were brought to campus for Saturday evening social events such as dances; my students interviewed several alumni who commented on the awkwardness of such activities, for both the men and the women.  They even include a telling newspaper story in which Cedar Crest College, a small women’s college in nearby Allentown, is referenced as a bordello of the Lehigh Valley (see Figure 1).  The student filmmakers who covered the years immediately following coeducation also treated the clumsiness of men’s interactions with women; they point to challenges in managing facilities and planning building construction, developing female athletics, and integrating women into extra-curricular clubs and organizations, such as the marching band.  The group of filmmakers who treated contemporary conceptions of masculinity within the Lehigh community, not surprisingly, makes explicit reference to the enduring legacy of sexual inequality and the perceived intellectual inferiority of women.  They cited recent newspaper accounts on persistent gender inequities on campus, and conduct numerous interviews on the topic.  While it may very well have been unintentional, these students never interviewed a male and female subject together; instead, they consistently showed pairs of male students, suggesting the extant homosocial culture of Lehigh.\n\nI wanted my students to engage the history and culture of Lehigh through film technology because it provided them with an opportunity to artistically synthesize a variety of different kinds of texts (i.e. photos, newspaper articles, found film footage, interviews, etc.).  The film medium also allowed my students to share their work within public forums, respond to questions and concerns, and discuss their own research and artistic strategies.  In effect, the film project allowed my students to contribute to the very institutional history of Lehigh University they were researching.  The archival work completed by my students for this film has effectively introduced them to both the depths of information housed in Lehigh’s Special Collections and the profound relevance of institutional history to their own educational experiences.  As I reflect upon the experience, there is no doubt in my mind that the most important single component of this process was done long before this class started—the cataloguing and digitization of the university newspaper and annual yearbooks made such a classroom project possible.  The film has allowed students, faculty, and alumni to look back into the past of Lehigh, and while this project has undoubtedly opened some uncomfortable topics and discussions, it has also reminded current and former member of the Lehigh community of their shared history.\n\n','','','inherit','open','open','','1110-revision','','','2012-02-11 02:16:04','2012-02-11 02:16:04','',1110,'http://www.archivejournal.net/2012/02/1110-revision/',0,'revision','',0),(1112,13,'2012-02-11 02:16:20','2012-02-11 02:16:20','My Fall 2011 English and Women’s Studies upper-level undergraduate class, “Theories of Masculinity” was designed to coordinate with the 40th anniversary of undergraduate women at Lehigh University.  A major component of this course was a student-produced documentary film that considers the effects of co-education on men and masculinity at Lehigh.  This film project provided my students with an opportunity to examine critically Lehigh’s institutional history, focusing on the late 1960s and early 1970s.  While it was not my initial intention, I was extremely pleased by the students’ abilities to research and study their own school’s history. They made extensive use of Lehigh’s Archives and Special Collections to collect numerous articles, documents, and perhaps most importantly, photographs, and they incorporated these materials into the different sections of the film (see Figures 1-6).   Students discovered several cultural texts from the 1960s and 1970s that portrayed Lehigh as a haven for privileged masculinity—a sphere in which men appeared largely ignorant of the volatile Civil Rights Movement and the emergent mid-century Women’s Movement.  And yet, my students’ research also revealed that the Lehigh community of this era was also clearly cognizant of impending social changes.  As my students tracked this tension between the ossification of male hegemony and the certainty of coming shifts, they developed a newfound appreciation for the importance of institutional history to the present operations of a university.\r\n\r\nThe prominence of Greek Life was certainly one such feature of this legacy.  Two of the four segments of the film addressed the role of fraternities and Greek social life, including the final section that focused on men and masculinity in Lehigh’s contemporary culture.  The students who explored Lehigh’s mid-century Greek culture found ample textual evidence of its importance, including photographs, yearbook coverage, and film footage.  When these members of my course interviewed alumni from the 1960s and 1970s, these men reported that Greek Life had waned significantly in the years following coeducation; but when other students spoke with current male and female students, these individuals emphasized the enduring importance of Fraternities and Sororities to the culture of Lehigh.  In addition, the group of filmmakers who focused on the period prior to coeducation highlighted the ways in which women were brought to campus for Saturday evening social events such as dances; my students interviewed several alumni who commented on the awkwardness of such activities, for both the men and the women.  They even include a telling newspaper story in which Cedar Crest College, a small women’s college in nearby Allentown, is referenced as a bordello of the Lehigh Valley (see Figure 1).  The student filmmakers who covered the years immediately following coeducation also treated the clumsiness of men’s interactions with women; they point to challenges in managing facilities and planning building construction, developing female athletics, and integrating women into extra-curricular clubs and organizations, such as the marching band.  The group of filmmakers who treated contemporary conceptions of masculinity within the Lehigh community, not surprisingly, makes explicit reference to the enduring legacy of sexual inequality and the perceived intellectual inferiority of women.  They cited recent newspaper accounts on persistent gender inequities on campus, and conduct numerous interviews on the topic.  While it may very well have been unintentional, these students never interviewed a male and female subject together; instead, they consistently showed pairs of male students, suggesting the extant homosocial culture of Lehigh.\r\n\r\nI wanted my students to engage the history and culture of Lehigh through film technology because it provided them with an opportunity to artistically synthesize a variety of different kinds of texts (i.e. photos, newspaper articles, found film footage, interviews, etc.).  The film medium also allowed my students to share their work within public forums, respond to questions and concerns, and discuss their own research and artistic strategies.  In effect, the film project allowed my students to contribute to the very institutional history of Lehigh University they were researching.  The archival work completed by my students for this film has effectively introduced them to both the depths of information housed in Lehigh’s Special Collections and the profound relevance of institutional history to their own educational experiences.  As I reflect upon the experience, there is no doubt in my mind that the most important single component of this process was done long before this class started—the cataloguing and digitization of the university newspaper and annual yearbooks made such a classroom project possible.  The film has allowed students, faculty, and alumni to look back into the past of Lehigh, and while this project has undoubtedly opened some uncomfortable topics and discussions, it has also reminded current and former member of the Lehigh community of their shared history.\r\n\r\n','Michael Kramp - Instructor Commentary','','inherit','open','open','','1110-revision-2','','','2012-02-11 02:16:20','2012-02-11 02:16:20','',1110,'http://www.archivejournal.net/2012/02/1110-revision-2/',0,'revision','',0),(1113,13,'2012-02-11 02:17:08','2012-02-11 02:17:08','<img class=\"alignleft size-full wp-image-1378\" title=\"lehigh_student head shot_weber\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-head-shot_weber.jpg\" alt=\"\" width=\"120\" height=\"160\" />\r\n\r\nDuring the fall 2011 semester, I was a part of Lehigh University’s Theories of Masculinity class, an upper-level English and Women’s Studies course. Initially, I signed up for it because it was a prerequisite for graduating with department honors. As part of this course, we created a documentary film on coeducation and its effects on men and masculinity at Lehigh, which is currently celebrating its fortieth anniversary of admitting female students. My role in this film became a challenging and ultimately very rewarding part of my education at Lehigh.\r\n\r\nCreating the film required extensive use of Lehigh University’s Special Collections. As someone unfamiliar with the process of researching in the archives, I was unaware of the extensive time and effort such an undertaking required. Yet, it was through delving into the pages and pages of yearbook photos from the late 1960s and early 1970s (see Figures <a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image2.jpg\" rel=\"lightbox\">2</a>, <a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image3.jpg\" rel=\"lightbox\">3</a>, <a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image6.jpg\" rel=\"lightbox\">6</a>), and seeing headlines from that time in <em>The Brown and White</em>, Lehigh’s student newspaper (see Figures <a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image1.jpg\" rel=\"lightbox\">1</a>, <a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image5.jpg\" rel=\"lightbox\">5</a>, <a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image7.jpg\" rel=\"lightbox\">7</a>), that I began to appreciate the power of the project our class was creating. This project allowed me to see the trajectory of Lehigh’s transition to a coeducational institution, a transition colored by many challenges, including sexism. These challenges are not easily visible in 2011, forty years later, so seeing the headlines and pictures in the archives literally, and in a unique way, demonstrated the hurdles women had to face at Lehigh. Some were the only girls in their classes, and all had to overcome being seen simply as weekend entertainment for the male students, as was the case for the women who were bussed in and out on Saturdays from nearby Cedar Crest College prior to coeducation (see <a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_student-work_image1.jpg\" rel=\"lightbox\">Figure 1</a>). I had been taking my role as a woman on Lehigh’s campus for granted, and this process really made me consider the journey that others had taken to provide me with such an opportunity.\r\n\r\nThe archives played a major role in our documentary. The images and video clips we found provided evidence of our claims about the challenges women came up against at a conservative institution transitioning to coeducation, and in a way that our words alone could not do justice to. Simply hearing about the awkward mixers held before coeducation was implemented is not as powerful as seeing pictures of wide-eyed men groping at women, or of the huge amounts of alcohol they consumed at these parties. Lehigh’s archives are not used nearly enough. I am embarrassed to admit that as a first-semester senior English major I am just now getting my first taste of their value. It is my hope that our documentary project will serve as a positive example of the power that these resources can provide to our university. As these images fade further and further into the past, students have the chance to keep them alive in our contemporary work by using them in various classes and research projects. I hope that our documentary project can show the university, and especially other students like me who may not have known the extent of the material available, the value of these resources to the legacy of our institution and the appreciation of our education.','Kim Weber - Commentary','During the fall 2011 semester, I was a part of Lehigh University’s Theories of Masculinity class, an upper-level English and Women’s Studies course. Initially, I signed up for it because it was a prerequisite for graduating with department honors. As part of this course, we created a documentary film on coeducation and its effects on men and masculinity at Lehigh, which is currently celebrating its fortieth anniversary of admitting female students. My role in this film became a challenging and ultimately very rewarding part of my education at Lehigh.','publish','open','open','','kim-weber-commentary','','','2012-11-29 10:32:42','2012-11-29 10:32:42','',0,'http://www.archivejournal.net/?p=1113',51,'post','',0),(1114,13,'2012-02-11 02:16:49','2012-02-11 02:16:49','','Kim Weber','','inherit','open','open','','1113-revision','','','2012-02-11 02:16:49','2012-02-11 02:16:49','',1113,'http://www.archivejournal.net/2012/02/1113-revision/',0,'revision','',0),(1115,13,'2012-02-11 02:17:08','2012-02-11 02:17:08','','Kim Weber - Student Commentary','','inherit','open','open','','1113-revision-2','','','2012-02-11 02:17:08','2012-02-11 02:17:08','',1113,'http://www.archivejournal.net/2012/02/1113-revision-2/',0,'revision','',0),(1116,13,'2012-02-11 02:19:20','2012-02-11 02:19:20','<img class=\"alignleft size-full wp-image-1380\" title=\"lehigh_support head shot_maserjian\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/lehigh_support-head-shot_maserjian.jpg\" alt=\"\" width=\"120\" height=\"160\" />I’d like to tell you a story, one about a series of experiences that changed the way I work with students and faculty at Lehigh. In fact, the story is about stories—digital storytelling, to be exact. Digital storytelling uses computer-based still and moving images, text, audio, and music to document experiences, ideas, and research.\r\n\r\nIn the fall of 2005 I had the pleasure of working with English professor Ed Gallagher in an experimental, first-year writing course, “Digital Songs, Stories, and Histories,” that offered students new ways to communicate through a variety of multi-media assignments. For one assignment the students were asked to create a video based on a research question they developed from materials they found in Lehigh’s Digital Library project, <a href=\"http://digital.lib.lehigh.edu/remain/con/digwriting.html\">I Remain: A Digital Archive of Letters, Manuscripts, and Ephemera</a>. The site contains hundreds of items from the university’s Special Collections and Archives that represent five centuries of writers, explorers, scientists, philosophers, and politicians.\r\n\r\nThe students were asked to select a document from the site that piqued their curiosity, transcribe that document, formulate a historical question, develop a thesis, select materials that would support that thesis, and produce a video based on those efforts. The vast majority of the students embraced the archival and technological challenge. The results appear on the <em>I Remain</em> site.\r\n\r\nIn order to understand the content development and technological challenges our students faced, I delved into my family archives and produced a short personal video story about my father. I was amazed at the ability of this process to challenge and change my perspective on the past. Cathartic is the only way I can describe my experience. Clearly smitten with this medium, the following year I taught a course for the History Department, Digital History and Video. This class had a mix of undergraduate and graduate students who were also asked to explore the archival materials on the <em>I Remain</em> site. They had to perform many of the same assignments as the previous class did, but, as the course level dictated, they had to be even more rigorous in their research. The students wrote a footnoted essay about their document(s), and then converted their research essay into a script to include narration and accompanying visuals.\r\n\r\nOne of the Digital History students, a senior with a double major in history and education, discovered a treasure trove of primary sources when she came upon a scrapbook of memorabilia related to the assassination of Abraham Lincoln. The scrapbook was compiled by American boundary commissioner, Rhode Island Secretary of State, historian, and author John R. Bartlett. Using many of the images in the scrapbook, she constructed a <a href=\"http://player.vimeo.com/video/40877170\">seven-minute video about the assassination of President Lincoln</a> and the effect his death had on the country. Rather than address a scholarly audience in her production, she chose to produce a documentary with a general audience in mind. The storytelling choices she made in her narration and accompanying voice-over collaborations with faculty and fellow classmates are clearly directed toward that general audience. Though initially intimidated by the use of new technology, this student was pleased that she was able to face the challenge and learn a new skill that would help her in her career in elementary education.\r\n\r\nSince these initial forays into student-produced documentary, I am pleased to say that this form of communication is alive and well at Lehigh University. As the number of requests for video projects grew, Library and Technology Services formed the Documentary Resource Team. The Team is comprised of librarians, instructional technologists, and media specialists who help faculty and students navigate the opportunities and challenges of video production. In many of these classes, students use physical and virtual archives extensively in their research and image selection. With the opportunities of archival discovery also come the challenges of representing findings.\r\n\r\nThe materials we uncover in archives and the way we choose to use them has provoked an ongoing series of questions about copyright, research methodology, and documentary ethics. Regardless of the event (long ago or yesterday) or the individual (living or dead), the lessons our students learn about their obligations in representing the lives of others are important ones. What is at stake when, as digital storytellers, we document the experience of others? What happens when those experiences move beyond the confines of the classroom and become part of a larger audience at public screenings or on the web? The questions of authority, privacy, responsibility, and moral obligations are good ones with no easy answers. Luckily, as educators, we are not in the business of easy answers.','Julia Maserjian - Commentary','I’d like to tell you a story, one about a series of experiences that changed the way I work with students and faculty at Lehigh. In fact, the story is about stories—digital storytelling, to be exact. Digital storytelling uses computer-based still and moving images, text, audio, and music to document experiences, ideas, and research.','publish','open','open','','julia-maserjian-commentary','','','2012-11-02 22:03:52','2012-11-02 22:03:52','',0,'http://www.archivejournal.net/?p=1116',50,'post','',0),(1117,13,'2012-02-11 02:19:03','2012-02-11 02:19:03','','Julia Maserjian - Commentary','','inherit','open','open','','1116-revision','','','2012-02-11 02:19:03','2012-02-11 02:19:03','',1116,'http://www.archivejournal.net/2012/02/1116-revision/',0,'revision','',0),(1118,13,'2012-02-11 02:13:54','2012-02-11 02:13:54','','Archival Materials into Documentary Film','','inherit','open','open','','1108-revision-2','','','2012-02-11 02:13:54','2012-02-11 02:13:54','',1108,'http://www.archivejournal.net/2012/02/1108-revision-2/',0,'revision','',0),(1119,13,'2012-02-11 02:19:50','2012-02-11 02:19:50','','Archival Materials into Documentary Film','','inherit','open','open','','1108-revision-3','','','2012-02-11 02:19:50','2012-02-11 02:19:50','',1108,'http://www.archivejournal.net/2012/02/1108-revision-3/',0,'revision','',0),(1120,13,'2012-02-11 02:20:44','2012-02-11 02:20:44','','Archival Materials into Documentary Film','','inherit','open','open','','1108-revision-4','','','2012-02-11 02:20:44','2012-02-11 02:20:44','',1108,'http://www.archivejournal.net/2012/02/1108-revision-4/',0,'revision','',0),(1121,13,'2012-02-11 02:38:31','2012-02-11 02:38:31','','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>.','publish','open','open','','mapping-the-provenance-of-museum-objects','','','2012-11-29 10:49:07','2012-11-29 10:49:07','',0,'http://www.archivejournal.net/?p=1121',49,'post','',0),(1122,13,'2012-02-11 02:36:08','2012-02-11 02:36:08','','Mapping the Provenance of Museum Objects','','inherit','open','open','','1121-revision','','','2012-02-11 02:36:08','2012-02-11 02:36:08','',1121,'http://www.archivejournal.net/2012/02/1121-revision/',0,'revision','',0),(1123,13,'2012-02-11 02:41:31','2012-02-11 02:41:31','<span class=\"alignright wp-caption-text\" style=\"width: 166px; margin-bottom: 20px;\"><img class=\"alignleft size-full wp-image-1223\" style=\"margin-right: 20px; margin-bottom: 10px;\" title=\"szerba\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/szerba.jpg\" alt=\"\" width=\"120\" height=\"160\" />Photo: Jay VanRensselaer, <a href=\"http://homewoodphoto.jhu.edu\">homewoodphoto.jhu.edu</a>.</span>\r\n<div><em>Sczerba worked closely with the course instructors, Elizabeth Rodini and Ben Tilghman, to develop and refine the Google Earth tools and to train students in building tours.</em></div>\r\n<strong>1. Describe your role in this project. </strong>\r\nI work for a faculty support center at Johns Hopkins University called the Center for Educational Resources (CER). As the center’s multimedia developer, I aided Elizabeth Rodini and Ben Tilghman with the technical and logistical aspects of the project. This included determining a viable technology for the project tours and developing resource guides that aided students’ tour creation.\r\n\r\n<strong>2. What tasks did you perform at various stages of the project?</strong>\r\nInitially we had to find a program that would be available freely (both in access and cost) for students to use with a relatively low learning curve. We selected Google Earth because it allows tour creation with rich media and text mapped to the earth, and it is free to download on PCs and Macs. I then created a template tour, set up with pre-made placemarks as a starting point for the students, and content layout templates for the appearance of the tour’s placemarks. After those two resources were set, I needed to create a well-written and comprehensible workflow. I chose to create both a visual and textual workflow to clearly express what actions needed to happen and at what stages. The final step was to present this workflow to the students in a training workshop so that they could see how it all came together and do it themselves.\r\n\r\n<strong>3. What sorts of interactions did you have with faculty, students, and other members of the project community over the course of the project?</strong>\r\nI met with Elizabeth Rodini and Ben Tilghman initially to gather the project’s requirements, then later to introduce them to the proposed solution. One of my colleagues from the CER also joined these meetings to offer ideas. I was also available by e-mail to answer questions as they came up, especially during the process of approving the workflow, as it needed to be as simple as possible to follow. I also held a training workshop for the students with Professor Rodini. I continued to be available for questions by e-mail as the students worked on their projects.\r\n\r\n<strong>4. What particular challenges did this project present?</strong>\r\nThis project required that every placemark on a tour include images at that location. The only way to do this in Google Earth was to code it yourself. Certain aspects of using Google Earth were easy to master, but customizing the appearance of the placemarks requires HTML programming knowledge. Despite the fact that most students nowadays have grown up with the Internet, we have found that very few know how to use HTML. Our solution utilized an online HTML editor that had a prebuilt HTML template loaded in it. When the students were ready to create the content for their placemarks, they simply copied the content from a Word document and then pasted it in the HTML editor to generate the code. The students pasted that code into their Google Earth placemark, circumventing the need for them to learn HTML.\r\n\r\n<strong>5. What lessons did you learn from this project and what might you do differently in the future? </strong>\r\nA more ideal solution may have been to create an application that would generate the tours without using Google Earth. This would have taken more time and resources to build than we had, but it could have been a useful application for other courses as well. It was disappointing to realize that Google Earth did not have an HMTL editor built in, and that there was no application that could suit our needs at the time. Perhaps when this course is offered again, there will be an ideal solution available to allow students to create tours and focus on the content rather than the technology. If not, then perhaps we will have the time to build one ourselves and share it.','Reid Sczerba - Commentary','I work for a faculty support center at Johns Hopkins University called the Center for Educational Resources (CER). As the center’s multimedia developer, I aided Elizabeth Rodini and Ben Tilghman with the technical and logistical aspects of the project. This included determining a viable technology for the project tours and developing resource guides that aided students’ tour creation.','publish','open','closed','','reid-sczerba-commentary','','','2012-11-29 00:33:25','2012-11-29 00:33:25','',0,'http://www.archivejournal.net/?p=1123',48,'post','',0),(1124,13,'2012-02-11 02:40:45','2012-02-11 02:40:45','','Reid Sczerba - Commentary','','inherit','open','open','','1123-revision','','','2012-02-11 02:40:45','2012-02-11 02:40:45','',1123,'http://www.archivejournal.net/2012/02/1123-revision/',0,'revision','',0),(1125,13,'2012-02-11 02:41:31','2012-02-11 02:41:31','Sczerba worked closely with the course instructors, Elizabeth Rodini and Ben Tilghman, to develop and refine the Google Earth tools and to train students in building tours.\r\n\r\n1.	Describe your role in this project.\r\n\r\nI work for a faculty support center at Johns Hopkins University called the Center for Educational Resources (CER). As the center’s multimedia developer, I aided Elizabeth Rodini and Ben Tilghman with the technical and logistical aspect of the project. This included determining a viable technology for the project tours and developing resource guides that aided student tour creation. \r\n\r\n2.	What tasks did you perform at various stages of the project? \r\n\r\nInitially we had to find a program that would be freely available (both in access and cost) for students to use with a relatively low learning curve. Google Earth was selected since it allows tour creation with rich media and text mapped to the earth and is free to download on PCs and Macs. I then created a template tour, set up with pre-made place markers as a starting point for the students, and content layout templates for the appearance of the tour’s place marks. After those two resources were set, a well-written and comprehensible workflow had to be created. I chose to create both a visual and textual workflow to clearly express the actions that needed to happen and at what stages. The final step was to present this workflow to the students in a training workshop so that they could see how it all came together and do it themselves.\r\n\r\n3.	What sorts of interactions did you have with faculty, students, and other members of the project community over the course of the project?\r\n \r\nI met with Elizabeth Rodini and Ben Tilghman initially for the project’s requirements gathering, then later to introduce them to the proposed solution. A colleague of mine from the CER also joined these meetings to offer ideas. I was also available by email to answer questions as they came up, especially during the approval process of the workflow, as it needed to be as simple to follow as possible. I also held a training workshop with Professor Rodini for the students. I continued to be available for questions by email as the students worked on their projects. \r\n\r\n4.	What particular challenges did this project present? \r\n\r\nThis project required that every place mark on a tour should include images at that location. The only way to do this in Google Earth was to code it yourself. Certain aspects of using Google Earth were easy to master but customizing the appearance of the place marks requires HTML programming knowledge. Despite the fact that most students nowadays have grown up with the Internet, we have found very few know how to use HTML. Our solution utilized an online HTML editor that had a prebuilt HTML template loaded in it. When the students were ready to create the content for their place marks, they simply copied the content from a Word document then pasted it in the HTML editor to generate the code. That code was then pasted into their Google Earth place mark, circumventing the need for the students to learn HTML.\r\n\r\n5.	What lessons did you learn from this project and what might you do differently in the future? \r\n\r\nA more ideal solution may have been to create an application that would generate the tours without necessitating the use of Google Earth. This would have taken more time and resources to build than we had but it could have been a useful application for other courses as well. It was disappointing realizing that Google Earth didn’t have an HMTL editor built in and at the time there wasn’t an application that suited our needs. Perhaps when this course is offered again, there will be an ideal solution available that would allow students to create tours, focusing on the content rather than the technology. If not then perhaps we will have time to build one ourselves and share it.\r\n','Reid Sczerba - Commentary','','inherit','open','open','','1123-revision-2','','','2012-02-11 02:41:31','2012-02-11 02:41:31','',1123,'http://www.archivejournal.net/2012/02/1123-revision-2/',0,'revision','',0),(1126,13,'2012-02-11 02:43:29','2012-02-11 02:43:29','<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 - Commentary','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.','publish','open','open','','joan-tkacs-commentary','','','2012-11-30 04:49:35','2012-11-30 04:49:35','',0,'http://www.archivejournal.net/?p=1126',47,'post','',0),(1127,13,'2012-02-11 02:43:16','2012-02-11 02:43:16','Object studied: \nCasket with Scenes of Romances, ivory and bone with modern iron mounts (French, 1330-1350).\n\n1.) 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.)\nI researched two objects for this project, a painted tile and an ivory casket. The Walters 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.\n\n\n\n2.) What did you learn from this project that distinguished it from other academic courses?\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 didn’t know this before I started the project, and the research gave me a new appreciation for just how dynamic these objects are.\n\n\n3.) What was it like to be creating a final project that would be presented to the public?\nThe Google Earth project was a lesson in learning how to write concisely. You would spend 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’s a little bit harder to boil down everything that you’ve learned into something punchy and informative.\n\n\n4.) What did you learn from working in a professional museum and in conjunction with its staff?\n\nThe Walters’ staff was incredibly giving of their time. We met with the museum director, the curator of Asian art, and 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 a member of the museum’s education department and getting feedback on what we had written for the project so far. That kind of collaboration was incredibly helpful.\n\n\n5.)  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?\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’m 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 don’t know if I would have had this opportunity without my experience working on the Google Earth project at the Walters.\n','Joan Tkacs','','inherit','open','open','','1126-revision','','','2012-02-11 02:43:16','2012-02-11 02:43:16','',1126,'http://www.archivejournal.net/2012/02/1126-revision/',0,'revision','',0),(1128,13,'2012-02-11 02:44:32','2012-02-11 02:44:32','<img class=\"size-full wp-image-1189\" title=\"walters_student action photo_devos\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/walters_student-action-photo_devos.jpg\" alt=\"\" width=\"640\" height=\"426\" /><span class=\"caption\"> Dakota DeVos (pointing at books) with Antiphonary for Abbess of Sainte-Marie of Beaupré, ink on parchment (Flemish, 1290). 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\nThis project required a diverse approach to research, including reading topical books and contemporary articles, conducting interviews with Walters conservators and curators, and making comparisons with similar objects from the period or in the artists’ oeuvres. However, an exhaustive physical examination of the objects themselves was the starting and ending point for piecing together the objects’ paths of alteration, ownership, and usage. Our final product was meant to offer a new way for viewers to connect with an object, so both our maps and audio clips reinforce our findings by continually asking the viewer to look closely at the evidence right in front of them.\r\n\r\n<strong>2. What did you learn from this project that distinguished it from other academic courses?</strong>\r\nThis course offered three unique qualities. First, our research was meant for publication for museum visitors rather than exclusively for our professors. Second, we were able to do hands-on research with many of the Walters’ most revered objects while curators and conservators guided us in our examinations. Finally, this course encouraged an object-centric view of history, which was antithetical, conceptually, to the art history courses I had taken until that point. As an art history major I was accustomed to viewing specific art historical objects as close studies of broader trends that characterized the periods in which they were made. However, our assignment for Material Migrations was concerned not only with a study of the object’s creation and use in its own time, but also how its use changed throughout its history. I came away from the course with a greater appreciation for the power of contextualization. Art objects rarely remain static relics of a bygone era; rather, they continue to have vibrant lives and changing effects on their successive owners and audiences, not the least of which is their position as a tool for learning in the museum.\r\n\r\n<strong>3. What was it like to create a final project that would be presented to the public?</strong>\r\nThe project was intended to engage as broad a scope of museum visitors as possible, including youths and viewers who might have no background on the object, while still interesting our academic peers. Part of what made these objects so fascinating was the very unwieldiness of their provenance. I decided on central themes for both of my objects and ultimately cut out much of my research in order to focus on their tortuous histories. Considerations of display also affected the content of the map and audio. For example, while some of the pages of the illuminated manuscript I researched had beautiful drolleries in their margins, it was impractical to cite specific instances because only one spread of the fragile manuscript could be on display, and it might not have any drolleries.\r\n\r\n<strong>4. What did you learn from working in a professional museum and in conjunction with its staff?</strong>\r\nI chose one of my objects, the Beaupré Antiphonary, specifically because I had the opportunity to work with Professor Tilghman and the Walters’ rare books curator, Dr. William Noel. Collaborating with two of the top scholars in the field on an object that they knew intimately remains one of the brightest moments of my undergraduate career.\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 reinforced my ambition to work in the field of museums because I found the work rewarding and academically invigorating. It was meaningful and exhilarating to produce work for a class that would help enrich the presentation of the Walters’ holdings.','Dakota Devos - Commentary','This project required a diverse approach to research, including reading topical books and contemporary articles, conducting interviews with Walters conservators and curators, and making comparisons with similar objects from the period or in the artists’ oeuvres. However, an exhaustive physical examination of the objects themselves was the starting and ending point for piecing together the objects’ paths of alteration, ownership, and usage. Our final product was meant to offer a new way for viewers to connect with an object, so both our maps and audio clips reinforce our findings by continually asking the viewer to look closely at the evidence right in front of them.','publish','open','open','','dakota-devos-commentary','','','2012-11-29 10:36:52','2012-11-29 10:36:52','',0,'http://www.archivejournal.net/?p=1128',46,'post','',0),(2493,19,'2012-07-27 09:32:21','2012-07-27 09:32:21','[caption id=\"attachment_1185\" align=\"alignnone\" width=\"640\"]<img class=\"size-full wp-image-1185 \" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/walters_student-action-photo_dowdle.jpg\" alt=\"\" width=\"640\" height=\"426\" /> Elizabeth Dowdle (in striped shirt) with Capitoline Amazon, marble (Roman copy after Kresilas, Greek, active ca. 450 BC - 420 BC).[/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\n\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\n\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 be creating a final project that would be presented to the public?</strong>\r\n\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\n\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\n\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 - Commentary','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-17','','','2012-07-27 09:32:21','2012-07-27 09:32:21','',1152,'http://www.archivejournal.net/issue/2/uncategorized/1152-revision-17/',0,'revision','',0),(1129,13,'2012-02-11 02:43:59','2012-02-11 02:43:59','','Dakota Devos','','inherit','open','open','','1128-revision','','','2012-02-11 02:43:59','2012-02-11 02:43:59','',1128,'http://www.archivejournal.net/2012/02/1128-revision/',0,'revision','',0),(1130,13,'2012-02-11 02:45:33','2012-02-11 02:45:33','Art on the Move was an outcome of the course Behind the Scenes at the Walters Art Museum: Material Migrations, offered at the Walters Art Museum through the <a href=\"http://krieger.jhu.edu/museums/\">Program in Museums and Society</a>at Johns Hopkins University in the fall of 2009. Elizabeth Rodini and Ben Tilghman were co-instructors and, with the technical guidance of Reid Sczerba, Multimedia Development Specialist in the university’s Center for Educational Resources, devised and oversaw this project. The course and project were funded by an Arts Innovation Grant from Johns Hopkins.\r\n\r\n<h4>Excerpt from course syllabus:</h4>\r\n\r\nThe goals of this class can be broken down into several categories:\r\n<ul>\r\n	<li>investigating the various ways/means/motives for the circulation of objects, and considering how meaning is shaped by context, from antiquity to the present and including the museum itself;</li>\r\n	<li>conducting in-depth, independent research on objects in the Walters’ collection;</li>\r\n	<li>experimenting with different styles of writing and narration;</li>\r\n	<li>learning about different areas of museum practice, including curation, conservation, registration, and education;</li>\r\n	<li>applying these experiences to the production of interpretative tools for public audiences of the Walters, in the form of Google Earth itineraries.</li>\r\n</ul>\r\nEach student will choose two* objects from the Walters collection to research, focusing on the “trajectory” of the objects and their shifting significance in different contexts. Research will involve studying the objects and object files at the museum as well as work in the Johns Hopkins University library and online. That work will be analyzed, interpreted, and gathered into a Google Earth Map “itinerary” for each object. Why? To share what we are learning with the public. This is a fundamental task of museums, and in this course we extended that mission to the undergraduate classroom.\r\n\r\n(*The seven students worked on two objects each; we selected some of these for the final presentation on the Walters website.)','Walters - Project Description/Syllabus','','publish','open','open','','walters-project-description-syllabus','','','2012-11-29 04:28:57','2012-11-29 04:28:57','',0,'http://www.archivejournal.net/?p=1130',45,'post','',0),(1131,13,'2012-02-11 02:44:59','2012-02-11 02:44:59','Art on the Move: A Public Humanities Project at Johns Hopkins University\n\nArt on the Move was an outcome of the course “Behind the Scenes at the Walters Art Museum: Material Migrations,” offered at the Walters Art Museum through the Program in Museums and Society [link to M&S here: http://krieger.jhu.edu/museums/] at Johns Hopkins University in the fall of 2009.  Elizabeth Rodini and Ben Tilghman were co-instructors and, with the technical guidance of Reid Sczerba, Senior Programmer Analyst in the university’s Center for Educational Resources, devised and oversaw this project.  The course and project were funded by an Arts Innovation Grant from Johns Hopkins.\n\nExcept from course syllabus:\n\nThe goals of this class can be broken down into several categories:\n\n-investigating the various ways/means/motives for the circulation of objects, and considering how meaning is shaped by context, from antiquity to the present and including the museum itself; \n-conducting in-depth, independent research on objects in the Walters’ collection;\n-experimenting with different styles of writing and narration;\n-learning about different areas of museum practice, including curation, conservation, registration, and education;\n-applying these experiences to the production of interpretative tools for public audiences of the Walters, in the form of Google Earth itineraries.  \n\nEach student will choose two* objects from the Walters’ collection to research, focusing on the “trajectory” of the objects and their shifting significance in different contexts.  Research will involve studying the objects and object files at the museum as well as work in the Hopkins library and on-line.  That work will be analyzed, interpreted, and gathered into a Google Earth Map “itinerary” for each object.  Why?  To share what we are learning with the public.  This is a fundamental task of museums . . . in this course we extended that mission to the undergraduate classroom. \n\n(*The seven students worked on two objects each; a selection of these was made for the final presentation on the Walters website.)\n','Walter','','inherit','open','open','','1130-revision','','','2012-02-11 02:44:59','2012-02-11 02:44:59','',1130,'http://www.archivejournal.net/2012/02/1130-revision/',0,'revision','',0),(1132,13,'2012-02-11 02:46:37','2012-02-11 02:46:37','<span class=\"alignright wp-caption-text\" style=\"width: 166px; margin-bottom: 20px;\"><img class=\"alignleft size-full wp-image-1220\" style=\"margin-right: 20px; margin-bottom: 10px;\" title=\"Elizabeth Rodini\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/rodini.jpg\" alt=\"Elizabeth Rodini\" width=\"120\" height=\"160\" /> Photo: Will Kirk, <a href=\"http://homewoodphoto.jhu.edu\">homewoodphoto.jhu.edu</a></span>Material Migrations, like many of the practicum courses offered in the Program in Museums and Society (M&amp;S), gave students the chance to engage directly with objects, conduct research in and around those materials, and, most distinctively, develop a final project to be shared with a general audience—in this case, Google Earth “tours” of object provenance histories, to be incorporated into the website of the Walters Art Museum. M&amp;S practicum projects take the form of exhibitions, both actual and virtual; interpretative materials, such as audio tours, gallery guides, and websites; and program development. I like to think of them as works of “public humanities,” sharing the research we do in the university with a larger audience.\r\n\r\nWhy bother with such an exercise? The answer Ben Tilghman and I provided in our syllabus for this course: “To share what we are learning with the public. This is a fundamental task of museums. . . <em>in this course we extend that mission to the undergraduate classroom.</em>” Universities suffer from being removed from the broader community, while humanistic disciplines without clear “practical” applications are particularly at risk from this sort of isolation and perceived irrelevance. On the other hand, archives, museums, and other collections with a public face are places where humanistic research can be made available, accessible, and meaningful.\r\n\r\nAlthough historians are familiar with the sub-field of public history, other disciplines have not developed the potential for outreach in such a direct, institutionalized way. It is hard to imagine the awarding of a degree in, say, public art history. But in this class our students were taking on that very role as curators presenting research through a lively interactive tool with broad dissemination.\r\n\r\nIn developing their object itineraries for the Walters Art Museum and Google Earth, students had to consider both the historical narratives they were tracing and the matter of presenting them to the public. What information would be accessible? How could they both engage and challenge their audience? How would they balance the nuanced elements of their story with the broader theoretical issues at stake in the project? What is lost in the task of producing highly condensed text, and what might be gained?\r\n\r\nIn all of our museum-based practicum courses we face the challenge of fitting student work into an established institutional frame. Classrooms are messy places where ideas are tested and debated. Despite our best efforts, the many young voices we work with over the semester may not easily gel into the perfect, marketable whole that modern museums require. Our students carefully crafted their texts, which Walters professionals then polished to a sheen. The students constructed imaginative itineraries that we honed to fit a simpler, more streamlined model.\r\n\r\nIf it seems like the nature of university research (independent, serendipitous, evolving) cannot quite square with museum exhibitions (corporate, formal, fixed), there is nevertheless much to be gained from encouraging their intersection—for students, audiences, and collections, and for universities as well. University humanities made more public are also more relevant, appreciated, and valued.','Elizabeth Rodini - Commentary','Material Migrations, like many of the practicum courses offered in the Program in Museums and Society (M&S), gave students the chance to engage directly with objects, conduct research in and around those materials, and, most distinctively, develop a final project to be shared with a general audience—in this case, Google Earth “tours” of object provenance histories, to be incorporated into the website of the Walters Art Museum. M&S practicum projects take the form of exhibitions, both actual and virtual; interpretative materials, such as audio tours, gallery guides, and websites; and program development. I like to think of them as works of “public humanities,” sharing the research we do in the university with a larger audience.','publish','open','open','','elizabeth-rodini-commentary','','','2012-11-29 04:32:11','2012-11-29 04:32:11','',0,'http://www.archivejournal.net/?p=1132',44,'post','',0),(1133,13,'2012-02-11 02:46:27','2012-02-11 02:46:27','','Elizabeth Rodini - Commentary','','inherit','open','open','','1132-revision','','','2012-02-11 02:46:27','2012-02-11 02:46:27','',1132,'http://www.archivejournal.net/2012/02/1132-revision/',0,'revision','',0),(1134,13,'2012-02-11 02:44:32','2012-02-11 02:44:32','Object studied: \r\nAntiphonary for Abbess of Sainte-Marie of Beaupré, ink on parchment (Flemish, 1290).\r\n\r\n\r\n1.) 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.) \r\n\r\nThis project required a diverse approach to research, including reading topical books and contemporary articles, conducting interviews with Walters conservators and curators, and making comparisons with similar objects from the period or in the artists’ oeuvres. However, an exhaustive physical examination of the objects themselves was the starting and end point for piecing together the objects’ paths of alteration, ownership, and usage. Our final product was meant to offer a new way for viewers to connect with an object and so both our maps and audio clips reinforce our findings by continually asking the viewer to look closely at the evidence right in front of them. \r\n\r\n2.) What did you learn from this project that distinguished it from other academic courses?\r\n \r\nThis course offered three unique qualities.  First, our research was meant for publication for museum visitors rather than exclusively for our professors. Secondly, we were able to do hands-on research with many of the Walters’ most revered objects with curators and conservators guiding us in our examinations. Finally, this course encouraged an object-centric view of history, which was antithetical, conceptually, to the art history courses I had taken until that point. \r\n\r\nAs an art history major, I was accustomed to viewing specific art historical objects as close studies of broader trends that characterized the periods in which they were made. However, our assignment for Material Migrations concerned itself not only with a study of the object’s creation and its use in its own time, but also its changing use throughout its history. I came away from the course with a greater appreciation for the power of contextualization – art objects rarely remain static relics of a bygone era, but rather continue to have vibrant lives and changing effects on their successive owners and audiences, not the least of which is in their position as a tool for learning in the museum. \r\n\r\n3.) What was it like to be creating a final project that would be presented to the public?\r\n\r\nThe project was intended to engage as broad a scope of museum visitors as possible - including youths and viewers who might have no background on the object - while still interesting our academic peers. Writing listener-friendly scripts for our audio recording was one of the greatest challenges of this project because part of what made these objects so fascinating was the very unwieldiness of their provenances. I decided on central themes for both my objects and ultimately cut out much of my research in order to bring focus to their otherwise tortuous histories.  Considerations of display also affected the content of the map and audio. For example, while some of the pages of the illuminated manuscript I researched had beautiful drolleries in their margins, it was impractical to cite specific instances because the fragile manuscript could only be on display to one spread, which might not have any drolleries.\r\n\r\n4.) What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nI chose one of my objects, the Beaupre Antiphonary, specifically because I had the opportunity to work with the Walters’ rare books curators Drs. Ben Tilghman and William Noel. Collaborating with two of the top scholars in the field on an object that they knew intimately remains one of the brightest moments of my undergraduate career. \r\n\r\n5.)  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?\r\n\r\nThis course reinforced my ambition to work in the field of museums because I found the work rewarding and academically invigorating. It was meaningful and exhilarating to produce work for a class that would help enrich the presentation of the Walters’ holdings. \r\n','Dakota Devos','','inherit','open','open','','1128-revision-2','','','2012-02-11 02:44:32','2012-02-11 02:44:32','',1128,'http://www.archivejournal.net/2012/02/1128-revision-2/',0,'revision','',0),(1135,13,'2012-02-11 02:17:55','2012-02-11 02:17:55','During the Fall 2011 semester, I was a part of Lehigh University’s “Theories of Masculinity” class, an upper level English and Women’s Studies course.  Initially, I signed up for it because it was a prerequisite for graduating with departmental honors.  As a part of this course we created a documentary film on coeducation and its effects on men and masculinity at Lehigh, which is currently celebrating the fortieth anniversary of undergraduate coeducation.  My role in this film became a challenging and ultimately very rewarding part of my education at Lehigh.\r\n	Creating the film required extensive use of Lehigh University’s Special Collections.  As someone with no familiarity with the process of researching in the archives, I was unaware of the extensive time and effort such an undertaking required.  Yet, it was through delving into the pages and pages of yearbook photos from the late 60’s and early 70’s, and seeing headlines in the Brown and White, Lehigh’s student newspaper, from around the same time, that I began to appreciate the power of the project our class was creating.  This project allowed me to see the trajectory of Lehigh’s transition to a coeducational institution, a transition colored by many challenges including sexism abound.  These challenges are not easily visible in 2011, forty years later, so literally seeing the headlines and pictures in the archives demonstrated in a unique way the hurdles women had to overcome at Lehigh.  Some women were the only girls in their classes, and all women had to overcome the stereotype of being just weekend entertainment for the male students bussed in and out on Saturdays from nearby Cedar Crest College.  I have taken for granted my role as a woman on Lehigh’s campus, and this process really caused me to consider the journey that others have taken to provide me with such an opportunity.  \r\n	The archives played a major role in our documentary.  The images and video clips we found provided evidence of our claims about the challenges women came up against at a conservative institution transitioning to coeducation in a way which our words alone would not have done justice.  Hearing about the awkward mixers held before coeducation is not as powerful as seeing pictures of wide-eyed men groping at women and the huge amounts of alcohol consumed at these mixers.  Lehigh’s archives are not used nearly enough.  I am embarrassed to admit that, as a first semester senior English major, I am just now getting my first taste of their value.  It is my hope that our documentary project will serve as a positive example of the power that these resources can provide to our University.  As these images fade further and further into the past, students have the chance to keep them alive in our contemporary work by using them in various classes and research projects.  I hope that our documentary project can show the University, especially other students like me who may not have known the extent of the resources available, the value of these resources to the legacy of our institution and the appreciation of our education.\r\n','Kim Weber - Student Commentary','','inherit','open','open','','1113-revision-3','','','2012-02-11 02:17:55','2012-02-11 02:17:55','',1113,'http://www.archivejournal.net/2012/02/1113-revision-3/',0,'revision','',0),(1136,13,'2012-02-11 02:16:29','2012-02-11 02:16:29','My Fall 2011 English and Women’s Studies upper-level undergraduate class, “Theories of Masculinity” was designed to coordinate with the 40th anniversary of undergraduate women at Lehigh University.  A major component of this course was a student-produced documentary film that considers the effects of co-education on men and masculinity at Lehigh.  This film project provided my students with an opportunity to examine critically Lehigh’s institutional history, focusing on the late 1960s and early 1970s.  While it was not my initial intention, I was extremely pleased by the students’ abilities to research and study their own school’s history. They made extensive use of Lehigh’s Archives and Special Collections to collect numerous articles, documents, and perhaps most importantly, photographs, and they incorporated these materials into the different sections of the film (see Figures 1-6).   Students discovered several cultural texts from the 1960s and 1970s that portrayed Lehigh as a haven for privileged masculinity—a sphere in which men appeared largely ignorant of the volatile Civil Rights Movement and the emergent mid-century Women’s Movement.  And yet, my students’ research also revealed that the Lehigh community of this era was also clearly cognizant of impending social changes.  As my students tracked this tension between the ossification of male hegemony and the certainty of coming shifts, they developed a newfound appreciation for the importance of institutional history to the present operations of a university.\r\n\r\nThe prominence of Greek Life was certainly one such feature of this legacy.  Two of the four segments of the film addressed the role of fraternities and Greek social life, including the final section that focused on men and masculinity in Lehigh’s contemporary culture.  The students who explored Lehigh’s mid-century Greek culture found ample textual evidence of its importance, including photographs, yearbook coverage, and film footage.  When these members of my course interviewed alumni from the 1960s and 1970s, these men reported that Greek Life had waned significantly in the years following coeducation; but when other students spoke with current male and female students, these individuals emphasized the enduring importance of Fraternities and Sororities to the culture of Lehigh.  In addition, the group of filmmakers who focused on the period prior to coeducation highlighted the ways in which women were brought to campus for Saturday evening social events such as dances; my students interviewed several alumni who commented on the awkwardness of such activities, for both the men and the women.  They even include a telling newspaper story in which Cedar Crest College, a small women’s college in nearby Allentown, is referenced as a bordello of the Lehigh Valley (see Figure 1).  The student filmmakers who covered the years immediately following coeducation also treated the clumsiness of men’s interactions with women; they point to challenges in managing facilities and planning building construction, developing female athletics, and integrating women into extra-curricular clubs and organizations, such as the marching band.  The group of filmmakers who treated contemporary conceptions of masculinity within the Lehigh community, not surprisingly, makes explicit reference to the enduring legacy of sexual inequality and the perceived intellectual inferiority of women.  They cited recent newspaper accounts on persistent gender inequities on campus, and conduct numerous interviews on the topic.  While it may very well have been unintentional, these students never interviewed a male and female subject together; instead, they consistently showed pairs of male students, suggesting the extant homosocial culture of Lehigh.\r\n\r\nI wanted my students to engage the history and culture of Lehigh through film technology because it provided them with an opportunity to artistically synthesize a variety of different kinds of texts (i.e. photos, newspaper articles, found film footage, interviews, etc.).  The film medium also allowed my students to share their work within public forums, respond to questions and concerns, and discuss their own research and artistic strategies.  In effect, the film project allowed my students to contribute to the very institutional history of Lehigh University they were researching.  The archival work completed by my students for this film has effectively introduced them to both the depths of information housed in Lehigh’s Special Collections and the profound relevance of institutional history to their own educational experiences.  As I reflect upon the experience, there is no doubt in my mind that the most important single component of this process was done long before this class started—the cataloguing and digitization of the university newspaper and annual yearbooks made such a classroom project possible.  The film has allowed students, faculty, and alumni to look back into the past of Lehigh, and while this project has undoubtedly opened some uncomfortable topics and discussions, it has also reminded current and former member of the Lehigh community of their shared history.\r\n\r\n','Michael Kramp - Instructor Commentary','','inherit','open','open','','1110-revision-3','','','2012-02-11 02:16:29','2012-02-11 02:16:29','',1110,'http://www.archivejournal.net/2012/02/1110-revision-3/',0,'revision','',0),(1137,13,'2012-02-11 02:47:29','2012-02-11 02:47:29','During the Fall 2011 semester, I was a part of Lehigh University’s “Theories of Masculinity” class, an upper level English and Women’s Studies course.  Initially, I signed up for it because it was a prerequisite for graduating with departmental honors.  As a part of this course we created a documentary film on coeducation and its effects on men and masculinity at Lehigh, which is currently celebrating the fortieth anniversary of undergraduate coeducation.  My role in this film became a challenging and ultimately very rewarding part of my education at Lehigh.\r\n	Creating the film required extensive use of Lehigh University’s Special Collections.  As someone with no familiarity with the process of researching in the archives, I was unaware of the extensive time and effort such an undertaking required.  Yet, it was through delving into the pages and pages of yearbook photos from the late 60’s and early 70’s, and seeing headlines in the Brown and White, Lehigh’s student newspaper, from around the same time, that I began to appreciate the power of the project our class was creating.  This project allowed me to see the trajectory of Lehigh’s transition to a coeducational institution, a transition colored by many challenges including sexism abound.  These challenges are not easily visible in 2011, forty years later, so literally seeing the headlines and pictures in the archives demonstrated in a unique way the hurdles women had to overcome at Lehigh.  Some women were the only girls in their classes, and all women had to overcome the stereotype of being just weekend entertainment for the male students bussed in and out on Saturdays from nearby Cedar Crest College.  I have taken for granted my role as a woman on Lehigh’s campus, and this process really caused me to consider the journey that others have taken to provide me with such an opportunity.  \r\n	The archives played a major role in our documentary.  The images and video clips we found provided evidence of our claims about the challenges women came up against at a conservative institution transitioning to coeducation in a way which our words alone would not have done justice.  Hearing about the awkward mixers held before coeducation is not as powerful as seeing pictures of wide-eyed men groping at women and the huge amounts of alcohol consumed at these mixers.  Lehigh’s archives are not used nearly enough.  I am embarrassed to admit that, as a first semester senior English major, I am just now getting my first taste of their value.  It is my hope that our documentary project will serve as a positive example of the power that these resources can provide to our University.  As these images fade further and further into the past, students have the chance to keep them alive in our contemporary work by using them in various classes and research projects.  I hope that our documentary project can show the University, especially other students like me who may not have known the extent of the resources available, the value of these resources to the legacy of our institution and the appreciation of our education.\r\n','Kim Weber - Commentary','','inherit','open','open','','1113-revision-4','','','2012-02-11 02:47:29','2012-02-11 02:47:29','',1113,'http://www.archivejournal.net/2012/02/1113-revision-4/',0,'revision','',0),(1138,13,'2012-02-11 01:58:54','2012-02-11 01:58:54','Over the last four years, I have worked as a lecturer teaching courses about Baltimore and African American history, and I have also served as project manager for the Diaspora Pathways Archival Access Project (DPAAP), a partnership between Johns Hopkins University and the Afro-American Newspapers funded by the Andrew W. Mellon Foundation.  These experiences have shown me that students learn best when they are not simply taught history, but when they also act as historians. Baltimore offers both possibilities and challenges  for students doing historical projects.  Much of the city’s history remains unwritten, and historical materials are often tucked away in small archives and private homes.  Records that are not easily accessible present a special problem for students who are constrained by time and transportation.  Both the East Baltimore Oral History Project and the Afro Archives partnership seek to address these challenges by involving students in the process of uncovering, describing, and making accessible historical records, and then encouraging students to use these resources for historical research.  \r\nThe East Baltimore History Project involves students in the work of preserving the memories of established members of the East Baltimore community.  For students this work addresses a major complaint about life as a Johns Hopkins undergraduate—that students are too removed from the life of the city, and that students are not encouraged to interact with the city, and its inhabitants, in meaningful ways.  The interviewing process has the additional benefit of making students experts, allowing them to bring a substantive point of view and body of evidence as they critique course readings and engage in class discussions.  As interviews are added to the project website, students produce an accessible community history resource that will last well beyond the usual semester long class project.\r\nDPAAP also depends heavily on the work of student archival interns, and on the technical skills of the current and former students who form the Project Gado team led by recent Hopkins graduate Tom Smith.  Archival interns have been involved in every step of uncovering the archives, from labeling boxes and shelves, to entering information into our archival database, to writing essays for our database website.  This work has given interns a perspective on African American history usually reserved only for history professionals.  With materials pertaining to almost every local, national, and international aspect of Black history, interns are often asked to describe the central themes and narratives residing of this diverse archives.  This challenge requires them to address the problem of twentieth century information overload familiar to both historians and archivists.  The Project Gado team offers a different set of solutions to the problem of preserving and making accessible vast amounts of archival materials.  The members of Project Gado are involved in innovative work in the digital humanities as they create low-cost options for large scale digitization.  The work of Tom Smith and Project Gado suggests another possibility for hands-on coursework in history, courses that would integrate technical skills and the creation of hardware and software into a rigorous humanities education to prepare students to be 21st century humanities scholars.\r\n','Moira Hinderer - Instructor Commentary','','inherit','open','open','','1062-revision-8','','','2012-02-11 01:58:54','2012-02-11 01:58:54','',1062,'http://www.archivejournal.net/2012/02/1062-revision-8/',0,'revision','',0),(1140,13,'2012-02-11 01:59:21','2012-02-11 01:59:21','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 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 Emma. Nancy Magnuson, college librarian, told me all about Alberta Burk’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 fascinated me. I chose to study the 1816 first American edition of Emma and explore the letters that track how it found a home in Goucher’s library.\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 Emma. After seeing the interest that both Alberta Burke and David Gilson had in the first American edition of Emma, 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 the Emma 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 Emma. 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 title page of the first volume. Unearthing these two letters felt very encouraging and proved that there is always the possibility of finding out something new within the archives.\r\n','Sarah Kendall - Student Commentary','','inherit','open','open','','1053-revision-5','','','2012-02-11 01:59:21','2012-02-11 01:59:21','',1053,'http://www.archivejournal.net/2012/02/1053-revision-5/',0,'revision','',0),(1141,13,'2012-02-11 01:59:30','2012-02-11 01:59:30','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\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 the scrapbooks, 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 Naval Academy, as it was a nearby school in need of women with which to dance. Goucher girls would often travel to Annapolis for the weekend dances and they brought back dance cards as souvenirs.\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 there were just very few secondary sources out there. 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\nI contacted the 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. I chose to look at how the cards changed over the years because the first and last dance cards were so drastically different. What I found was that the cards changed over the years to reflect the changes in social dances.\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. \r\n','Cassie Brand - Student Commentary','','inherit','open','open','','1051-revision-5','','','2012-02-11 01:59:30','2012-02-11 01:59:30','',1051,'http://www.archivejournal.net/2012/02/1051-revision-5/',0,'revision','',0),(1142,13,'2012-02-11 01:59:38','2012-02-11 01:59:38','	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. (For the text of the assignment, see:\r\nhttp://faculty.goucher.edu/eng241/241_individual_research_projects_F09.htm).  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.\r\nBeginning with 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 O.E.D., WorldCat, 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 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 edition-specific and copy-specific details of their “cadaver books,” a set of early printed books they have had handled each week to encourage safe and intelligent treatment of early paper and bindings.  Finally, paper and parchment manuscript laboratories teach them 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	Sarah Kendall’s study of the Burke Austen Collection’s copy of the two-volume American first edition of Emma (Philadelphia: M. Carey, 1818) 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), the prominent collector, Frank J. Hogan, and the 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 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 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  These two projects represent the course’s goal: to enable original, undergraduate, hands-on archival research using interdisciplinary skills.\r\n\r\n','Arnold Sanders - Instructor Commentary','','inherit','open','open','','1049-revision-6','','','2012-02-11 01:59:38','2012-02-11 01:59:38','',1049,'http://www.archivejournal.net/2012/02/1049-revision-6/',0,'revision','',0),(1144,13,'2012-02-11 01:56:40','2012-02-11 01:56:40','<center>\r\nHIST 2802 – HISTORY LABORATORY\r\nSpring 2011\r\n1 semester-hour credit\r\nIndependent Study/Service-Learning Experience\r\n</center>\r\n	\r\n\r\nINSTRUCTORS\r\nSarah Copeland, Records Catalog Coordinator\r\nBryan Reed, Associate Professor of History\r\n\r\nCOURSE DESCRIPTION\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\nLEARNING OUTCOMES\r\n1.	demonstrate appropriate handling of unique historical materials\r\n2.	describe the public role of institutions charged with preserving historical materials\r\n3.	create digital versions of historical documents using best practices\r\n4.	describe digitized documents using the Dublin Core metadata scheme\r\n5.	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\r\n6.	demonstrate critical thinking and reasoning\r\n\r\nREFERENCED READINGS/RESOURCES\r\n1.	“Digital Imaging Tutorial,” Cornell University Library, http://www.library.cornell.edu/preservation/tutorial/contents.html\r\n2.	“Digital Preservation Management Tutorial,” Cornell University and the National Endowment for the Humanities, http://www.icpsr.umich.edu/dpm/dpm-eng/eng_index.html\r\n3.	“Digital Best Practices,” Washington State Library, http://digitalwa.statelib.wa.gov/newsite/best.htm\r\n\r\nWHAT COUNTS TOWARD MY 20 “SERVICE LEARNING” HOURS?\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\nASSESSMENTS\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\nJOURNAL/LOG\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•	How does what you are doing compare to your prior expectations?\r\n•	What is the historical significance of the artifacts processed?  How are they useful in our understanding of the past?\r\n•	How does your work contribute to the institution where you are completing your service-learning hours?  How does your work impact the community?\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\nON-SITE SUPERVISOR EVALUATION\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\nDIGITAL SUBMISSIONS\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\nINSTRUCTOR EVALUATION \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\nATTENDANCE\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 toward preparing for and executing the service learning.  More than one unexcused absence from a scheduled training of 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 a scheduled session cannot be met 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.\r\n\r\n','CSCC Project Syllabus','','inherit','open','open','','1031-revision-6','','','2012-02-11 01:56:40','2012-02-11 01:56:40','',1031,'http://www.archivejournal.net/2012/02/1031-revision-6/',0,'revision','',0),(1145,13,'2012-02-11 01:29:54','2012-02-11 01:29:54','This case study focuses on two archival tools designed by Tom Smith, a Cognitive Science and Anthropology major who graduated in 2011: a web application for an oral history archive and a low-cost robotic scanner for paper-based materials.\r\n	\r\nIn 2008 Smith took a practicum course called “The Power of Place,” taught by Melanie Shell-Weiss through the Center for Africana Studies [link to http://krieger.jhu.edu/africana].  For the course, students recorded oral histories of residents of Baltimore\'s Middle East neighborhood for the East Baltimore Oral History Project (EBOH), which were later assembled into a digital audio archive [link to http://eboh.jhu.edu/oralhistoryplayer/].  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, he eventually built the player software featured on the project website.  The software that he developed is open source, so anyone can use it for the own collections without any license/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\nSmith’s research on practical archival problems brought him into contact with Moira Hinderer, the project manager for the Diaspora Pathways Archival Access Project (DPAAP), a partnership between the Baltimore Afro-American Newspapers and Johns Hopkins University [link to http://magazine.jhu.edu/2011/11/unboxing-history/].  DPAAP focuses on organizing and preserving the archives of the Afro Newspaper; they have worked on the newspapers’ morgue collections as well as personal papers and institutional records. [link to http://morgue.afro.com/AfroArchon/].  Hinderer, who is also a lecturer in the Center for Africana Studies at Johns Hopkins, teaches classes in which students work directly with the Afro’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 Afro prompted Smith to invent another tool: the Gado scanner [link to http://projectgado.org/].\r\n','JHU Project Description','','inherit','open','open','','1064-revision-3','','','2012-02-11 01:29:54','2012-02-11 01:29:54','',1064,'http://www.archivejournal.net/2012/02/1064-revision-3/',0,'revision','',0),(1255,13,'2012-02-11 19:50:18','2012-02-11 19:50:18','<img class=\"alignleft size-medium wp-image-1253\" title=\"jhu_project photo_afro\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_project-photo_afro-333x221.jpg\" alt=\"\" width=\"333\" height=\"221\" />In 2008 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>. For the course, students recorded oral histories of residents of Baltimore\'s Middle East neighborhood for the East Baltimore Oral History Project (EBOH), which were 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, he eventually built the player software featured on the project website. The software that he developed is open source, so anyone can use it for the own collections without any license/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\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 Afro-American Newspapers and Johns Hopkins University. DPAAP focuses on organizing and preserving the archives of the Afro Newspaper; 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 Afro’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 Afro prompted Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>.','JHU - Project Description','','inherit','open','open','','1064-revision-5','','','2012-02-11 19:50:18','2012-02-11 19:50:18','',1064,'http://www.archivejournal.net/2012/02/1064-revision-5/',0,'revision','',0),(1146,13,'2012-02-11 01:59:57','2012-02-11 01:59:57','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, called 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, and CSCC history students gain experience with handling and researching primary sources.  \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\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 need of a historian to understand primary sources – where they are found and how they are curated – shapes the goal of the course.  Information science – including 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\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\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(s), and share their findings.  This process empowers students to take on the role of expert.  \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 for 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.\r\n','Sarah Shippy Copeland - Instructor Commentary','','inherit','open','open','','1027-revision-6','','','2012-02-11 01:59:57','2012-02-11 01:59:57','',1027,'http://www.archivejournal.net/2012/02/1027-revision-6/',0,'revision','',0),(1147,13,'2012-02-11 02:00:06','2012-02-11 02:00:06','1.  How many students worked at the History Branch and Archives of the Cleveland Bradley County Library?\r\n\r\n<strong>Two students worked at the History Branch one evening a week for a set number of weeks.</strong>\r\n\r\n2.  Will you work with History Lab students again?\r\n\r\n<strong>Certainly.  The students were polite, reliable, diligent in their work, and followed directions with 	little supervision.</strong>\r\n\r\n3.  What did you find most productive or enjoyable about the process of working with the students?\r\n\r\n<strong>It 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 wanted to expand the scope of their work through additional research.</strong>\r\n\r\n4.  How has the students’ work impacted the History Branch and its collections?	\r\n\r\n<ul>\r\n	<li><strong>The additional research done by the students will be available to all of the library’s patrons.</strong></li>\r\n	<li><strong>Students have given presentations on their research to the Bradley County Historical and 	Genealogical Society.</strong></li>\r\n	<li><strong>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.</strong></li> \r\n</ul>\r\n\r\n	\r\n','Barbara Fagen - Project Partner Commentary','','inherit','open','open','','1020-revision-9','','','2012-02-11 02:00:06','2012-02-11 02:00:06','',1020,'http://www.archivejournal.net/2012/02/1020-revision-9/',0,'revision','',0),(1149,13,'2012-02-11 02:50:21','2012-02-11 02:50:21','<p>Jimmy Barnett was hired as a student digital imaging technician for the Carrère and Hastings Project. Jimmy worked an average of 10-20 hours per week for on this project for one year, 2010-2011.</p>\r\n<p>The student worker description for Jimmy’s position is below.</p>\r\n<p><strong style=\"text-decoration: underline;\">Student Assistant – Large Format Digital Imaging Technician, Digital Library Center, University of Florida</strong></p>\r\n<p><strong>Job Description</strong></p>\r\n<p>Reporting to the Operations Manager, the Large Format Imaging Technician will capture pages for the Carrère and Hastings Project, perform image optimization and quality control on captured images as needed, and assist in the transportation of materials from Conservation to the Digital Library Center.</p>\r\n<p><strong>Duties and Responsibilities include:</strong></p>\r\n<ul>\r\n	<li>Digitally capture source materials using a Betterlight Super 8K-HS Camera Back.</li>\r\n	<li>Perform quality control on files, process, optimize images as necessary for artifactual fidelity using Adobe Photoshop.</li>\r\n	<li>Monitor work flow history in coordination with Digital Library Center and Conservation staff.</li>\r\n</ul>\r\n<p><strong>Preferred Qualifications</strong></p>\r\n<ul>\r\n	<li>Experience with DSLR and other sophisticated cameras with knowledge of photography. \r\nExperience with Adobe Photoshop.</li>\r\n	<li>Strong computer skills and demonstrated ability to work accurately in detail-oriented, busy production environment.</li>\r\n	<li>Excellent organizational skills, ability to set and follow a written schedule, and the ability to work independently.</li>\r\n	<li>Federal Work Study eligibility.</li>\r\n</ul>\r\n\r\n','UF - Student Job Description','','inherit','open','open','','1004-revision-11','','','2012-02-11 02:50:21','2012-02-11 02:50:21','',1004,'http://www.archivejournal.net/2012/02/1004-revision-11/',0,'revision','',0),(1150,13,'2012-02-11 02:04:13','2012-02-11 02:04:13','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 Carrere and 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; what is being represented. The architectural renderings averaged in a size of six feet by three feet, some larger, some smaller; all difficult to handle. Add the paper’s age and brittleness on top of the immense size and one has to have quite a bit of finesse in the handling of 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 handled scanning the drawings, not realizing that the reverse would happen; the scanning 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 myself, 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 if it hadn’t been for the work with these large architectural drawings. \r\n\r\n<img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-6-333x222.jpg\" alt=\"\" title=\"uf_student  action photo_barnett 6\" width=\"333\" height=\"222\" class=\"alignright size-medium wp-image-969\" />Working with the photo editing software needed to optimize the scanned images for viewing online 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 continues to affect my work and informed my process in constructing the art installation mentioned above.\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 and Hastings project build a picture of the process that the architects went through. I learned to see the architects’ 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 by 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 and Hastings project.\r\n','James Barnett - Student Commentary','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 Carrere and 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; what is being represented. The architectural renderings averaged in a size of six feet by three feet, some larger, some smaller; all difficult to handle. Add the paper’s age and brittleness on top of the immense size and one has to have quite a bit of finesse in the handling of the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.','inherit','open','open','','967-revision-10','','','2012-02-11 02:04:13','2012-02-11 02:04:13','',967,'http://www.archivejournal.net/2012/02/967-revision-10/',0,'revision','',0),(1151,13,'2012-02-11 02:38:31','2012-02-11 02:38:31','','Mapping the Provenance of Museum Objects','','inherit','open','open','','1121-revision-2','','','2012-02-11 02:38:31','2012-02-11 02:38:31','',1121,'http://www.archivejournal.net/2012/02/1121-revision-2/',0,'revision','',0),(1152,13,'2012-02-11 02:54:13','2012-02-11 02:54:13','<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 - Commentary','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.','publish','open','open','','elizabeth-dowdle-commentary','','','2012-11-29 04:23:52','2012-11-29 04:23:52','',0,'http://www.archivejournal.net/?p=1152',43,'post','',0),(1153,13,'2012-02-11 02:53:31','2012-02-11 02:53:31','','Elizabeth Dowdle','','inherit','open','open','','1152-revision','','','2012-02-11 02:53:31','2012-02-11 02:53:31','',1152,'http://www.archivejournal.net/2012/02/1152-revision/',0,'revision','',0),(1154,13,'2012-02-11 02:53:12','2012-02-11 02:53:12','','Mapping the Provenance of Museum Objects','','inherit','open','open','','1121-revision-3','','','2012-02-11 02:53:12','2012-02-11 02:53:12','',1121,'http://www.archivejournal.net/2012/02/1121-revision-3/',0,'revision','',0),(1155,13,'2012-02-11 02:57:09','2012-02-11 02:57:09','','Mapping the Provenance of Museum Objects','','inherit','open','open','','1121-revision-4','','','2012-02-11 02:57:09','2012-02-11 02:57:09','',1121,'http://www.archivejournal.net/2012/02/1121-revision-4/',0,'revision','',0),(1156,13,'2012-02-11 03:00:38','2012-02-11 03:00:38','','Mapping the Provenance of Museum Objects','','inherit','open','open','','1121-revision-5','','','2012-02-11 03:00:38','2012-02-11 03:00:38','',1121,'http://www.archivejournal.net/2012/02/1121-revision-5/',0,'revision','',0),(1157,2,'2012-11-29 04:23:48','2012-11-29 04:23:48','<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>\n\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>\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.\n\n<strong>2. What did you learn from this project that distinguished it from other academic courses?</strong>\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.\n\n<strong>3. What was it like to create a final project that would be presented to the public?</strong>\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.\n\n<strong>4. What did you learn from working in a professional museum and in conjunction with its staff?</strong>\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.\n\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>\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 - Commentary','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-autosave','','','2012-11-29 04:23:48','2012-11-29 04:23:48','',1152,'http://www.archivejournal.net/2012/02/1152-autosave/',0,'revision','',0),(1953,10,'2012-06-27 02:37:59','2012-06-27 02:37:59','[caption id=\"attachment_1185\" align=\"alignnone\" width=\"640\" caption=\"Elizabeth Dowdle (in striped shirt) with Capitoline Amazon, marble (Roman copy after Kresilas, Greek, active ca. 450 BC - 420 BC).\"]<img class=\"size-full wp-image-1185 \" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/walters_student-action-photo_dowdle.jpg\" alt=\"\" width=\"640\" height=\"426\" />[/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\n\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\n\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 when there is a will, there is a way.\r\n\r\n<strong>3. What was it like to be creating a final project that would be presented to the public?</strong>\r\n\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 was an inspiration to design a product that would make a difference not only for the Walters, but also for any interested party 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\n\r\nIt is always a privilege to work with professionals in the field you aspire to be a part of, 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 and 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 through dissemination of knowledge about their unique histories, despite the challenges this task might propose.\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\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 in order that I too can work in an institution dedicated to the preservation of culture for future generations. I graduated from Johns Hopkins in May, 2011, with a degree in the History of Science, Medicine and Technology and am now pursuing a Masters degree in Museum Studies at George Washington University, with a focus in museum administration and classical studies.','Elizabeth Dowdle - Commentary','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-16','','','2012-06-27 02:37:59','2012-06-27 02:37:59','',1152,'http://www.archivejournal.net/issue/2/uncategorized/1152-revision-16/',0,'revision','',0),(1158,13,'2012-02-11 02:54:13','2012-02-11 02:54:13','Object studied: \r\nCapitoline Amazon, marble (Roman copy after Kresilas, Greek, active ca. 450 BC - 420 BC).\r\n\r\n1.)	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.)\r\n\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\n2.) What did you learn from this project that distinguished it from other academic courses?\r\n\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 when there is a will, there is a way. \r\n\r\n\r\n3.) What was it like to be creating a final project that would be presented to the public?\r\n\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 was an inspiration to design a product that would make a difference not only for the Walters, but also for any interested party 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\r\n4.) What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nIt is always a privilege to work with professionals in the field you aspire to be a part of, 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 and 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 through dissemination of knowledge about their unique histories, despite the challenges this task might propose.\r\n\r\n\r\n5.)  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?\r\n\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 in order that I too can work in an institution dedicated to the preservation of culture for future generations. I graduated from Johns Hopkins in May, 2011, with a degree in the History of Science, Medicine and Technology and am now pursuing a Masters degree in Museum Studies at George Washington University, with a focus in museum administration and classical studies. \r\n','Elizabeth Dowdle - Commentary','','inherit','open','open','','1152-revision-2','','','2012-02-11 02:54:13','2012-02-11 02:54:13','',1152,'http://www.archivejournal.net/2012/02/1152-revision-2/',0,'revision','',0),(1159,13,'2012-02-11 05:34:31','2012-02-11 05:34:31','Object studied: \r\n\r\nCapitoline Amazon, marble (Roman copy after Kresilas, Greek, active ca. 450 BC - 420 BC).\r\n\r\n\r\n1. 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.)\r\n\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\r\n2. What did you learn from this project that distinguished it from other academic courses?\r\n\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 when there is a will, there is a way. \r\n\r\n\r\n3. What was it like to be creating a final project that would be presented to the public?\r\n\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 was an inspiration to design a product that would make a difference not only for the Walters, but also for any interested party 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\r\n4. What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nIt is always a privilege to work with professionals in the field you aspire to be a part of, 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 and 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 through dissemination of knowledge about their unique histories, despite the challenges this task might propose.\r\n\r\n\r\n5.  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?\r\n\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 in order that I too can work in an institution dedicated to the preservation of culture for future generations. I graduated from Johns Hopkins in May, 2011, with a degree in the History of Science, Medicine and Technology and am now pursuing a Masters degree in Museum Studies at George Washington University, with a focus in museum administration and classical studies. \r\n','Elizabeth Dowdle - Commentary','','inherit','open','open','','1152-revision-3','','','2012-02-11 05:34:31','2012-02-11 05:34:31','',1152,'http://www.archivejournal.net/2012/02/1152-revision-3/',0,'revision','',0),(1160,13,'2012-02-11 07:44:27','2012-02-11 07:44:27','Object studied:\r\n\r\nCapitoline Amazon, marble (Roman copy after Kresilas, Greek, active ca. 450 BC - 420 BC).\r\n\r\n1. 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.)\r\n\r\n<strong>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.</strong>\r\n\r\n2. What did you learn from this project that distinguished it from other academic courses?\r\n\r\n<strong>This 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 when there is a will, there is a way.</strong>\r\n\r\n3. What was it like to be creating a final project that would be presented to the public?\r\n\r\n<strong>It 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 was an inspiration to design a product that would make a difference not only for the Walters, but also for any interested party 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.</strong>\r\n\r\n4. What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\n<strong>It is always a privilege to work with professionals in the field you aspire to be a part of, 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 and 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 through dissemination of knowledge about their unique histories, despite the challenges this task might propose.</strong>\r\n\r\n5. 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?\r\n\r\n<strong>This 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 in order that I too can work in an institution dedicated to the preservation of culture for future generations. I graduated from Johns Hopkins in May, 2011, with a degree in the History of Science, Medicine and Technology and am now pursuing a Masters degree in Museum Studies at George Washington University, with a focus in museum administration and classical studies.</strong>','Elizabeth Dowdle - Commentary','','inherit','open','open','','1152-revision-4','','','2012-02-11 07:44:27','2012-02-11 07:44:27','',1152,'http://www.archivejournal.net/2012/02/1152-revision-4/',0,'revision','',0),(1161,13,'2012-02-11 07:45:12','2012-02-11 07:45:12','Object studied:\r\n\r\nCapitoline Amazon, marble (Roman copy after Kresilas, Greek, active ca. 450 BC - 420 BC).\r\n\r\n&nbsp;\r\n\r\n1. 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.)\r\n\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&nbsp;\r\n\r\n2. What did you learn from this project that distinguished it from other academic courses?\r\n\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 when there is a will, there is a way.\r\n\r\n&nbsp;\r\n\r\n3. What was it like to be creating a final project that would be presented to the public?\r\n\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 was an inspiration to design a product that would make a difference not only for the Walters, but also for any interested party 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&nbsp;\r\n\r\n4. What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nIt is always a privilege to work with professionals in the field you aspire to be a part of, 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 and 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 through dissemination of knowledge about their unique histories, despite the challenges this task might propose.\r\n\r\n&nbsp;\r\n\r\n5. 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?\r\n\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 in order that I too can work in an institution dedicated to the preservation of culture for future generations. I graduated from Johns Hopkins in May, 2011, with a degree in the History of Science, Medicine and Technology and am now pursuing a Masters degree in Museum Studies at George Washington University, with a focus in museum administration and classical studies.','Elizabeth Dowdle - Commentary','','inherit','open','open','','1152-revision-5','','','2012-02-11 07:45:12','2012-02-11 07:45:12','',1152,'http://www.archivejournal.net/2012/02/1152-revision-5/',0,'revision','',0),(1162,13,'2012-02-11 07:45:46','2012-02-11 07:45:46','Object studied:  <em>Capitoline Amazon</em>, marble (Roman copy after Kresilas, Greek, active ca. 450 BC - 420 BC).\r\n\r\n&nbsp;\r\n\r\n1. 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.)\r\n\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&nbsp;\r\n\r\n2. What did you learn from this project that distinguished it from other academic courses?\r\n\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 when there is a will, there is a way.\r\n\r\n&nbsp;\r\n\r\n3. What was it like to be creating a final project that would be presented to the public?\r\n\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 was an inspiration to design a product that would make a difference not only for the Walters, but also for any interested party 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&nbsp;\r\n\r\n4. What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nIt is always a privilege to work with professionals in the field you aspire to be a part of, 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 and 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 through dissemination of knowledge about their unique histories, despite the challenges this task might propose.\r\n\r\n&nbsp;\r\n\r\n5. 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?\r\n\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 in order that I too can work in an institution dedicated to the preservation of culture for future generations. I graduated from Johns Hopkins in May, 2011, with a degree in the History of Science, Medicine and Technology and am now pursuing a Masters degree in Museum Studies at George Washington University, with a focus in museum administration and classical studies.','Elizabeth Dowdle - Commentary','','inherit','open','open','','1152-revision-6','','','2012-02-11 07:45:46','2012-02-11 07:45:46','',1152,'http://www.archivejournal.net/2012/02/1152-revision-6/',0,'revision','',0),(1163,13,'2012-02-11 07:46:13','2012-02-11 07:46:13','Object studied:\r\n<em>Capitoline Amazon</em>, marble (Roman copy after Kresilas, Greek, active ca. 450 BC - 420 BC).\r\n\r\n&nbsp;\r\n\r\n1. 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.)\r\n\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&nbsp;\r\n\r\n2. What did you learn from this project that distinguished it from other academic courses?\r\n\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 when there is a will, there is a way.\r\n\r\n&nbsp;\r\n\r\n3. What was it like to be creating a final project that would be presented to the public?\r\n\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 was an inspiration to design a product that would make a difference not only for the Walters, but also for any interested party 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&nbsp;\r\n\r\n4. What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nIt is always a privilege to work with professionals in the field you aspire to be a part of, 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 and 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 through dissemination of knowledge about their unique histories, despite the challenges this task might propose.\r\n\r\n&nbsp;\r\n\r\n5. 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?\r\n\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 in order that I too can work in an institution dedicated to the preservation of culture for future generations. I graduated from Johns Hopkins in May, 2011, with a degree in the History of Science, Medicine and Technology and am now pursuing a Masters degree in Museum Studies at George Washington University, with a focus in museum administration and classical studies.','Elizabeth Dowdle - Commentary','','inherit','open','open','','1152-revision-7','','','2012-02-11 07:46:13','2012-02-11 07:46:13','',1152,'http://www.archivejournal.net/2012/02/1152-revision-7/',0,'revision','',0),(1165,13,'2012-02-11 02:43:29','2012-02-11 02:43:29','Object studied: \r\nCasket with Scenes of Romances, ivory and bone with modern iron mounts (French, 1330-1350).\r\n\r\n1.) 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.)\r\nI researched two objects for this project, a painted tile and an ivory casket. The Walters 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\r\n\r\n2.) What did you learn from this project that distinguished it from other academic courses?\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 didn’t 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\r\n3.) What was it like to be creating a final project that would be presented to the public?\r\nThe Google Earth project was a lesson in learning how to write concisely. You would spend 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’s a little bit harder to boil down everything that you’ve learned into something punchy and informative.\r\n\r\n\r\n4.) What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nThe Walters’ staff was incredibly giving of their time. We met with the museum director, the curator of Asian art, and 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 a member of the museum’s education department and getting feedback on what we had written for the project so far. That kind of collaboration was incredibly helpful.\r\n\r\n\r\n5.)  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?\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’m 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 don’t know if I would have had this opportunity without my experience working on the Google Earth project at the Walters.\r\n','Joan Tkacs - Commentary','','inherit','open','open','','1126-revision-2','','','2012-02-11 02:43:29','2012-02-11 02:43:29','',1126,'http://www.archivejournal.net/2012/02/1126-revision-2/',0,'revision','',0),(1164,13,'2012-02-11 07:46:33','2012-02-11 07:46:33','Object studied:\r\n<em>Capitoline Amazon</em>, marble (Roman copy after Kresilas, Greek, active ca. 450 BC - 420 BC).\r\n\r\n&nbsp;\r\n\r\n1. 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.)\r\n\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&nbsp;\r\n\r\n2. What did you learn from this project that distinguished it from other academic courses?\r\n\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 when there is a will, there is a way.\r\n\r\n&nbsp;\r\n\r\n3. What was it like to be creating a final project that would be presented to the public?\r\n\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 was an inspiration to design a product that would make a difference not only for the Walters, but also for any interested party 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&nbsp;\r\n\r\n4. What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nIt is always a privilege to work with professionals in the field you aspire to be a part of, 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 and 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 through dissemination of knowledge about their unique histories, despite the challenges this task might propose.\r\n\r\n&nbsp;\r\n\r\n5. 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?\r\n\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 in order that I too can work in an institution dedicated to the preservation of culture for future generations. I graduated from Johns Hopkins in May, 2011, with a degree in the History of Science, Medicine and Technology and am now pursuing a Masters degree in Museum Studies at George Washington University, with a focus in museum administration and classical studies.','Elizabeth Dowdle - Commentary','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.)\r\n\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.','inherit','open','open','','1152-revision-8','','','2012-02-11 07:46:33','2012-02-11 07:46:33','',1152,'http://www.archivejournal.net/2012/02/1152-revision-8/',0,'revision','',0),(1166,13,'2012-02-11 02:47:09','2012-02-11 02:47:09','Object studied: \r\nAntiphonary for Abbess of Sainte-Marie of Beaupré, ink on parchment (Flemish, 1290).\r\n\r\n\r\n1.) 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.) \r\n\r\nThis project required a diverse approach to research, including reading topical books and contemporary articles, conducting interviews with Walters conservators and curators, and making comparisons with similar objects from the period or in the artists’ oeuvres. However, an exhaustive physical examination of the objects themselves was the starting and end point for piecing together the objects’ paths of alteration, ownership, and usage. Our final product was meant to offer a new way for viewers to connect with an object and so both our maps and audio clips reinforce our findings by continually asking the viewer to look closely at the evidence right in front of them. \r\n\r\n2.) What did you learn from this project that distinguished it from other academic courses?\r\n \r\nThis course offered three unique qualities.  First, our research was meant for publication for museum visitors rather than exclusively for our professors. Secondly, we were able to do hands-on research with many of the Walters’ most revered objects with curators and conservators guiding us in our examinations. Finally, this course encouraged an object-centric view of history, which was antithetical, conceptually, to the art history courses I had taken until that point. \r\n\r\nAs an art history major, I was accustomed to viewing specific art historical objects as close studies of broader trends that characterized the periods in which they were made. However, our assignment for Material Migrations concerned itself not only with a study of the object’s creation and its use in its own time, but also its changing use throughout its history. I came away from the course with a greater appreciation for the power of contextualization – art objects rarely remain static relics of a bygone era, but rather continue to have vibrant lives and changing effects on their successive owners and audiences, not the least of which is in their position as a tool for learning in the museum. \r\n\r\n3.) What was it like to be creating a final project that would be presented to the public?\r\n\r\nThe project was intended to engage as broad a scope of museum visitors as possible - including youths and viewers who might have no background on the object - while still interesting our academic peers. Writing listener-friendly scripts for our audio recording was one of the greatest challenges of this project because part of what made these objects so fascinating was the very unwieldiness of their provenances. I decided on central themes for both my objects and ultimately cut out much of my research in order to bring focus to their otherwise tortuous histories.  Considerations of display also affected the content of the map and audio. For example, while some of the pages of the illuminated manuscript I researched had beautiful drolleries in their margins, it was impractical to cite specific instances because the fragile manuscript could only be on display to one spread, which might not have any drolleries.\r\n\r\n4.) What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nI chose one of my objects, the Beaupre Antiphonary, specifically because I had the opportunity to work with the Walters’ rare books curators Drs. Ben Tilghman and William Noel. Collaborating with two of the top scholars in the field on an object that they knew intimately remains one of the brightest moments of my undergraduate career. \r\n\r\n5.)  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?\r\n\r\nThis course reinforced my ambition to work in the field of museums because I found the work rewarding and academically invigorating. It was meaningful and exhilarating to produce work for a class that would help enrich the presentation of the Walters’ holdings. \r\n','Dakota Devos - Commentary','','inherit','open','open','','1128-revision-3','','','2012-02-11 02:47:09','2012-02-11 02:47:09','',1128,'http://www.archivejournal.net/2012/02/1128-revision-3/',0,'revision','',0),(1167,13,'2012-02-11 07:49:44','2012-02-11 07:49:44','Object studied:\r\n<em>Antiphonary for Abbess of Sainte-Marie of Beaupré</em>, ink on parchment (Flemish, 1290).\r\n\r\n1. 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.)\r\n\r\nThis project required a diverse approach to research, including reading topical books and contemporary articles, conducting interviews with Walters conservators and curators, and making comparisons with similar objects from the period or in the artists’ oeuvres. However, an exhaustive physical examination of the objects themselves was the starting and end point for piecing together the objects’ paths of alteration, ownership, and usage. Our final product was meant to offer a new way for viewers to connect with an object and so both our maps and audio clips reinforce our findings by continually asking the viewer to look closely at the evidence right in front of them.\r\n\r\n&nbsp;\r\n\r\n2. What did you learn from this project that distinguished it from other academic courses?\r\n\r\nThis course offered three unique qualities. First, our research was meant for publication for museum visitors rather than exclusively for our professors. Secondly, we were able to do hands-on research with many of the Walters’ most revered objects with curators and conservators guiding us in our examinations. Finally, this course encouraged an object-centric view of history, which was antithetical, conceptually, to the art history courses I had taken until that point.\r\n\r\nAs an art history major, I was accustomed to viewing specific art historical objects as close studies of broader trends that characterized the periods in which they were made. However, our assignment for Material Migrations concerned itself not only with a study of the object’s creation and its use in its own time, but also its changing use throughout its history. I came away from the course with a greater appreciation for the power of contextualization – art objects rarely remain static relics of a bygone era, but rather continue to have vibrant lives and changing effects on their successive owners and audiences, not the least of which is in their position as a tool for learning in the museum.\r\n\r\n&nbsp;\r\n\r\n3. What was it like to be creating a final project that would be presented to the public?\r\n\r\nThe project was intended to engage as broad a scope of museum visitors as possible - including youths and viewers who might have no background on the object - while still interesting our academic peers. Writing listener-friendly scripts for our audio recording was one of the greatest challenges of this project because part of what made these objects so fascinating was the very unwieldiness of their provenances. I decided on central themes for both my objects and ultimately cut out much of my research in order to bring focus to their otherwise tortuous histories. Considerations of display also affected the content of the map and audio. For example, while some of the pages of the illuminated manuscript I researched had beautiful drolleries in their margins, it was impractical to cite specific instances because the fragile manuscript could only be on display to one spread, which might not have any drolleries.\r\n\r\n&nbsp;\r\n\r\n4. What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nI chose one of my objects, the Beaupre Antiphonary, specifically because I had the opportunity to work with the Walters’ rare books curators Drs. Ben Tilghman and William Noel. Collaborating with two of the top scholars in the field on an object that they knew intimately remains one of the brightest moments of my undergraduate career.\r\n\r\n&nbsp;\r\n\r\n5. 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?\r\n\r\nThis course reinforced my ambition to work in the field of museums because I found the work rewarding and academically invigorating. It was meaningful and exhilarating to produce work for a class that would help enrich the presentation of the Walters’ holdings.','Dakota Devos - Commentary','This project required a diverse approach to research, including reading topical books and contemporary articles, conducting interviews with Walters conservators and curators, and making comparisons with similar objects from the period or in the artists’ oeuvres. However, an exhaustive physical examination of the objects themselves was the starting and end point for piecing together the objects’ paths of alteration, ownership, and usage. Our final product was meant to offer a new way for viewers to connect with an object and so both our maps and audio clips reinforce our findings by continually asking the viewer to look closely at the evidence right in front of them.','inherit','open','open','','1128-revision-4','','','2012-02-11 07:49:44','2012-02-11 07:49:44','',1128,'http://www.archivejournal.net/2012/02/1128-revision-4/',0,'revision','',0),(1168,13,'2012-02-11 07:50:08','2012-02-11 07:50:08','Object studied:\r\n<em>Antiphonary for Abbess of Sainte-Marie of Beaupré</em>, ink on parchment (Flemish, 1290).\r\n\r\n&nbsp;\r\n\r\n1. 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.)\r\n\r\nThis project required a diverse approach to research, including reading topical books and contemporary articles, conducting interviews with Walters conservators and curators, and making comparisons with similar objects from the period or in the artists’ oeuvres. However, an exhaustive physical examination of the objects themselves was the starting and end point for piecing together the objects’ paths of alteration, ownership, and usage. Our final product was meant to offer a new way for viewers to connect with an object and so both our maps and audio clips reinforce our findings by continually asking the viewer to look closely at the evidence right in front of them.\r\n\r\n&nbsp;\r\n\r\n2. What did you learn from this project that distinguished it from other academic courses?\r\n\r\nThis course offered three unique qualities. First, our research was meant for publication for museum visitors rather than exclusively for our professors. Secondly, we were able to do hands-on research with many of the Walters’ most revered objects with curators and conservators guiding us in our examinations. Finally, this course encouraged an object-centric view of history, which was antithetical, conceptually, to the art history courses I had taken until that point.\r\n\r\nAs an art history major, I was accustomed to viewing specific art historical objects as close studies of broader trends that characterized the periods in which they were made. However, our assignment for Material Migrations concerned itself not only with a study of the object’s creation and its use in its own time, but also its changing use throughout its history. I came away from the course with a greater appreciation for the power of contextualization – art objects rarely remain static relics of a bygone era, but rather continue to have vibrant lives and changing effects on their successive owners and audiences, not the least of which is in their position as a tool for learning in the museum.\r\n\r\n&nbsp;\r\n\r\n3. What was it like to be creating a final project that would be presented to the public?\r\n\r\nThe project was intended to engage as broad a scope of museum visitors as possible - including youths and viewers who might have no background on the object - while still interesting our academic peers. Writing listener-friendly scripts for our audio recording was one of the greatest challenges of this project because part of what made these objects so fascinating was the very unwieldiness of their provenances. I decided on central themes for both my objects and ultimately cut out much of my research in order to bring focus to their otherwise tortuous histories. Considerations of display also affected the content of the map and audio. For example, while some of the pages of the illuminated manuscript I researched had beautiful drolleries in their margins, it was impractical to cite specific instances because the fragile manuscript could only be on display to one spread, which might not have any drolleries.\r\n\r\n&nbsp;\r\n\r\n4. What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nI chose one of my objects, the Beaupre Antiphonary, specifically because I had the opportunity to work with the Walters’ rare books curators Drs. Ben Tilghman and William Noel. Collaborating with two of the top scholars in the field on an object that they knew intimately remains one of the brightest moments of my undergraduate career.\r\n\r\n&nbsp;\r\n\r\n5. 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?\r\n\r\nThis course reinforced my ambition to work in the field of museums because I found the work rewarding and academically invigorating. It was meaningful and exhilarating to produce work for a class that would help enrich the presentation of the Walters’ holdings.','Dakota Devos - Commentary','This project required a diverse approach to research, including reading topical books and contemporary articles, conducting interviews with Walters conservators and curators, and making comparisons with similar objects from the period or in the artists’ oeuvres. However, an exhaustive physical examination of the objects themselves was the starting and end point for piecing together the objects’ paths of alteration, ownership, and usage. Our final product was meant to offer a new way for viewers to connect with an object and so both our maps and audio clips reinforce our findings by continually asking the viewer to look closely at the evidence right in front of them.','inherit','open','open','','1128-revision-5','','','2012-02-11 07:50:08','2012-02-11 07:50:08','',1128,'http://www.archivejournal.net/2012/02/1128-revision-5/',0,'revision','',0),(1169,13,'2012-02-11 07:50:19','2012-02-11 07:50:19','&nbsp;\r\n\r\nObject studied:\r\n<em>Antiphonary for Abbess of Sainte-Marie of Beaupré</em>, ink on parchment (Flemish, 1290).\r\n\r\n&nbsp;\r\n\r\n1. 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.)\r\n\r\nThis project required a diverse approach to research, including reading topical books and contemporary articles, conducting interviews with Walters conservators and curators, and making comparisons with similar objects from the period or in the artists’ oeuvres. However, an exhaustive physical examination of the objects themselves was the starting and end point for piecing together the objects’ paths of alteration, ownership, and usage. Our final product was meant to offer a new way for viewers to connect with an object and so both our maps and audio clips reinforce our findings by continually asking the viewer to look closely at the evidence right in front of them.\r\n\r\n&nbsp;\r\n\r\n2. What did you learn from this project that distinguished it from other academic courses?\r\n\r\nThis course offered three unique qualities. First, our research was meant for publication for museum visitors rather than exclusively for our professors. Secondly, we were able to do hands-on research with many of the Walters’ most revered objects with curators and conservators guiding us in our examinations. Finally, this course encouraged an object-centric view of history, which was antithetical, conceptually, to the art history courses I had taken until that point.\r\n\r\nAs an art history major, I was accustomed to viewing specific art historical objects as close studies of broader trends that characterized the periods in which they were made. However, our assignment for Material Migrations concerned itself not only with a study of the object’s creation and its use in its own time, but also its changing use throughout its history. I came away from the course with a greater appreciation for the power of contextualization – art objects rarely remain static relics of a bygone era, but rather continue to have vibrant lives and changing effects on their successive owners and audiences, not the least of which is in their position as a tool for learning in the museum.\r\n\r\n&nbsp;\r\n\r\n3. What was it like to be creating a final project that would be presented to the public?\r\n\r\nThe project was intended to engage as broad a scope of museum visitors as possible - including youths and viewers who might have no background on the object - while still interesting our academic peers. Writing listener-friendly scripts for our audio recording was one of the greatest challenges of this project because part of what made these objects so fascinating was the very unwieldiness of their provenances. I decided on central themes for both my objects and ultimately cut out much of my research in order to bring focus to their otherwise tortuous histories. Considerations of display also affected the content of the map and audio. For example, while some of the pages of the illuminated manuscript I researched had beautiful drolleries in their margins, it was impractical to cite specific instances because the fragile manuscript could only be on display to one spread, which might not have any drolleries.\r\n\r\n&nbsp;\r\n\r\n4. What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nI chose one of my objects, the Beaupre Antiphonary, specifically because I had the opportunity to work with the Walters’ rare books curators Drs. Ben Tilghman and William Noel. Collaborating with two of the top scholars in the field on an object that they knew intimately remains one of the brightest moments of my undergraduate career.\r\n\r\n&nbsp;\r\n\r\n5. 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?\r\n\r\nThis course reinforced my ambition to work in the field of museums because I found the work rewarding and academically invigorating. It was meaningful and exhilarating to produce work for a class that would help enrich the presentation of the Walters’ holdings.','Dakota Devos - Commentary','This project required a diverse approach to research, including reading topical books and contemporary articles, conducting interviews with Walters conservators and curators, and making comparisons with similar objects from the period or in the artists’ oeuvres. However, an exhaustive physical examination of the objects themselves was the starting and end point for piecing together the objects’ paths of alteration, ownership, and usage. Our final product was meant to offer a new way for viewers to connect with an object and so both our maps and audio clips reinforce our findings by continually asking the viewer to look closely at the evidence right in front of them.','inherit','open','open','','1128-revision-6','','','2012-02-11 07:50:19','2012-02-11 07:50:19','',1128,'http://www.archivejournal.net/2012/02/1128-revision-6/',0,'revision','',0),(1170,13,'2012-02-11 07:47:01','2012-02-11 07:47:01','Object studied:\r\n<em>Capitoline Amazon</em>, marble (Roman copy after Kresilas, Greek, active ca. 450 BC - 420 BC).\r\n\r\n&nbsp;\r\n\r\n1. 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.)\r\n\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&nbsp;\r\n\r\n2. What did you learn from this project that distinguished it from other academic courses?\r\n\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 when there is a will, there is a way.\r\n\r\n&nbsp;\r\n\r\n3. What was it like to be creating a final project that would be presented to the public?\r\n\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 was an inspiration to design a product that would make a difference not only for the Walters, but also for any interested party 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&nbsp;\r\n\r\n4. What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nIt is always a privilege to work with professionals in the field you aspire to be a part of, 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 and 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 through dissemination of knowledge about their unique histories, despite the challenges this task might propose.\r\n\r\n&nbsp;\r\n\r\n5. 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?\r\n\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 in order that I too can work in an institution dedicated to the preservation of culture for future generations. I graduated from Johns Hopkins in May, 2011, with a degree in the History of Science, Medicine and Technology and am now pursuing a Masters degree in Museum Studies at George Washington University, with a focus in museum administration and classical studies.','Elizabeth Dowdle - Commentary','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','','','2012-02-11 07:47:01','2012-02-11 07:47:01','',1152,'http://www.archivejournal.net/2012/02/1152-revision-9/',0,'revision','',0),(1171,13,'2012-02-11 07:48:18','2012-02-11 07:48:18','Object studied:\r\n<em>Casket with Scenes of Romances</em>, ivory and bone with modern iron mounts (French, 1330-1350).\r\n\r\n&nbsp;\r\n\r\n1. 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.)\r\n\r\nI researched two objects for this project, a painted tile and an ivory casket. The Walters 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&nbsp;\r\n\r\n2. What did you learn from this project that distinguished it from other academic courses?\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 didn’t 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&nbsp;\r\n\r\n3. What was it like to be creating a final project that would be presented to the public?\r\n\r\nThe Google Earth project was a lesson in learning how to write concisely. You would spend 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’s a little bit harder to boil down everything that you’ve learned into something punchy and informative.\r\n\r\n&nbsp;\r\n\r\n4. What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nThe Walters’ staff was incredibly giving of their time. We met with the museum director, the curator of Asian art, and 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 a member of the museum’s education department and getting feedback on what we had written for the project so far. That kind of collaboration was incredibly helpful.\r\n\r\n&nbsp;\r\n\r\n5. 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?\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’m 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 don’t know if I would have had this opportunity without my experience working on the Google Earth project at the Walters.','Joan Tkacs - Commentary','I researched two objects for this project, a painted tile and an ivory casket. The Walters 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-3','','','2012-02-11 07:48:18','2012-02-11 07:48:18','',1126,'http://www.archivejournal.net/2012/02/1126-revision-3/',0,'revision','',0),(1172,13,'2012-02-11 02:46:37','2012-02-11 02:46:37','“Material Migrations,” like many of the practicum courses offered in the Program in Museums and Society, gave students the chance to engage directly with objects, conduct research in and around those materials and, most distinctively, develop a final project to be shared with a general audience.  M&S practicum projects take the form of exhibitions both actual and virtual, interpretative materials (such as audio tours, gallery guides, and websites), and program development.  I like to think of them as works of “public humanities”—ways of sharing the research we do in the university with a larger audience.\r\n\r\nIn our syllabus for this course, Ben Tilghman and I asked: Why bother with such an exercise?  Our answer:  “To share what we are learning with the public.  This is a fundamental task of museums . . . in this course we extended that mission to the undergraduate classroom.”  Universities suffer from their remove from the broader community, and humanistic disciplines, without clear “practical” applications, are particularly at risk from this sort of isolation and perceived irrelevance.  On the other hand, archives, museums, and other collections with a public face are places where humanistic research can be made available, accessible, and meaningful.\r\n\r\nAlthough historians are familiar with the sub-field of public history, other disciplines have not developed the potential for outreach in such a direct, institutionalized way.  It is hard to imagine the awarding of a degree in, say, public art history.  But in this class our students were taking on that very role, the role of curators presenting research through a lively interactive tool with broad dissemination.\r\n\r\nIn developing their object itineraries for the Walters and Google Earth, students had to consider both the historical narrative they were tracing and the matter of presenting it to the public.  What information would be accessible?  How could they both engage and challenge their audience?  How would they balance the nuanced elements of their story with the broader theoretical issues at stake in the project?  What is lost in the task of producing highly condensed text—and what might be gained? \r\n\r\nIn all of our museum-based practicum courses, we face the challenge of fitting student work into an established institutional frame.  Classrooms are messy places where ideas are tested and debated.  Despite our best efforts, the many young voices we work with over the semester may not easily gel into the perfect, marketable whole that modern museums require.  Our students carefully crafted their texts, which were then polished to a sheen by Walters professionals; they constructed imaginative itineraries that we honed to fit a simpler, more streamlined model.\r\n\r\nIf it seems like the nature of university research (independent, serendipitous, evolving) cannot quite square with museum exhibitions (corporate, formal, fixed), there is nevertheless much to be gained from encouraging their intersection—for students, audiences, and collections, and for universities as well.  University humanities made more public are also more relevant, appreciated, and valued.\r\n','Elizabeth Rodini - Commentary','','inherit','open','open','','1132-revision-2','','','2012-02-11 02:46:37','2012-02-11 02:46:37','',1132,'http://www.archivejournal.net/2012/02/1132-revision-2/',0,'revision','',0),(1173,13,'2012-02-11 07:51:44','2012-02-11 07:51:44','“Material Migrations,” like many of the practicum courses offered in the Program in Museums and Society, gave students the chance to engage directly with objects, conduct research in and around those materials and, most distinctively, develop a final project to be shared with a general audience. M&amp;S practicum projects take the form of exhibitions both actual and virtual, interpretative materials (such as audio tours, gallery guides, and websites), and program development. I like to think of them as works of “public humanities”—ways of sharing the research we do in the university with a larger audience.\r\n\r\nIn our syllabus for this course, Ben Tilghman and I asked: Why bother with such an exercise? Our answer: “To share what we are learning with the public. This is a fundamental task of museums . . . in this course we extended that mission to the undergraduate classroom.” Universities suffer from their remove from the broader community, and humanistic disciplines, without clear “practical” applications, are particularly at risk from this sort of isolation and perceived irrelevance. On the other hand, archives, museums, and other collections with a public face are places where humanistic research can be made available, accessible, and meaningful.\r\n\r\nAlthough historians are familiar with the sub-field of public history, other disciplines have not developed the potential for outreach in such a direct, institutionalized way. It is hard to imagine the awarding of a degree in, say, public art history. But in this class our students were taking on that very role, the role of curators presenting research through a lively interactive tool with broad dissemination.\r\n\r\nIn developing their object itineraries for the Walters and Google Earth, students had to consider both the historical narrative they were tracing and the matter of presenting it to the public. What information would be accessible? How could they both engage and challenge their audience? How would they balance the nuanced elements of their story with the broader theoretical issues at stake in the project? What is lost in the task of producing highly condensed text—and what might be gained?\r\n\r\nIn all of our museum-based practicum courses, we face the challenge of fitting student work into an established institutional frame. Classrooms are messy places where ideas are tested and debated. Despite our best efforts, the many young voices we work with over the semester may not easily gel into the perfect, marketable whole that modern museums require. Our students carefully crafted their texts, which were then polished to a sheen by Walters professionals; they constructed imaginative itineraries that we honed to fit a simpler, more streamlined model.\r\n\r\nIf it seems like the nature of university research (independent, serendipitous, evolving) cannot quite square with museum exhibitions (corporate, formal, fixed), there is nevertheless much to be gained from encouraging their intersection—for students, audiences, and collections, and for universities as well. University humanities made more public are also more relevant, appreciated, and valued.','Elizabeth Rodini - Commentary','“Material Migrations,” like many of the practicum courses offered in the Program in Museums and Society, gave students the chance to engage directly with objects, conduct research in and around those materials and, most distinctively, develop a final project to be shared with a general audience. M&S practicum projects take the form of exhibitions both actual and virtual, interpretative materials (such as audio tours, gallery guides, and websites), and program development. I like to think of them as works of “public humanities”—ways of sharing the research we do in the university with a larger audience.','inherit','open','open','','1132-revision-3','','','2012-02-11 07:51:44','2012-02-11 07:51:44','',1132,'http://www.archivejournal.net/2012/02/1132-revision-3/',0,'revision','',0),(1174,13,'2012-02-11 02:42:04','2012-02-11 02:42:04','Sczerba worked closely with the course instructors, Elizabeth Rodini and Ben Tilghman, to develop and refine the Google Earth tools and to train students in building tours.\r\n\r\n1.	Describe your role in this project.\r\n\r\nI work for a faculty support center at Johns Hopkins University called the Center for Educational Resources (CER). As the center’s multimedia developer, I aided Elizabeth Rodini and Ben Tilghman with the technical and logistical aspect of the project. This included determining a viable technology for the project tours and developing resource guides that aided student tour creation. \r\n\r\n2.	What tasks did you perform at various stages of the project? \r\n\r\nInitially we had to find a program that would be freely available (both in access and cost) for students to use with a relatively low learning curve. Google Earth was selected since it allows tour creation with rich media and text mapped to the earth and is free to download on PCs and Macs. I then created a template tour, set up with pre-made place markers as a starting point for the students, and content layout templates for the appearance of the tour’s place marks. After those two resources were set, a well-written and comprehensible workflow had to be created. I chose to create both a visual and textual workflow to clearly express the actions that needed to happen and at what stages. The final step was to present this workflow to the students in a training workshop so that they could see how it all came together and do it themselves.\r\n\r\n3.	What sorts of interactions did you have with faculty, students, and other members of the project community over the course of the project?\r\n \r\nI met with Elizabeth Rodini and Ben Tilghman initially for the project’s requirements gathering, then later to introduce them to the proposed solution. A colleague of mine from the CER also joined these meetings to offer ideas. I was also available by email to answer questions as they came up, especially during the approval process of the workflow, as it needed to be as simple to follow as possible. I also held a training workshop with Professor Rodini for the students. I continued to be available for questions by email as the students worked on their projects. \r\n\r\n4.	What particular challenges did this project present? \r\n\r\nThis project required that every place mark on a tour should include images at that location. The only way to do this in Google Earth was to code it yourself. Certain aspects of using Google Earth were easy to master but customizing the appearance of the place marks requires HTML programming knowledge. Despite the fact that most students nowadays have grown up with the Internet, we have found very few know how to use HTML. Our solution utilized an online HTML editor that had a prebuilt HTML template loaded in it. When the students were ready to create the content for their place marks, they simply copied the content from a Word document then pasted it in the HTML editor to generate the code. That code was then pasted into their Google Earth place mark, circumventing the need for the students to learn HTML.\r\n\r\n5.	What lessons did you learn from this project and what might you do differently in the future? \r\n\r\nA more ideal solution may have been to create an application that would generate the tours without necessitating the use of Google Earth. This would have taken more time and resources to build than we had but it could have been a useful application for other courses as well. It was disappointing realizing that Google Earth didn’t have an HMTL editor built in and at the time there wasn’t an application that suited our needs. Perhaps when this course is offered again, there will be an ideal solution available that would allow students to create tours, focusing on the content rather than the technology. If not then perhaps we will have time to build one ourselves and share it.\r\n','Reid Sczerba - Commentary','','inherit','open','open','','1123-revision-3','','','2012-02-11 02:42:04','2012-02-11 02:42:04','',1123,'http://www.archivejournal.net/2012/02/1123-revision-3/',0,'revision','',0),(1175,13,'2012-02-11 07:53:47','2012-02-11 07:53:47','<em>Sczerba worked closely with the course instructors, Elizabeth Rodini and Ben Tilghman, to develop and refine the Google Earth tools and to train students in building tours.</em>\r\n\r\n&nbsp;\r\n\r\n1. Describe your role in this project.\r\n\r\nI work for a faculty support center at Johns Hopkins University called the Center for Educational Resources (CER). As the center’s multimedia developer, I aided Elizabeth Rodini and Ben Tilghman with the technical and logistical aspect of the project. This included determining a viable technology for the project tours and developing resource guides that aided student tour creation.\r\n\r\n&nbsp;\r\n\r\n2. What tasks did you perform at various stages of the project?\r\n\r\nInitially we had to find a program that would be freely available (both in access and cost) for students to use with a relatively low learning curve. Google Earth was selected since it allows tour creation with rich media and text mapped to the earth and is free to download on PCs and Macs. I then created a template tour, set up with pre-made place markers as a starting point for the students, and content layout templates for the appearance of the tour’s place marks. After those two resources were set, a well-written and comprehensible workflow had to be created. I chose to create both a visual and textual workflow to clearly express the actions that needed to happen and at what stages. The final step was to present this workflow to the students in a training workshop so that they could see how it all came together and do it themselves.\r\n\r\n&nbsp;\r\n\r\n3. What sorts of interactions did you have with faculty, students, and other members of the project community over the course of the project?\r\n\r\nI met with Elizabeth Rodini and Ben Tilghman initially for the project’s requirements gathering, then later to introduce them to the proposed solution. A colleague of mine from the CER also joined these meetings to offer ideas. I was also available by email to answer questions as they came up, especially during the approval process of the workflow, as it needed to be as simple to follow as possible. I also held a training workshop with Professor Rodini for the students. I continued to be available for questions by email as the students worked on their projects.\r\n\r\n&nbsp;\r\n\r\n4. What particular challenges did this project present?\r\n\r\nThis project required that every place mark on a tour should include images at that location. The only way to do this in Google Earth was to code it yourself. Certain aspects of using Google Earth were easy to master but customizing the appearance of the place marks requires HTML programming knowledge. Despite the fact that most students nowadays have grown up with the Internet, we have found very few know how to use HTML. Our solution utilized an online HTML editor that had a prebuilt HTML template loaded in it. When the students were ready to create the content for their place marks, they simply copied the content from a Word document then pasted it in the HTML editor to generate the code. That code was then pasted into their Google Earth place mark, circumventing the need for the students to learn HTML.\r\n\r\n&nbsp;\r\n\r\n5. What lessons did you learn from this project and what might you do differently in the future?\r\n\r\nA more ideal solution may have been to create an application that would generate the tours without necessitating the use of Google Earth. This would have taken more time and resources to build than we had but it could have been a useful application for other courses as well. It was disappointing realizing that Google Earth didn’t have an HMTL editor built in and at the time there wasn’t an application that suited our needs. Perhaps when this course is offered again, there will be an ideal solution available that would allow students to create tours, focusing on the content rather than the technology. If not then perhaps we will have time to build one ourselves and share it.','Reid Sczerba - Commentary','I work for a faculty support center at Johns Hopkins University called the Center for Educational Resources (CER). As the center’s multimedia developer, I aided Elizabeth Rodini and Ben Tilghman with the technical and logistical aspect of the project. This included determining a viable technology for the project tours and developing resource guides that aided student tour creation.','inherit','open','open','','1123-revision-4','','','2012-02-11 07:53:47','2012-02-11 07:53:47','',1123,'http://www.archivejournal.net/2012/02/1123-revision-4/',0,'revision','',0),(1176,13,'2012-02-11 07:54:12','2012-02-11 07:54:12','<em>Sczerba worked closely with the course instructors, Elizabeth Rodini and Ben Tilghman, to develop and refine the Google Earth tools and to train students in building tours.</em>\r\n\r\n1. Describe your role in this project.\r\n\r\nI work for a faculty support center at Johns Hopkins University called the Center for Educational Resources (CER). As the center’s multimedia developer, I aided Elizabeth Rodini and Ben Tilghman with the technical and logistical aspect of the project. This included determining a viable technology for the project tours and developing resource guides that aided student tour creation.\r\n\r\n2. What tasks did you perform at various stages of the project?\r\n\r\nInitially we had to find a program that would be freely available (both in access and cost) for students to use with a relatively low learning curve. Google Earth was selected since it allows tour creation with rich media and text mapped to the earth and is free to download on PCs and Macs. I then created a template tour, set up with pre-made place markers as a starting point for the students, and content layout templates for the appearance of the tour’s place marks. After those two resources were set, a well-written and comprehensible workflow had to be created. I chose to create both a visual and textual workflow to clearly express the actions that needed to happen and at what stages. The final step was to present this workflow to the students in a training workshop so that they could see how it all came together and do it themselves.\r\n\r\n&nbsp;\r\n\r\n3. What sorts of interactions did you have with faculty, students, and other members of the project community over the course of the project?\r\n\r\nI met with Elizabeth Rodini and Ben Tilghman initially for the project’s requirements gathering, then later to introduce them to the proposed solution. A colleague of mine from the CER also joined these meetings to offer ideas. I was also available by email to answer questions as they came up, especially during the approval process of the workflow, as it needed to be as simple to follow as possible. I also held a training workshop with Professor Rodini for the students. I continued to be available for questions by email as the students worked on their projects.\r\n\r\n&nbsp;\r\n\r\n4. What particular challenges did this project present?\r\n\r\nThis project required that every place mark on a tour should include images at that location. The only way to do this in Google Earth was to code it yourself. Certain aspects of using Google Earth were easy to master but customizing the appearance of the place marks requires HTML programming knowledge. Despite the fact that most students nowadays have grown up with the Internet, we have found very few know how to use HTML. Our solution utilized an online HTML editor that had a prebuilt HTML template loaded in it. When the students were ready to create the content for their place marks, they simply copied the content from a Word document then pasted it in the HTML editor to generate the code. That code was then pasted into their Google Earth place mark, circumventing the need for the students to learn HTML.\r\n\r\n&nbsp;\r\n\r\n5. What lessons did you learn from this project and what might you do differently in the future?\r\n\r\nA more ideal solution may have been to create an application that would generate the tours without necessitating the use of Google Earth. This would have taken more time and resources to build than we had but it could have been a useful application for other courses as well. It was disappointing realizing that Google Earth didn’t have an HMTL editor built in and at the time there wasn’t an application that suited our needs. Perhaps when this course is offered again, there will be an ideal solution available that would allow students to create tours, focusing on the content rather than the technology. If not then perhaps we will have time to build one ourselves and share it.','Reid Sczerba - Commentary','I work for a faculty support center at Johns Hopkins University called the Center for Educational Resources (CER). As the center’s multimedia developer, I aided Elizabeth Rodini and Ben Tilghman with the technical and logistical aspect of the project. This included determining a viable technology for the project tours and developing resource guides that aided student tour creation.','inherit','open','open','','1123-revision-5','','','2012-02-11 07:54:12','2012-02-11 07:54:12','',1123,'http://www.archivejournal.net/2012/02/1123-revision-5/',0,'revision','',0),(1177,13,'2012-02-11 02:45:33','2012-02-11 02:45:33','Art on the Move: A Public Humanities Project at Johns Hopkins University\r\n\r\nArt on the Move was an outcome of the course “Behind the Scenes at the Walters Art Museum: Material Migrations,” offered at the Walters Art Museum through the Program in Museums and Society [link to M&S here: http://krieger.jhu.edu/museums/] at Johns Hopkins University in the fall of 2009.  Elizabeth Rodini and Ben Tilghman were co-instructors and, with the technical guidance of Reid Sczerba, Senior Programmer Analyst in the university’s Center for Educational Resources, devised and oversaw this project.  The course and project were funded by an Arts Innovation Grant from Johns Hopkins.\r\n\r\nExcept from course syllabus:\r\n\r\nThe goals of this class can be broken down into several categories:\r\n\r\n-investigating the various ways/means/motives for the circulation of objects, and considering how meaning is shaped by context, from antiquity to the present and including the museum itself; \r\n-conducting in-depth, independent research on objects in the Walters’ collection;\r\n-experimenting with different styles of writing and narration;\r\n-learning about different areas of museum practice, including curation, conservation, registration, and education;\r\n-applying these experiences to the production of interpretative tools for public audiences of the Walters, in the form of Google Earth itineraries.  \r\n\r\nEach student will choose two* objects from the Walters’ collection to research, focusing on the “trajectory” of the objects and their shifting significance in different contexts.  Research will involve studying the objects and object files at the museum as well as work in the Hopkins library and on-line.  That work will be analyzed, interpreted, and gathered into a Google Earth Map “itinerary” for each object.  Why?  To share what we are learning with the public.  This is a fundamental task of museums . . . in this course we extended that mission to the undergraduate classroom. \r\n\r\n(*The seven students worked on two objects each; a selection of these was made for the final presentation on the Walters website.)\r\n','Walters - Project Description/Syllabus','','inherit','open','open','','1130-revision-2','','','2012-02-11 02:45:33','2012-02-11 02:45:33','',1130,'http://www.archivejournal.net/2012/02/1130-revision-2/',0,'revision','',0),(1178,13,'2012-02-11 07:55:32','2012-02-11 07:55:32','<strong>Art on the Move: A Public Humanities Project at Johns Hopkins University</strong>\r\n\r\nArt on the Move was an outcome of the course “Behind the Scenes at the Walters Art Museum: Material Migrations,” offered at the Walters Art Museum through the Program in Museums and Society [link to M&amp;S here: http://krieger.jhu.edu/museums/] at Johns Hopkins University in the fall of 2009. Elizabeth Rodini and Ben Tilghman were co-instructors and, with the technical guidance of Reid Sczerba, Senior Programmer Analyst in the university’s Center for Educational Resources, devised and oversaw this project. The course and project were funded by an Arts Innovation Grant from Johns Hopkins.\r\n\r\n<strong>Except from course syllabus:</strong>\r\n\r\nThe goals of this class can be broken down into several categories:\r\n<ul>\r\n	<li>investigating the various ways/means/motives for the circulation of objects, and considering how meaning is shaped by context, from antiquity to the present and including the museum itself;</li>\r\n	<li>conducting in-depth, independent research on objects in the Walters’ collection;</li>\r\n	<li>experimenting with different styles of writing and narration;</li>\r\n	<li>learning about different areas of museum practice, including curation, conservation, registration, and education;</li>\r\n	<li>applying these experiences to the production of interpretative tools for public audiences of the Walters, in the form of Google Earth itineraries.</li>\r\n</ul>\r\nEach student will choose two* objects from the Walters’ collection to research, focusing on the “trajectory” of the objects and their shifting significance in different contexts. Research will involve studying the objects and object files at the museum as well as work in the Hopkins library and on-line. That work will be analyzed, interpreted, and gathered into a Google Earth Map “itinerary” for each object. Why? To share what we are learning with the public. This is a fundamental task of museums . . . in this course we extended that mission to the undergraduate classroom.\r\n\r\n(*The seven students worked on two objects each; a selection of these was made for the final presentation on the Walters website.)','Walters - Project Description/Syllabus','','inherit','open','open','','1130-revision-3','','','2012-02-11 07:55:32','2012-02-11 07:55:32','',1130,'http://www.archivejournal.net/2012/02/1130-revision-3/',0,'revision','',0),(1179,13,'2012-02-11 07:55:53','2012-02-11 07:55:53','<strong>Art on the Move: A Public Humanities Project at Johns Hopkins University</strong>\r\n\r\n<strong></strong>Art on the Move was an outcome of the course “Behind the Scenes at the Walters Art Museum: Material Migrations,” offered at the Walters Art Museum through the Program in Museums and Society [link to M&amp;S here: http://krieger.jhu.edu/museums/] at Johns Hopkins University in the fall of 2009. Elizabeth Rodini and Ben Tilghman were co-instructors and, with the technical guidance of Reid Sczerba, Senior Programmer Analyst in the university’s Center for Educational Resources, devised and oversaw this project. The course and project were funded by an Arts Innovation Grant from Johns Hopkins.\r\n\r\n<strong>Except from course syllabus:</strong>\r\n\r\nThe goals of this class can be broken down into several categories:\r\n<ul>\r\n	<li>investigating the various ways/means/motives for the circulation of objects, and considering how meaning is shaped by context, from antiquity to the present and including the museum itself;</li>\r\n	<li>conducting in-depth, independent research on objects in the Walters’ collection;</li>\r\n	<li>experimenting with different styles of writing and narration;</li>\r\n	<li>learning about different areas of museum practice, including curation, conservation, registration, and education;</li>\r\n	<li>applying these experiences to the production of interpretative tools for public audiences of the Walters, in the form of Google Earth itineraries.</li>\r\n</ul>\r\nEach student will choose two* objects from the Walters’ collection to research, focusing on the “trajectory” of the objects and their shifting significance in different contexts. Research will involve studying the objects and object files at the museum as well as work in the Hopkins library and on-line. That work will be analyzed, interpreted, and gathered into a Google Earth Map “itinerary” for each object. Why? To share what we are learning with the public. This is a fundamental task of museums . . . in this course we extended that mission to the undergraduate classroom.\r\n\r\n(*The seven students worked on two objects each; a selection of these was made for the final presentation on the Walters website.)','Walters - Project Description/Syllabus','','inherit','open','open','','1130-revision-4','','','2012-02-11 07:55:53','2012-02-11 07:55:53','',1130,'http://www.archivejournal.net/2012/02/1130-revision-4/',0,'revision','',0),(1180,13,'2012-02-11 07:56:01','2012-02-11 07:56:01','<strong>Art on the Move: A Public Humanities Project at Johns Hopkins University</strong>\r\n\r\n<strong></strong>Art on the Move was an outcome of the course “Behind the Scenes at the Walters Art Museum: Material Migrations,” offered at the Walters Art Museum through the Program in Museums and Society [link to M&amp;S here: http://krieger.jhu.edu/museums/] at Johns Hopkins University in the fall of 2009. Elizabeth Rodini and Ben Tilghman were co-instructors and, with the technical guidance of Reid Sczerba, Senior Programmer Analyst in the university’s Center for Educational Resources, devised and oversaw this project. The course and project were funded by an Arts Innovation Grant from Johns Hopkins.\r\n\r\n<strong>Except from course syllabus:</strong>\r\n\r\n<strong></strong>The goals of this class can be broken down into several categories:\r\n<ul>\r\n	<li>investigating the various ways/means/motives for the circulation of objects, and considering how meaning is shaped by context, from antiquity to the present and including the museum itself;</li>\r\n	<li>conducting in-depth, independent research on objects in the Walters’ collection;</li>\r\n	<li>experimenting with different styles of writing and narration;</li>\r\n	<li>learning about different areas of museum practice, including curation, conservation, registration, and education;</li>\r\n	<li>applying these experiences to the production of interpretative tools for public audiences of the Walters, in the form of Google Earth itineraries.</li>\r\n</ul>\r\nEach student will choose two* objects from the Walters’ collection to research, focusing on the “trajectory” of the objects and their shifting significance in different contexts. Research will involve studying the objects and object files at the museum as well as work in the Hopkins library and on-line. That work will be analyzed, interpreted, and gathered into a Google Earth Map “itinerary” for each object. Why? To share what we are learning with the public. This is a fundamental task of museums . . . in this course we extended that mission to the undergraduate classroom.\r\n\r\n(*The seven students worked on two objects each; a selection of these was made for the final presentation on the Walters website.)','Walters - Project Description/Syllabus','','inherit','open','open','','1130-revision-5','','','2012-02-11 07:56:01','2012-02-11 07:56:01','',1130,'http://www.archivejournal.net/2012/02/1130-revision-5/',0,'revision','',0),(1181,10,'2012-11-28 23:23:04','2012-11-28 23:23:04','Art on the Move was an outcome of the course Behind the Scenes at the Walters Art Museum: Material Migrations, offered at the Walters Art Museum through the <a href=\"http://krieger.jhu.edu/museums/\">Program in Museums and Society</a>at Johns Hopkins University in the fall of 2009. Elizabeth Rodini and Ben Tilghman were co-instructors and, with the technical guidance of Reid Sczerba, Multimedia Development Specialist in the university’s Center for Educational Resources, devised and oversaw this project. The course and project were funded by an Arts Innovation Grant from Johns Hopkins.\n\n<strong>Excerpt from course syllabus</strong>\n\nThe goals of this class can be broken down into several categories:\n<ul>\n	<li>investigating the various ways/means/motives for the circulation of objects, and considering how meaning is shaped by context, from antiquity to the present and including the museum itself;</li>\n	<li>conducting in-depth, independent research on objects in the Walters’ collection;</li>\n	<li>experimenting with different styles of writing and narration;</li>\n	<li>learning about different areas of museum practice, including curation, conservation, registration, and education;</li>\n	<li>applying these experiences to the production of interpretative tools for public audiences of the Walters, in the form of Google Earth itineraries.</li>\n</ul>\nEach student will choose two* objects from the Walters’ collection to research, focusing on the “trajectory” of the objects and their shifting significance in different contexts. Research will involve studying the objects and object files at the museum as well as work in the Hopkins library and on-line. That work will be analyzed, interpreted, and gathered into a Google Earth Map “itinerary” for each object. Why? To share what we are learning with the public. This is a fundamental task of museums . . . in this course we extended that mission to the undergraduate classroom.\n\n(*The seven students worked on two objects each; a selection of these was made for the final presentation on the Walters website.)','Walters - Project Description/Syllabus','','inherit','open','open','','1130-autosave','','','2012-11-28 23:23:04','2012-11-28 23:23:04','',1130,'http://www.archivejournal.net/2012/02/1130-autosave/',0,'revision','',0),(1744,13,'2012-03-07 05:55:09','2012-03-07 05:55:09','In Issue 2 of Archive, we\'ve chosen to explore several eclectic case studies of projects focused around archival research and preservation, undertaken by students at various institutions. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.\r\n\r\nDuis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur.\r\n\r\nExcepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.','Student Project Case Studies','','inherit','open','open','','1711-revision-7','','','2012-03-07 05:55:09','2012-03-07 05:55:09','',1711,'http://www.archivejournal.net/uncategorized/1711-revision-7/',0,'revision','',0),(1182,13,'2012-02-11 07:56:54','2012-02-11 07:56:54','<strong>Art on the Move: A Public Humanities Project at Johns Hopkins University</strong>\r\n\r\n<strong></strong>Art on the Move was an outcome of the course “Behind the Scenes at the Walters Art Museum: Material Migrations,” offered at the Walters Art Museum through the Program in Museums and Society [link to M&amp;S here: http://krieger.jhu.edu/museums/] at Johns Hopkins University in the fall of 2009. Elizabeth Rodini and Ben Tilghman were co-instructors and, with the technical guidance of Reid Sczerba, Senior Programmer Analyst in the university’s Center for Educational Resources, devised and oversaw this project. The course and project were funded by an Arts Innovation Grant from Johns Hopkins.\r\n\r\n<strong>Except from course syllabus:</strong>\r\n\r\n<strong></strong>The goals of this class can be broken down into several categories:\r\n<ul>\r\n	<li>investigating the various ways/means/motives for the circulation of objects, and considering how meaning is shaped by context, from antiquity to the present and including the museum itself;</li>\r\n	<li>conducting in-depth, independent research on objects in the Walters’ collection;</li>\r\n	<li>experimenting with different styles of writing and narration;</li>\r\n	<li>learning about different areas of museum practice, including curation, conservation, registration, and education;</li>\r\n	<li>applying these experiences to the production of interpretative tools for public audiences of the Walters, in the form of Google Earth itineraries.</li>\r\n</ul>\r\nEach student will choose two* objects from the Walters’ collection to research, focusing on the “trajectory” of the objects and their shifting significance in different contexts. Research will involve studying the objects and object files at the museum as well as work in the Hopkins library and on-line. That work will be analyzed, interpreted, and gathered into a Google Earth Map “itinerary” for each object. Why? To share what we are learning with the public. This is a fundamental task of museums . . . in this course we extended that mission to the undergraduate classroom.\r\n\r\n(*The seven students worked on two objects each; a selection of these was made for the final presentation on the Walters website.)','Walters - Project Description/Syllabus','','inherit','open','open','','1130-revision-6','','','2012-02-11 07:56:54','2012-02-11 07:56:54','',1130,'http://www.archivejournal.net/2012/02/1130-revision-6/',0,'revision','',0),(1184,13,'2012-02-11 07:59:53','2012-02-11 07:59:53','<strong>Art on the Move: A Public Humanities Project at Johns Hopkins University</strong>\r\n\r\nArt on the Move was an outcome of the course “Behind the Scenes at the Walters Art Museum: Material Migrations,” offered at the Walters Art Museum through the <a href=\"http://krieger.jhu.edu/museums/\">Program in Museums and Society</a> at Johns Hopkins University in the fall of 2009. Elizabeth Rodini and Ben Tilghman were co-instructors and, with the technical guidance of Reid Sczerba, Senior Programmer Analyst in the university’s Center for Educational Resources, devised and oversaw this project. The course and project were funded by an Arts Innovation Grant from Johns Hopkins.\r\n\r\n<strong>Except From Course Syllabus</strong>\r\n\r\nThe goals of this class can be broken down into several categories:\r\n<ul>\r\n	<li>investigating the various ways/means/motives for the circulation of objects, and considering how meaning is shaped by context, from antiquity to the present and including the museum itself;</li>\r\n	<li>conducting in-depth, independent research on objects in the Walters’ collection;</li>\r\n	<li>experimenting with different styles of writing and narration;</li>\r\n	<li>learning about different areas of museum practice, including curation, conservation, registration, and education;</li>\r\n	<li>applying these experiences to the production of interpretative tools for public audiences of the Walters, in the form of Google Earth itineraries.</li>\r\n</ul>\r\nEach student will choose two* objects from the Walters’ collection to research, focusing on the “trajectory” of the objects and their shifting significance in different contexts. Research will involve studying the objects and object files at the museum as well as work in the Hopkins library and on-line. That work will be analyzed, interpreted, and gathered into a Google Earth Map “itinerary” for each object. Why? To share what we are learning with the public. This is a fundamental task of museums . . . in this course we extended that mission to the undergraduate classroom.\r\n\r\n(*The seven students worked on two objects each; a selection of these was made for the final presentation on the Walters website.)','Walters - Project Description/Syllabus','','inherit','open','open','','1130-revision-8','','','2012-02-11 07:59:53','2012-02-11 07:59:53','',1130,'http://www.archivejournal.net/2012/02/1130-revision-8/',0,'revision','',0),(1183,13,'2012-02-11 07:59:27','2012-02-11 07:59:27','<p><strong>Art on the Move: A Public Humanities Project at Johns Hopkins University</strong></p>\r\n\r\n<p>Art on the Move was an outcome of the course “Behind the Scenes at the Walters Art Museum: Material Migrations,” offered at the Walters Art Museum through the <a href=\"http://krieger.jhu.edu/museums/\">Program in Museums and Society</a> at Johns Hopkins University in the fall of 2009. Elizabeth Rodini and Ben Tilghman were co-instructors and, with the technical guidance of Reid Sczerba, Senior Programmer Analyst in the university’s Center for Educational Resources, devised and oversaw this project. The course and project were funded by an Arts Innovation Grant from Johns Hopkins.</p>\r\n\r\n<p><strong>Except from course syllabus:</strong></p>\r\n\r\n<p>The goals of this class can be broken down into several categories:</p>\r\n\r\n<ul>\r\n	<li>investigating the various ways/means/motives for the circulation of objects, and considering how meaning is shaped by context, from antiquity to the present and including the museum itself;</li>\r\n	<li>conducting in-depth, independent research on objects in the Walters’ collection;</li>\r\n	<li>experimenting with different styles of writing and narration;</li>\r\n	<li>learning about different areas of museum practice, including curation, conservation, registration, and education;</li>\r\n	<li>applying these experiences to the production of interpretative tools for public audiences of the Walters, in the form of Google Earth itineraries.</li>\r\n</ul>\r\n\r\n<p>Each student will choose two* objects from the Walters’ collection to research, focusing on the “trajectory” of the objects and their shifting significance in different contexts. Research will involve studying the objects and object files at the museum as well as work in the Hopkins library and on-line. That work will be analyzed, interpreted, and gathered into a Google Earth Map “itinerary” for each object. Why? To share what we are learning with the public. This is a fundamental task of museums . . . in this course we extended that mission to the undergraduate classroom.</p>\r\n\r\n<p>(*The seven students worked on two objects each; a selection of these was made for the final presentation on the Walters website.)</p>','Walters - Project Description/Syllabus','','inherit','open','open','','1130-revision-7','','','2012-02-11 07:59:27','2012-02-11 07:59:27','',1130,'http://www.archivejournal.net/2012/02/1130-revision-7/',0,'revision','',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://www.archivejournal.net/wp-content/uploads/2012/02/walters_student-action-photo_dowdle.jpg',0,'attachment','image/jpeg',0),(1186,13,'2012-02-11 07:51:06','2012-02-11 07:51:06','Object studied:\r\n\r\n<em>Capitoline Amazon</em>, marble (Roman copy after Kresilas, Greek, active ca. 450 BC - 420 BC).\r\n\r\n&nbsp;\r\n\r\n1. 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.)\r\n\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&nbsp;\r\n\r\n2. What did you learn from this project that distinguished it from other academic courses?\r\n\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 when there is a will, there is a way.\r\n\r\n&nbsp;\r\n\r\n3. What was it like to be creating a final project that would be presented to the public?\r\n\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 was an inspiration to design a product that would make a difference not only for the Walters, but also for any interested party 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&nbsp;\r\n\r\n4. What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nIt is always a privilege to work with professionals in the field you aspire to be a part of, 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 and 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 through dissemination of knowledge about their unique histories, despite the challenges this task might propose.\r\n\r\n&nbsp;\r\n\r\n5. 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?\r\n\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 in order that I too can work in an institution dedicated to the preservation of culture for future generations. I graduated from Johns Hopkins in May, 2011, with a degree in the History of Science, Medicine and Technology and am now pursuing a Masters degree in Museum Studies at George Washington University, with a focus in museum administration and classical studies.','Elizabeth Dowdle - Commentary','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','','','2012-02-11 07:51:06','2012-02-11 07:51:06','',1152,'http://www.archivejournal.net/2012/02/1152-revision-10/',0,'revision','',0),(1188,13,'2012-02-11 08:15:02','2012-02-11 08:15:02','[caption id=\"attachment_1185\" align=\"alignnone\" width=\"640\" caption=\"Elizabeth Dowdle (in striped shirt) with Capitoline Amazon, marble (Roman copy after Kresilas, Greek, active ca. 450 BC - 420 BC).\"]<img class=\"size-full wp-image-1185 \" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/walters_student-action-photo_dowdle.jpg\" alt=\"\" width=\"640\" height=\"426\" />[/caption]\r\n\r\n1. 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.)\r\n\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\n2. What did you learn from this project that distinguished it from other academic courses?\r\n\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 when there is a will, there is a way.\r\n\r\n3. What was it like to be creating a final project that would be presented to the public?\r\n\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 was an inspiration to design a product that would make a difference not only for the Walters, but also for any interested party 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\n4. What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nIt is always a privilege to work with professionals in the field you aspire to be a part of, 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 and 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 through dissemination of knowledge about their unique histories, despite the challenges this task might propose.\r\n\r\n5. 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?\r\n\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 in order that I too can work in an institution dedicated to the preservation of culture for future generations. I graduated from Johns Hopkins in May, 2011, with a degree in the History of Science, Medicine and Technology and am now pursuing a Masters degree in Museum Studies at George Washington University, with a focus in museum administration and classical studies.','Elizabeth Dowdle - Commentary','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-12','','','2012-02-11 08:15:02','2012-02-11 08:15:02','',1152,'http://www.archivejournal.net/2012/02/1152-revision-12/',0,'revision','',0),(1187,13,'2012-02-11 08:13:51','2012-02-11 08:13:51','[caption id=\"attachment_1185\" align=\"alignnone\" width=\"640\" caption=\"Elizabeth Dowdle (in striped shirt) with Capitoline Amazon, marble (Roman copy after Kresilas, Greek, active ca. 450 BC - 420 BC).\"]<img class=\"size-full wp-image-1185 \" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/walters_student-action-photo_dowdle.jpg\" alt=\"\" width=\"640\" height=\"426\" />[/caption]\r\n\r\n&nbsp;\r\n\r\n1. 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.)\r\n\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&nbsp;\r\n\r\n2. What did you learn from this project that distinguished it from other academic courses?\r\n\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 when there is a will, there is a way.\r\n\r\n&nbsp;\r\n\r\n3. What was it like to be creating a final project that would be presented to the public?\r\n\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 was an inspiration to design a product that would make a difference not only for the Walters, but also for any interested party 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&nbsp;\r\n\r\n4. What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nIt is always a privilege to work with professionals in the field you aspire to be a part of, 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 and 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 through dissemination of knowledge about their unique histories, despite the challenges this task might propose.\r\n\r\n&nbsp;\r\n\r\n5. 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?\r\n\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 in order that I too can work in an institution dedicated to the preservation of culture for future generations. I graduated from Johns Hopkins in May, 2011, with a degree in the History of Science, Medicine and Technology and am now pursuing a Masters degree in Museum Studies at George Washington University, with a focus in museum administration and classical studies.','Elizabeth Dowdle - Commentary','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-11','','','2012-02-11 08:13:51','2012-02-11 08:13:51','',1152,'http://www.archivejournal.net/2012/02/1152-revision-11/',0,'revision','',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://www.archivejournal.net/wp-content/uploads/2012/02/walters_student-action-photo_devos.jpg',0,'attachment','image/jpeg',0),(1190,13,'2012-02-11 07:50:48','2012-02-11 07:50:48','Object studied:\r\n\r\n<em>Antiphonary for Abbess of Sainte-Marie of Beaupré</em>, ink on parchment (Flemish, 1290).\r\n\r\n&nbsp;\r\n\r\n1. 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.)\r\n\r\nThis project required a diverse approach to research, including reading topical books and contemporary articles, conducting interviews with Walters conservators and curators, and making comparisons with similar objects from the period or in the artists’ oeuvres. However, an exhaustive physical examination of the objects themselves was the starting and end point for piecing together the objects’ paths of alteration, ownership, and usage. Our final product was meant to offer a new way for viewers to connect with an object and so both our maps and audio clips reinforce our findings by continually asking the viewer to look closely at the evidence right in front of them.\r\n\r\n&nbsp;\r\n\r\n2. What did you learn from this project that distinguished it from other academic courses?\r\n\r\nThis course offered three unique qualities. First, our research was meant for publication for museum visitors rather than exclusively for our professors. Secondly, we were able to do hands-on research with many of the Walters’ most revered objects with curators and conservators guiding us in our examinations. Finally, this course encouraged an object-centric view of history, which was antithetical, conceptually, to the art history courses I had taken until that point.\r\n\r\nAs an art history major, I was accustomed to viewing specific art historical objects as close studies of broader trends that characterized the periods in which they were made. However, our assignment for Material Migrations concerned itself not only with a study of the object’s creation and its use in its own time, but also its changing use throughout its history. I came away from the course with a greater appreciation for the power of contextualization – art objects rarely remain static relics of a bygone era, but rather continue to have vibrant lives and changing effects on their successive owners and audiences, not the least of which is in their position as a tool for learning in the museum.\r\n\r\n&nbsp;\r\n\r\n3. What was it like to be creating a final project that would be presented to the public?\r\n\r\nThe project was intended to engage as broad a scope of museum visitors as possible - including youths and viewers who might have no background on the object - while still interesting our academic peers. Writing listener-friendly scripts for our audio recording was one of the greatest challenges of this project because part of what made these objects so fascinating was the very unwieldiness of their provenances. I decided on central themes for both my objects and ultimately cut out much of my research in order to bring focus to their otherwise tortuous histories. Considerations of display also affected the content of the map and audio. For example, while some of the pages of the illuminated manuscript I researched had beautiful drolleries in their margins, it was impractical to cite specific instances because the fragile manuscript could only be on display to one spread, which might not have any drolleries.\r\n\r\n&nbsp;\r\n\r\n4. What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nI chose one of my objects, the Beaupre Antiphonary, specifically because I had the opportunity to work with the Walters’ rare books curators Drs. Ben Tilghman and William Noel. Collaborating with two of the top scholars in the field on an object that they knew intimately remains one of the brightest moments of my undergraduate career.\r\n\r\n&nbsp;\r\n\r\n5. 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?\r\n\r\nThis course reinforced my ambition to work in the field of museums because I found the work rewarding and academically invigorating. It was meaningful and exhilarating to produce work for a class that would help enrich the presentation of the Walters’ holdings.','Dakota Devos - Commentary','This project required a diverse approach to research, including reading topical books and contemporary articles, conducting interviews with Walters conservators and curators, and making comparisons with similar objects from the period or in the artists’ oeuvres. However, an exhaustive physical examination of the objects themselves was the starting and end point for piecing together the objects’ paths of alteration, ownership, and usage. Our final product was meant to offer a new way for viewers to connect with an object and so both our maps and audio clips reinforce our findings by continually asking the viewer to look closely at the evidence right in front of them.','inherit','open','open','','1128-revision-7','','','2012-02-11 07:50:48','2012-02-11 07:50:48','',1128,'http://www.archivejournal.net/2012/02/1128-revision-7/',0,'revision','',0),(1191,13,'2012-02-11 08:17:43','2012-02-11 08:17:43','&nbsp;\r\n\r\n[caption id=\"attachment_1189\" align=\"alignnone\" width=\"640\" caption=\"Dakota DeVos (pointing at books) with Antiphonary for Abbess of Sainte-Marie of Beaupré, ink on parchment (Flemish, 1290).\"]<img class=\"size-full wp-image-1189\" title=\"walters_student action photo_devos\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/walters_student-action-photo_devos.jpg\" alt=\"\" width=\"640\" height=\"426\" />[/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\n\r\nThis project required a diverse approach to research, including reading topical books and contemporary articles, conducting interviews with Walters conservators and curators, and making comparisons with similar objects from the period or in the artists’ oeuvres. However, an exhaustive physical examination of the objects themselves was the starting and end point for piecing together the objects’ paths of alteration, ownership, and usage. Our final product was meant to offer a new way for viewers to connect with an object and so both our maps and audio clips reinforce our findings by continually asking the viewer to look closely at the evidence right in front of them.\r\n\r\n<strong>2. What did you learn from this project that distinguished it from other academic courses?</strong>\r\n\r\nThis course offered three unique qualities. First, our research was meant for publication for museum visitors rather than exclusively for our professors. Secondly, we were able to do hands-on research with many of the Walters’ most revered objects with curators and conservators guiding us in our examinations. Finally, this course encouraged an object-centric view of history, which was antithetical, conceptually, to the art history courses I had taken until that point.\r\n\r\nAs an art history major, I was accustomed to viewing specific art historical objects as close studies of broader trends that characterized the periods in which they were made. However, our assignment for Material Migrations concerned itself not only with a study of the object’s creation and its use in its own time, but also its changing use throughout its history. I came away from the course with a greater appreciation for the power of contextualization – art objects rarely remain static relics of a bygone era, but rather continue to have vibrant lives and changing effects on their successive owners and audiences, not the least of which is in their position as a tool for learning in the museum.\r\n\r\n<strong>3. What was it like to be creating a final project that would be presented to the public?</strong>\r\n\r\nThe project was intended to engage as broad a scope of museum visitors as possible - including youths and viewers who might have no background on the object - while still interesting our academic peers. Writing listener-friendly scripts for our audio recording was one of the greatest challenges of this project because part of what made these objects so fascinating was the very unwieldiness of their provenances. I decided on central themes for both my objects and ultimately cut out much of my research in order to bring focus to their otherwise tortuous histories. Considerations of display also affected the content of the map and audio. For example, while some of the pages of the illuminated manuscript I researched had beautiful drolleries in their margins, it was impractical to cite specific instances because the fragile manuscript could only be on display to one spread, which might not have any drolleries.\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\nI chose one of my objects, the Beaupre Antiphonary, specifically because I had the opportunity to work with the Walters’ rare books curators Drs. Ben Tilghman and William Noel. Collaborating with two of the top scholars in the field on an object that they knew intimately remains one of the brightest moments of my undergraduate career.\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\nThis course reinforced my ambition to work in the field of museums because I found the work rewarding and academically invigorating. It was meaningful and exhilarating to produce work for a class that would help enrich the presentation of the Walters’ holdings.','Dakota Devos - Commentary','This project required a diverse approach to research, including reading topical books and contemporary articles, conducting interviews with Walters conservators and curators, and making comparisons with similar objects from the period or in the artists’ oeuvres. However, an exhaustive physical examination of the objects themselves was the starting and end point for piecing together the objects’ paths of alteration, ownership, and usage. Our final product was meant to offer a new way for viewers to connect with an object and so both our maps and audio clips reinforce our findings by continually asking the viewer to look closely at the evidence right in front of them.','inherit','open','open','','1128-revision-8','','','2012-02-11 08:17:43','2012-02-11 08:17:43','',1128,'http://www.archivejournal.net/2012/02/1128-revision-8/',0,'revision','',0),(1192,2,'2012-11-29 04:19:46','2012-11-29 04:19:46','<img class=\"size-full wp-image-1189\" title=\"walters_student action photo_devos\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/walters_student-action-photo_devos.jpg\" alt=\"\" width=\"640\" height=\"426\" /><span class=\"caption\"> Dakota DeVos (pointing at books) with Antiphonary for Abbess of Sainte-Marie of Beaupré, ink on parchment (Flemish, 1290). Photo: Will Kirk, <a href=\"http://homewoodphoto.jhu.edu\">homewoodphoto.jhu.edu</a>.</span>\n\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>\nThis project required a diverse approach to research, including reading topical books and contemporary articles, conducting interviews with Walters conservators and curators, and making comparisons with similar objects from the period or in the artists’ oeuvres. However, an exhaustive physical examination of the objects themselves was the starting and ending point for piecing together the objects’ paths of alteration, ownership, and usage. Our final product was meant to offer a new way for viewers to connect with an object, so both our maps and audio clips reinforce our findings by continually asking the viewer to look closely at the evidence right in front of them.\n\n<strong>2. What did you learn from this project that distinguished it from other academic courses?</strong>\nThis course offered three unique qualities. First, our research was meant for publication for museum visitors rather than exclusively for our professors. Second, we were able to do hands-on research with many of the Walters’ most revered objects while curators and conservators guided us in our examinations. Finally, this course encouraged an object-centric view of history, which was antithetical, conceptually, to the art history courses I had taken until that point. As an art history major I was accustomed to viewing specific art historical objects as close studies of broader trends that characterized the periods in which they were made. However, our assignment for Material Migrations was concerned not only with a study of the object’s creation and use in its own time, but also how its use changed throughout its history. I came away from the course with a greater appreciation for the power of contextualization. Art objects rarely remain static relics of a bygone era; rather, they continue to have vibrant lives and changing effects on their successive owners and audiences, not the least of which is their position as a tool for learning in the museum.\n\n<strong>3. What was it like to create a final project that would be presented to the public?</strong>\nThe project was intended to engage as broad a scope of museum visitors as possible, including youths and viewers who might have no background on the object, while still interesting our academic peers. Part of what made these objects so fascinating was the very unwieldiness of their provenance. I decided on central themes for both of my objects and ultimately cut out much of my research in order to focus on their tortuous histories. Considerations of display also affected the content of the map and audio. For example, while some of the pages of the illuminated manuscript I researched had beautiful drolleries in their margins, it was impractical to cite specific instances because only one spread of the fragile manuscript could be on display, and it might not have any drolleries.\n\n<strong>4. What did you learn from working in a professional museum and in conjunction with its staff?</strong>\nI chose one of my objects, the Beaupré Antiphonary, specifically because I had the opportunity to work with Professor Tilghman and the Walters’ rare books curator, Dr. William Noel. Collaborating with two of the top scholars in the field on an object that they knew intimately remains one of the brightest moments of my undergraduate career.\n\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>\nThis course reinforced my ambition to work in the field of museums because I found the work rewarding and academically invigorating. It was meaningful and exhilarating to produce work for a class that would help enrich the presentation of the Walters’ holdings.','Dakota Devos - Commentary','This project required a diverse approach to research, including reading topical books and contemporary articles, conducting interviews with Walters conservators and curators, and making comparisons with similar objects from the period or in the artists’ oeuvres. However, an exhaustive physical examination of the objects themselves was the starting and end point for piecing together the objects’ paths of alteration, ownership, and usage. Our final product was meant to offer a new way for viewers to connect with an object and so both our maps and audio clips reinforce our findings by continually asking the viewer to look closely at the evidence right in front of them.','inherit','open','open','','1128-autosave','','','2012-11-29 04:19:46','2012-11-29 04:19:46','',1128,'http://www.archivejournal.net/2012/02/1128-autosave/',0,'revision','',0),(1952,10,'2012-06-27 02:37:59','2012-06-27 02:37:59','[caption id=\"attachment_1189\" align=\"alignnone\" width=\"640\" caption=\"Dakota DeVos (pointing at books) with Antiphonary for Abbess of Sainte-Marie of Beaupré, ink on parchment (Flemish, 1290).\"]<img class=\"size-full wp-image-1189\" title=\"walters_student action photo_devos\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/walters_student-action-photo_devos.jpg\" alt=\"\" width=\"640\" height=\"426\" />[/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\n\r\nThis project required a diverse approach to research, including reading topical books and contemporary articles, conducting interviews with Walters conservators and curators, and making comparisons with similar objects from the period or in the artists’ oeuvres. However, an exhaustive physical examination of the objects themselves was the starting and end point for piecing together the objects’ paths of alteration, ownership, and usage. Our final product was meant to offer a new way for viewers to connect with an object and so both our maps and audio clips reinforce our findings by continually asking the viewer to look closely at the evidence right in front of them.\r\n\r\n<strong>2. What did you learn from this project that distinguished it from other academic courses?</strong>\r\n\r\nThis course offered three unique qualities. First, our research was meant for publication for museum visitors rather than exclusively for our professors. Secondly, we were able to do hands-on research with many of the Walters’ most revered objects with curators and conservators guiding us in our examinations. Finally, this course encouraged an object-centric view of history, which was antithetical, conceptually, to the art history courses I had taken until that point.\r\n\r\nAs an art history major, I was accustomed to viewing specific art historical objects as close studies of broader trends that characterized the periods in which they were made. However, our assignment for Material Migrations concerned itself not only with a study of the object’s creation and its use in its own time, but also its changing use throughout its history. I came away from the course with a greater appreciation for the power of contextualization – art objects rarely remain static relics of a bygone era, but rather continue to have vibrant lives and changing effects on their successive owners and audiences, not the least of which is in their position as a tool for learning in the museum.\r\n\r\n<strong>3. What was it like to be creating a final project that would be presented to the public?</strong>\r\n\r\nThe project was intended to engage as broad a scope of museum visitors as possible - including youths and viewers who might have no background on the object - while still interesting our academic peers. Writing listener-friendly scripts for our audio recording was one of the greatest challenges of this project because part of what made these objects so fascinating was the very unwieldiness of their provenances. I decided on central themes for both my objects and ultimately cut out much of my research in order to bring focus to their otherwise tortuous histories. Considerations of display also affected the content of the map and audio. For example, while some of the pages of the illuminated manuscript I researched had beautiful drolleries in their margins, it was impractical to cite specific instances because the fragile manuscript could only be on display to one spread, which might not have any drolleries.\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\nI chose one of my objects, the Beaupre Antiphonary, specifically because I had the opportunity to work with the Walters’ rare books curators Drs. Ben Tilghman and William Noel. Collaborating with two of the top scholars in the field on an object that they knew intimately remains one of the brightest moments of my undergraduate career.\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\nThis course reinforced my ambition to work in the field of museums because I found the work rewarding and academically invigorating. It was meaningful and exhilarating to produce work for a class that would help enrich the presentation of the Walters’ holdings.','Dakota Devos - Commentary','This project required a diverse approach to research, including reading topical books and contemporary articles, conducting interviews with Walters conservators and curators, and making comparisons with similar objects from the period or in the artists’ oeuvres. However, an exhaustive physical examination of the objects themselves was the starting and end point for piecing together the objects’ paths of alteration, ownership, and usage. Our final product was meant to offer a new way for viewers to connect with an object and so both our maps and audio clips reinforce our findings by continually asking the viewer to look closely at the evidence right in front of them.','inherit','open','open','','1128-revision-12','','','2012-06-27 02:37:59','2012-06-27 02:37:59','',1128,'http://www.archivejournal.net/issue/2/uncategorized/1128-revision-12/',0,'revision','',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://www.archivejournal.net/wp-content/uploads/2012/02/walters_student-action-photo_tkacs.jpg',0,'attachment','image/jpeg',0),(1194,13,'2012-02-11 07:51:22','2012-02-11 07:51:22','Object studied:\r\n\r\n<em>Casket with Scenes of Romances</em>, ivory and bone with modern iron mounts (French, 1330-1350).\r\n\r\n&nbsp;\r\n\r\n1. 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.)\r\n\r\nI researched two objects for this project, a painted tile and an ivory casket. The Walters 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&nbsp;\r\n\r\n2. What did you learn from this project that distinguished it from other academic courses?\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 didn’t 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&nbsp;\r\n\r\n3. What was it like to be creating a final project that would be presented to the public?\r\n\r\nThe Google Earth project was a lesson in learning how to write concisely. You would spend 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’s a little bit harder to boil down everything that you’ve learned into something punchy and informative.\r\n\r\n&nbsp;\r\n\r\n4. What did you learn from working in a professional museum and in conjunction with its staff?\r\n\r\nThe Walters’ staff was incredibly giving of their time. We met with the museum director, the curator of Asian art, and 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 a member of the museum’s education department and getting feedback on what we had written for the project so far. That kind of collaboration was incredibly helpful.\r\n\r\n&nbsp;\r\n\r\n5. 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?\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’m 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 don’t know if I would have had this opportunity without my experience working on the Google Earth project at the Walters.','Joan Tkacs - Commentary','I researched two objects for this project, a painted tile and an ivory casket. The Walters 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-4','','','2012-02-11 07:51:22','2012-02-11 07:51:22','',1126,'http://www.archivejournal.net/2012/02/1126-revision-4/',0,'revision','',0),(1195,13,'2012-02-11 03:01:25','2012-02-11 03:01:25','','Mapping the Provenance of Museum Objects','','inherit','open','open','','1121-revision-6','','','2012-02-11 03:01:25','2012-02-11 03:01:25','',1121,'http://www.archivejournal.net/2012/02/1121-revision-6/',0,'revision','',0),(1196,10,'2012-11-29 10:12:11','2012-11-29 10:12:11','','Mapping the Provenance of Museum Objects','This case study features work from <a href=\"http://thewalters.org/earth/\" target=\"_blank\">Art on the Move</a>, which was an outcome of the course Behind the Scenes at the Walters Art Museum: Material Migrations,”offered at the Walters Art Museum through the Program in Museums and Society at Johns Hopkins University in the fall of 2009.  Elizabeth Rodini and Ben Tilghman were co-instructors and, with the technical guidance of Reid Sczerba, Multimedia Development Specialist in the university’s Center for Educational Resources, devised and oversaw this project.  The course and project were funded by an Arts Innovation Grant from Johns Hopkins.  Students in the course researched the histories of objects in the museum’s collection and created Google Maps tracing their history.  Three students share their work in this case study.','inherit','open','open','','1121-autosave','','','2012-11-29 10:12:11','2012-11-29 10:12:11','',1121,'http://www.archivejournal.net/2012/02/1121-autosave/',0,'revision','',0),(1667,2,'2012-11-29 03:54:49','2012-11-29 03:54:49','<h4>Students produced this documentary film, <em>The Development of Masculinity: Lehigh, Coeducation, and Its Impact</em>.</h4>','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-autosave','','','2012-11-29 03:54:49','2012-11-29 03:54:49','',1108,'http://www.archivejournal.net/uncategorized/1108-autosave/',0,'revision','',0),(1666,13,'2012-02-12 02:43:59','2012-02-12 02:43:59','','Archival Materials into Documentary Film','','inherit','open','open','','1108-revision-6','','','2012-02-12 02:43:59','2012-02-12 02:43:59','',1108,'http://www.archivejournal.net/uncategorized/1108-revision-6/',0,'revision','',0),(1197,13,'2012-02-11 08:25:45','2012-02-11 08:25:45','','Mapping the Provenance of Museum Objects','','inherit','open','open','','1121-revision-7','','','2012-02-11 08:25:45','2012-02-11 08:25:45','',1121,'http://www.archivejournal.net/2012/02/1121-revision-7/',0,'revision','',0),(1200,13,'2012-02-11 08:39:46','2012-02-11 08:39:46','<div id=\"map3d_devos\"></div>\r\n<div class=\"small light\">Installed Plugin Version: <span id=\"installed-plugin-version\" style=\"font-weight: bold;\">Loading...</span></div>','Walters - Beaupre Devos Live','','publish','open','open','','walters-beaupre-devos-live','','','2012-10-15 23:06:46','2012-10-15 23:06:46','',0,'http://www.archivejournal.net/?p=1200',42,'post','',0),(1204,13,'2012-02-11 08:40:52','2012-02-11 08:40:52','','Walters - Beaupre','','inherit','open','open','','1200-revision-3','','','2012-02-11 08:40:52','2012-02-11 08:40:52','',1200,'http://www.archivejournal.net/2012/02/1200-revision-3/',0,'revision','',0),(1230,13,'2012-02-11 08:44:05','2012-02-11 08:44:05','<script src=\"//www.gmodules.com/ig/ifr?url=http://code.google.com/apis/kml/embed/embedkmlgadget.xml&amp;up_kml_url=http%3A%2F%2Fstage.archivejournal.net%2Fwp-content%2Fuploads%2Fkml%2Fwalters_studentwork_romancesCasket_tkacs.kml&amp;up_view_mode=earth&amp;up_earth_2d_fallback=0&amp;up_earth_fly_from_space=1&amp;up_earth_show_nav_controls=1&amp;up_earth_show_buildings=1&amp;up_earth_show_terrain=1&amp;up_earth_show_roads=1&amp;up_earth_show_borders=1&amp;up_earth_sphere=earth&amp;up_maps_zoom_out=0&amp;up_maps_default_type=map&amp;synd=open&amp;w=640&amp;h=480&amp;title=Embedded+KML+Viewer&amp;output=js\"></script>','Walters - Romances Casket Tkacs','','inherit','open','open','','1205-revision-2','','','2012-02-11 08:44:05','2012-02-11 08:44:05','',1205,'http://www.archivejournal.net/2012/02/1205-revision-2/',0,'revision','',0),(1202,13,'2012-02-11 08:38:33','2012-02-11 08:38:33','','Mapping the Provenance of Museum Objects','','inherit','open','open','','1121-revision-10','','','2012-02-11 08:38:33','2012-02-11 08:38:33','',1121,'http://www.archivejournal.net/2012/02/1121-revision-10/',0,'revision','',0),(1201,13,'2012-02-11 08:39:15','2012-02-11 08:39:15','&lt;script src=\"//www.gmodules.com/ig/ifr?url=http://code.google.com/apis/kml/embed/embedkmlgadget.xml&amp;amp;up_kml_url=http%3A%2F%2Fstage.archivejournal.net%2Fwp-content%2Fuploads%2Fkml%2Fwalters_studentwork_beaupre_devos.kml&amp;amp;up_view_mode=earth&amp;amp;up_earth_2d_fallback=0&amp;amp;up_earth_fly_from_space=1&amp;amp;up_earth_show_nav_controls=1&amp;amp;up_earth_show_buildings=1&amp;amp;up_earth_show_terrain=1&amp;amp;up_earth_show_roads=1&amp;amp;up_earth_show_borders=1&amp;amp;up_earth_sphere=earth&amp;amp;up_maps_zoom_out=0&amp;amp;up_maps_default_type=map&amp;amp;synd=open&amp;amp;w=640&amp;amp;h=480&amp;amp;title=Embedded+KML+Viewer&amp;amp;output=js\"&gt;&lt;/script&gt;','Walters - Beaupre','','inherit','open','open','','1200-revision','','','2012-02-11 08:39:15','2012-02-11 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17:02:49','2012-02-17 17:02:49','','Mapping the Provenance of Museum Objects','','inherit','open','open','','1121-revision-40','','','2012-02-17 17:02:49','2012-02-17 17:02:49','',1121,'http://www.archivejournal.net/uncategorized/1121-revision-40/',0,'revision','',0),(1198,13,'2012-02-11 08:34:08','2012-02-11 08:34:08','<script src=\"//www.gmodules.com/ig/ifr?url=http://code.google.com/apis/kml/embed/embedkmlgadget.xml&amp;up_kml_url=http%3A%2F%2Fstage.archivejournal.net%2Fwp-content%2Fuploads%2Fkml%2Fwalters_studentwork_beaupre_devos.kml&amp;up_view_mode=earth&amp;up_earth_2d_fallback=0&amp;up_earth_fly_from_space=1&amp;up_earth_show_nav_controls=1&amp;up_earth_show_buildings=1&amp;up_earth_show_terrain=1&amp;up_earth_show_roads=1&amp;up_earth_show_borders=1&amp;up_earth_sphere=earth&amp;up_maps_zoom_out=0&amp;up_maps_default_type=map&amp;synd=open&amp;w=640&amp;h=480&amp;title=Embedded+KML+Viewer&amp;output=js\"></script>\r\n<div class=\"content-header\'><h2>Student Work</h2></div>\r\n<script src=\"//www.gmodules.com/ig/ifr?url=http://code.google.com/apis/kml/embed/embedkmlgadget.xml&amp;up_kml_url=http%3A%2F%2Fstage.archivejournal.net%2Fwp-content%2Fuploads%2Fkml%2Fwalters_studentwork_amazon_dowdle.kml&amp;up_view_mode=earth&amp;up_earth_2d_fallback=0&amp;up_earth_fly_from_space=1&amp;up_earth_show_nav_controls=1&amp;up_earth_show_buildings=1&amp;up_earth_show_terrain=1&amp;up_earth_show_roads=1&amp;up_earth_show_borders=1&amp;up_earth_sphere=earth&amp;up_maps_zoom_out=0&amp;up_maps_default_type=map&amp;synd=open&amp;w=640&amp;h=480&amp;title=Embedded+KML+Viewer&amp;output=js\"></script>\r\n<div class=\"content-header\'><h2>Student Work</h2></div>\r\n<script 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09:00:54','',1121,'http://www.archivejournal.net/2012/02/1121-revision-19/',0,'revision','',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://www.archivejournal.net/wp-content/uploads/2012/02/rodini.jpg',0,'attachment','image/jpeg',0),(1221,13,'2012-02-11 07:52:24','2012-02-11 07:52:24','“Material Migrations,” like many of the practicum courses offered in the Program in Museums and Society, gave students the chance to engage directly with objects, conduct research in and around those materials and, most distinctively, develop a final project to be shared with a general audience. M&amp;S practicum projects take the form of exhibitions both actual and virtual, interpretative materials (such as audio tours, gallery guides, and websites), and program development. I like to think of them as works of “public humanities”—ways of sharing the research we do in the university with a larger audience.\r\n\r\nIn our syllabus for this course, Ben Tilghman and I asked: Why bother with such an exercise? Our answer: “To share what we are learning with the public. This is a fundamental task of museums . . . in this course we extended that mission to the undergraduate classroom.” Universities suffer from their remove from the broader community, and humanistic disciplines, without clear “practical” applications, are particularly at risk from this sort of isolation and perceived irrelevance. On the other hand, archives, museums, and other collections with a public face are places where humanistic research can be made available, accessible, and meaningful.\r\n\r\nAlthough historians are familiar with the sub-field of public history, other disciplines have not developed the potential for outreach in such a direct, institutionalized way. It is hard to imagine the awarding of a degree in, say, public art history. But in this class our students were taking on that very role, the role of curators presenting research through a lively interactive tool with broad dissemination.\r\n\r\nIn developing their object itineraries for the Walters and Google Earth, students had to consider both the historical narrative they were tracing and the matter of presenting it to the public. What information would be accessible? How could they both engage and challenge their audience? How would they balance the nuanced elements of their story with the broader theoretical issues at stake in the project? What is lost in the task of producing highly condensed text—and what might be gained?\r\n\r\nIn all of our museum-based practicum courses, we face the challenge of fitting student work into an established institutional frame. Classrooms are messy places where ideas are tested and debated. Despite our best efforts, the many young voices we work with over the semester may not easily gel into the perfect, marketable whole that modern museums require. Our students carefully crafted their texts, which were then polished to a sheen by Walters professionals; they constructed imaginative itineraries that we honed to fit a simpler, more streamlined model.\r\n\r\nIf it seems like the nature of university research (independent, serendipitous, evolving) cannot quite square with museum exhibitions (corporate, formal, fixed), there is nevertheless much to be gained from encouraging their intersection—for students, audiences, and collections, and for universities as well. University humanities made more public are also more relevant, appreciated, and valued.','Elizabeth Rodini - Commentary','“Material Migrations,” like many of the practicum courses offered in the Program in Museums and Society, gave students the chance to engage directly with objects, conduct research in and around those materials and, most distinctively, develop a final project to be shared with a general audience. M&S practicum projects take the form of exhibitions both actual and virtual, interpretative materials (such as audio tours, gallery guides, and websites), and program development. I like to think of them as works of “public humanities”—ways of sharing the research we do in the university with a larger audience.','inherit','open','open','','1132-revision-4','','','2012-02-11 07:52:24','2012-02-11 07:52:24','',1132,'http://www.archivejournal.net/2012/02/1132-revision-4/',0,'revision','',0),(1222,10,'2012-11-29 00:32:46','2012-11-29 00:32:46','<span class=\"alignright wp-caption-text\" style=\"width: 166px; margin-bottom: 20px;\"><img class=\"alignleft size-full wp-image-1220\" style=\"margin-right: 20px; margin-bottom: 10px;\" title=\"Elizabeth Rodini\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/rodini.jpg\" alt=\"Elizabeth Rodini\" width=\"120\" height=\"160\" /> Photo: Will Kirk, <a href=\"http://homewoodphoto.jhu.edu\">homewoodphoto.jhu.edu</a></span>Material Migrations, like many of the practicum courses offered in the Program in Museums and Society (M&amp;S), gave students the chance to engage directly with objects, conduct research in and around those materials, and, most distinctively, develop a final project to be shared with a general audience—in this case, Google Earth “tours” of object provenance histories, to be incorporated into the website of the Walters Art Museum. M&amp;S practicum projects take the form of exhibitions, both actual and virtual; interpretative materials, such as audio tours, gallery guides, and websites; and program development. I like to think of them as works of “public humanities,” sharing the research we do in the university with a larger audience.\n\nWhy bother with such an exercise? The answer Ben Tilghman and I provided in our syllabus for this course: “To share what we are learning with the public. This is a fundamental task of museums. . . <em>in this course we extend that mission to the undergraduate classroom.</em>” Universities suffer from being removed from the broader community, while humanistic disciplines without clear “practical” applications are particularly at risk from this sort of isolation and perceived irrelevance. On the other hand, archives, museums, and other collections with a public face are places where humanistic research can be made available, accessible, and meaningful.\n\nAlthough historians are familiar with the sub-field of public history, other disciplines have not developed the potential for outreach in such a direct, institutionalized way. It is hard to imagine the awarding of a degree in, say, public art history. But in this class our students were taking on that very role as curators presenting research through a lively interactive tool with broad dissemination.\n\nIn developing their object itineraries for the Walters Art Museum and Google Earth, students had to consider both the historical narratives they were tracing and the matter of presenting them to the public. What information would be accessible? How could they both engage and challenge their audience? How would they balance the nuanced elements of their story with the broader theoretical issues at stake in the project? What is lost in the task of producing highly condensed text, and what might be gained?\n\nIn all of our museum-based practicum courses we face the challenge of fitting student work into an established institutional frame. Classrooms are messy places where ideas are tested and debated. Despite our best efforts, the many young voices we work with over the semester may not easily gel into the perfect, marketable whole that modern museums require. Our students carefully crafted their texts, which Walters professionals then polished to a sheen. The students constructed imaginative itineraries that we honed to fit a simpler, more streamlined model.\n\nIf it seems like the nature of university research (independent, serendipitous, evolving) cannot quite square with museum exhibitions (corporate, formal, fixed), there is nevertheless much to be gained from encouraging their intersection—for students, audiences, and collections, and for universities as well. University humanities made more public are also more relevant, appreciated, and valued.','Elizabeth Rodini - Commentary','Material Migrations, like many of the practicum courses offered in the Program in Museums and Society (M&S), gave students the chance to engage directly with objects, conduct research in and around those materials, and, most distinctively, develop a final project to be shared with a general audience—in this case, Google Earth “tours” of object provenance histories, to be incorporated into the website of the Walters Art Museum. M&S practicum projects take the form of exhibitions, both actual and virtual; interpretative materials, such as audio tours, gallery guides, and websites; and program development. I like to think of them as works of “public humanities,” sharing the research we do in the university with a larger audience.','inherit','open','open','','1132-autosave','','','2012-11-29 00:32:46','2012-11-29 00:32:46','',1132,'http://www.archivejournal.net/2012/02/1132-autosave/',0,'revision','',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://www.archivejournal.net/wp-content/uploads/2012/02/szerba.jpg',0,'attachment','image/jpeg',0),(1224,13,'2012-02-11 07:54:27','2012-02-11 07:54:27','<em>Sczerba worked closely with the course instructors, Elizabeth Rodini and Ben Tilghman, to develop and refine the Google Earth tools and to train students in building tours.</em>\r\n\r\n&nbsp;\r\n\r\n1. Describe your role in this project.\r\n\r\nI work for a faculty support center at Johns Hopkins University called the Center for Educational Resources (CER). As the center’s multimedia developer, I aided Elizabeth Rodini and Ben Tilghman with the technical and logistical aspect of the project. This included determining a viable technology for the project tours and developing resource guides that aided student tour creation.\r\n\r\n&nbsp;\r\n\r\n2. What tasks did you perform at various stages of the project?\r\n\r\nInitially we had to find a program that would be freely available (both in access and cost) for students to use with a relatively low learning curve. Google Earth was selected since it allows tour creation with rich media and text mapped to the earth and is free to download on PCs and Macs. I then created a template tour, set up with pre-made place markers as a starting point for the students, and content layout templates for the appearance of the tour’s place marks. After those two resources were set, a well-written and comprehensible workflow had to be created. I chose to create both a visual and textual workflow to clearly express the actions that needed to happen and at what stages. The final step was to present this workflow to the students in a training workshop so that they could see how it all came together and do it themselves.\r\n\r\n&nbsp;\r\n\r\n3. What sorts of interactions did you have with faculty, students, and other members of the project community over the course of the project?\r\n\r\nI met with Elizabeth Rodini and Ben Tilghman initially for the project’s requirements gathering, then later to introduce them to the proposed solution. A colleague of mine from the CER also joined these meetings to offer ideas. I was also available by email to answer questions as they came up, especially during the approval process of the workflow, as it needed to be as simple to follow as possible. I also held a training workshop with Professor Rodini for the students. I continued to be available for questions by email as the students worked on their projects.\r\n\r\n&nbsp;\r\n\r\n4. What particular challenges did this project present?\r\n\r\nThis project required that every place mark on a tour should include images at that location. The only way to do this in Google Earth was to code it yourself. Certain aspects of using Google Earth were easy to master but customizing the appearance of the place marks requires HTML programming knowledge. Despite the fact that most students nowadays have grown up with the Internet, we have found very few know how to use HTML. Our solution utilized an online HTML editor that had a prebuilt HTML template loaded in it. When the students were ready to create the content for their place marks, they simply copied the content from a Word document then pasted it in the HTML editor to generate the code. That code was then pasted into their Google Earth place mark, circumventing the need for the students to learn HTML.\r\n\r\n&nbsp;\r\n\r\n5. What lessons did you learn from this project and what might you do differently in the future?\r\n\r\nA more ideal solution may have been to create an application that would generate the tours without necessitating the use of Google Earth. This would have taken more time and resources to build than we had but it could have been a useful application for other courses as well. It was disappointing realizing that Google Earth didn’t have an HMTL editor built in and at the time there wasn’t an application that suited our needs. Perhaps when this course is offered again, there will be an ideal solution available that would allow students to create tours, focusing on the content rather than the technology. If not then perhaps we will have time to build one ourselves and share it.','Reid Sczerba - Commentary','I work for a faculty support center at Johns Hopkins University called the Center for Educational Resources (CER). As the center’s multimedia developer, I aided Elizabeth Rodini and Ben Tilghman with the technical and logistical aspect of the project. This included determining a viable technology for the project tours and developing resource guides that aided student tour creation.','inherit','open','open','','1123-revision-6','','','2012-02-11 07:54:27','2012-02-11 07:54:27','',1123,'http://www.archivejournal.net/2012/02/1123-revision-6/',0,'revision','',0),(1225,10,'2012-11-29 00:33:09','2012-11-29 00:33:09','<span class=\"alignright wp-caption-text\" style=\"width: 166px; margin-bottom: 20px;\"><img class=\"alignleft size-full wp-image-1223\" style=\"margin-right: 20px; margin-bottom: 10px;\"\n title=\"szerba\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/szerba.jpg\" alt=\"\" width=\"120\" height=\"160\" />Photo: Jay VanRensselaer, <a href=\"http://homewoodphoto.jhu.edu\">homewoodphoto.jhu.edu</a>.</span>\n<div><em>Sczerba worked closely with the course instructors, Elizabeth Rodini and Ben Tilghman, to develop and refine the Google Earth tools and to train students in building tours.</em></div>\n<strong>1. Describe your role in this project. </strong>\nI work for a faculty support center at Johns Hopkins University called the Center for Educational Resources (CER). As the center’s multimedia developer, I aided Elizabeth Rodini and Ben Tilghman with the technical and logistical aspects of the project. This included determining a viable technology for the project tours and developing resource guides that aided students’ tour creation.\n\n<strong>2. What tasks did you perform at various stages of the project?</strong>\nInitially we had to find a program that would be available freely (both in access and cost) for students to use with a relatively low learning curve. We selected Google Earth because it allows tour creation with rich media and text mapped to the earth, and it is free to download on PCs and Macs. I then created a template tour, set up with pre-made placemarks as a starting point for the students, and content layout templates for the appearance of the tour’s placemarks. After those two resources were set, I needed to create a well-written and comprehensible workflow. I chose to create both a visual and textual workflow to clearly express what actions needed to happen and at what stages. The final step was to present this workflow to the students in a training workshop so that they could see how it all came together and do it themselves.\n\n<strong>3. What sorts of interactions did you have with faculty, students, and other members of the project community over the course of the project?</strong>\nI met with Elizabeth Rodini and Ben Tilghman initially to gather the project’s requirements, then later to introduce them to the proposed solution. One of my colleagues from the CER also joined these meetings to offer ideas. I was also available by e-mail to answer questions as they came up, especially during the process of approving the workflow, as it needed to be as simple as possible to follow. I also held a training workshop for the students with Professor Rodini. I continued to be available for questions by e-mail as the students worked on their projects.\n\n<strong>4. What particular challenges did this project present?</strong>\nThis project required that every placemark on a tour include images at that location. The only way to do this in Google Earth was to code it yourself. Certain aspects of using Google Earth were easy to master, but customizing the appearance of the placemarks requires HTML programming knowledge. Despite the fact that most students nowadays have grown up with the Internet, we have found that very few know how to use HTML. Our solution utilized an online HTML editor that had a prebuilt HTML template loaded in it. When the students were ready to create the content for their placemarks, they simply copied the content from a Word document and then pasted it in the HTML editor to generate the code. The students pasted that code into their Google Earth placemark, circumventing the need for them to learn HTML.\n\n<strong>5. What lessons did you learn from this project and what might you do differently in the future? </strong>\nA more ideal solution may have been to create an application that would generate the tours without using Google Earth. This would have taken more time and resources to build than we had, but it could have been a useful application for other courses as well. It was disappointing to realize that Google Earth did not have an HMTL editor built in, and that there was no application that could suit our needs at the time. Perhaps when this course is offered again, there will be an ideal solution available to allow students to create tours and focus on the content rather than the technology. If not, then perhaps we will have the time to build one ourselves and share it.','Reid Sczerba - Commentary','I work for a faculty support center at Johns Hopkins University called the Center for Educational Resources (CER). As the center’s multimedia developer, I aided Elizabeth Rodini and Ben Tilghman with the technical and logistical aspects of the project. This included determining a viable technology for the project tours and developing resource guides that aided students’ tour creation.','inherit','open','open','','1123-autosave','','','2012-11-29 00:33:09','2012-11-29 00:33:09','',1123,'http://www.archivejournal.net/2012/02/1123-autosave/',0,'revision','',0),(1226,13,'2012-02-11 09:04:04','2012-02-11 09:04:04','','Mapping the Provenance of Museum Objects','','inherit','open','open','','1121-revision-20','','','2012-02-11 09:04:04','2012-02-11 09:04:04','',1121,'http://www.archivejournal.net/2012/02/1121-revision-20/',0,'revision','',0),(1227,13,'2012-02-11 08:45:52','2012-02-11 08:45:52','<script src=\"//www.gmodules.com/ig/ifr?url=http://code.google.com/apis/kml/embed/embedkmlgadget.xml&amp;up_kml_url=http%3A%2F%2Fstage.archivejournal.net%2Fwp-content%2Fuploads%2Fkml%2Fwalters_studentwork_amazon_dowdle.kml&amp;up_view_mode=earth&amp;up_earth_2d_fallback=0&amp;up_earth_fly_from_space=1&amp;up_earth_show_nav_controls=1&amp;up_earth_show_buildings=1&amp;up_earth_show_terrain=1&amp;up_earth_show_roads=1&amp;up_earth_show_borders=1&amp;up_earth_sphere=earth&amp;up_maps_zoom_out=0&amp;up_maps_default_type=map&amp;synd=open&amp;w=640&amp;h=480&amp;title=Embedded+KML+Viewer&amp;output=js\"></script>','Walters - Amazon Dowdle','','inherit','open','open','','1209-revision-2','','','2012-02-11 08:45:52','2012-02-11 08:45:52','',1209,'http://www.archivejournal.net/2012/02/1209-revision-2/',0,'revision','',0),(1234,13,'2012-02-11 18:42:42','2012-02-11 18:42:42','','Walters - Beaupre Devos','','inherit','open','open','','1200-revision-7','','','2012-02-11 18:42:42','2012-02-11 18:42:42','',1200,'http://www.archivejournal.net/2012/02/1200-revision-7/',0,'revision','',0),(1235,13,'2012-02-11 19:06:41','2012-02-11 19:06:41','','Mapping the Provenance of Museum Objects','','inherit','open','open','','1121-revision-23','','','2012-02-11 19:06:41','2012-02-11 19:06:41','',1121,'http://www.archivejournal.net/2012/02/1121-revision-23/',0,'revision','',0),(1236,13,'2012-02-11 19:09:47','2012-02-11 19:09:47','','Mapping the Provenance of Museum Objects','','inherit','open','open','','1121-revision-24','','','2012-02-11 19:09:47','2012-02-11 19:09:47','',1121,'http://www.archivejournal.net/2012/02/1121-revision-24/',0,'revision','',0),(1237,13,'2012-02-11 19:10:26','2012-02-11 19:10:26','','Mapping the Provenance of Museum Objects','','inherit','open','open','','1121-revision-25','','','2012-02-11 19:10:26','2012-02-11 19:10:26','',1121,'http://www.archivejournal.net/2012/02/1121-revision-25/',0,'revision','',0),(1238,13,'2012-02-11 19:13:19','2012-02-11 19:13:19','','Mapping the Provenance of Museum Objects','','inherit','open','open','','1121-revision-26','','','2012-02-11 19:13:19','2012-02-11 19:13:19','',1121,'http://www.archivejournal.net/2012/02/1121-revision-26/',0,'revision','',0),(1239,13,'2012-02-11 18:43:02','2012-02-11 18:43:02','','Walters - Romances Casket Tkacs','','inherit','open','open','','1205-revision-3','','','2012-02-11 18:43:02','2012-02-11 18:43:02','',1205,'http://www.archivejournal.net/2012/02/1205-revision-3/',0,'revision','',0),(1240,13,'2012-02-11 19:08:04','2012-02-11 19:08:04','','Walters - Beaupre Devos','','inherit','open','open','','1200-revision-8','','','2012-02-11 19:08:04','2012-02-11 19:08:04','',1200,'http://www.archivejournal.net/2012/02/1200-revision-8/',0,'revision','',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://www.archivejournal.net/wp-content/uploads/2012/02/walters_project-image.jpg',0,'attachment','image/jpeg',0),(1242,13,'2012-02-11 08:00:12','2012-02-11 08:00:12','<strong>Art on the Move: A Public Humanities Project at Johns Hopkins University</strong>\r\n\r\nArt on the Move was an outcome of the course “Behind the Scenes at the Walters Art Museum: Material Migrations,” offered at the Walters Art Museum through the <a href=\"http://krieger.jhu.edu/museums/\">Program in Museums and Society</a> at Johns Hopkins University in the fall of 2009. Elizabeth Rodini and Ben Tilghman were co-instructors and, with the technical guidance of Reid Sczerba, Senior Programmer Analyst in the university’s Center for Educational Resources, devised and oversaw this project. The course and project were funded by an Arts Innovation Grant from Johns Hopkins.</p>\r\n\r\n<p><strong>Except From Course Syllabus</strong></p>\r\n\r\n<p>The goals of this class can be broken down into several categories:\r\n<ul>\r\n	<li>investigating the various ways/means/motives for the circulation of objects, and considering how meaning is shaped by context, from antiquity to the present and including the museum itself;</li>\r\n	<li>conducting in-depth, independent research on objects in the Walters’ collection;</li>\r\n	<li>experimenting with different styles of writing and narration;</li>\r\n	<li>learning about different areas of museum practice, including curation, conservation, registration, and education;</li>\r\n	<li>applying these experiences to the production of interpretative tools for public audiences of the Walters, in the form of Google Earth itineraries.</li>\r\n</ul>\r\nEach student will choose two* objects from the Walters’ collection to research, focusing on the “trajectory” of the objects and their shifting significance in different contexts. Research will involve studying the objects and object files at the museum as well as work in the Hopkins library and on-line. That work will be analyzed, interpreted, and gathered into a Google Earth Map “itinerary” for each object. Why? To share what we are learning with the public. This is a fundamental task of museums . . . in this course we extended that mission to the undergraduate classroom.\r\n\r\n(*The seven students worked on two objects each; a selection of these was made for the final presentation on the Walters website.)','Walters - Project Description/Syllabus','','inherit','open','open','','1130-revision-9','','','2012-02-11 08:00:12','2012-02-11 08:00:12','',1130,'http://www.archivejournal.net/2012/02/1130-revision-9/',0,'revision','',0),(1743,13,'2012-03-06 23:34:01','2012-03-06 23:34:01','[portfolio_slideshow]','Lehigh - Archival Materials','','inherit','open','open','','1387-revision-27','','','2012-03-06 23:34:01','2012-03-06 23:34:01','',1387,'http://www.archivejournal.net/uncategorized/1387-revision-27/',0,'revision','',0),(1243,10,'2012-07-27 07:58:29','2012-07-27 07:58:29','<img class=\"alignleft size-full wp-image-1244\" title=\"jhu_student photo_smith\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_student-photo_smith.jpg\" alt=\"\" width=\"120\" height=\"160\" />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.\n\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.\n\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.\n\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 - Commentary','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.','inherit','open','open','','1059-autosave','','','2012-07-27 07:58:29','2012-07-27 07:58:29','',1059,'http://www.archivejournal.net/2012/02/1059-autosave/',0,'revision','',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://www.archivejournal.net/wp-content/uploads/2012/02/jhu_student-photo_smith.jpg',0,'attachment','image/jpeg',0),(1245,13,'2012-02-11 02:48:18','2012-02-11 02:48:18','	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, permeates 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	During 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 which 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 	While working on EBOH, I started visiting archives. I could find few digital images of East Baltimore, and I wanted to know why. On a visit to the Afro American Newspaper 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 Afro’s collection simply weren’t available. Again, I saw a technical solution. I would build a robot. I proposed creating an automatic scanner which could lift and digitize the Afro’s sensitive artifacts, all for less than $500. No one at JHU thought it would happen. Luckily, Professor Shell-Weiss managed to raise some small funds, and I spent a summer prototyping. The result was the Gado 1, a proof-of-concept which would later scan over 1,000 images at the Afro. The price tag? $496.\r\n	After 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 which dramatically outpaces the original. Since testing began, my machine has digitized over 3,000 artifacts at the Afro, at a tiny fraction of the cost of manual scanning. In February 2012, we will make these images available to the general public, and launch GadoImages.com in order to distribute them to paying licensors. I believe Gado has the potential to dramatically alter the economics of archival digitization. And I would never be at this point without that first push to step outside the classroom and start thinking in broader terms.\r\n','Tom Smith - Commentary','','inherit','open','open','','1059-revision-8','','','2012-02-11 02:48:18','2012-02-11 02:48:18','',1059,'http://www.archivejournal.net/2012/02/1059-revision-8/',0,'revision','',0),(1246,13,'2012-02-11 19:36:30','2012-02-11 19:36:30','<img class=\"alignleft size-full wp-image-1244\" title=\"jhu_student photo_smith\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_student-photo_smith.jpg\" alt=\"\" width=\"120\" height=\"160\" />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, permeates 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 which 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 visit to the Afro American Newspaper 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 Afro’s collection simply weren’t available. Again, I saw a technical solution. I would build a robot. I proposed creating an automatic scanner which could lift and digitize the Afro’s sensitive artifacts, all for less than $500. No one at JHU thought it would happen. Luckily, Professor Shell-Weiss managed to raise some small funds, and I spent a summer prototyping. The result was the Gado 1, a proof-of-concept which would later scan over 1,000 images at the Afro. The price tag? $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 which dramatically outpaces the original. Since testing began, my machine has digitized over 3,000 artifacts at the Afro, at a tiny fraction of the cost of manual scanning. In February 2012, we will make these images available to the general public, and launch GadoImages.com in order to distribute them to paying licensors. I believe Gado has the potential to dramatically alter the economics of archival digitization. And I would never be at this point without that first push to step outside the classroom and start thinking in broader terms.','Tom Smith - Commentary','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, permeates 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.','inherit','open','open','','1059-revision-9','','','2012-02-11 19:36:30','2012-02-11 19:36:30','',1059,'http://www.archivejournal.net/2012/02/1059-revision-9/',0,'revision','',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://www.archivejournal.net/wp-content/uploads/2012/02/jhu_teacher-photo_hinderer.jpg',0,'attachment','image/jpeg',0),(1248,13,'2012-02-11 02:48:08','2012-02-11 02:48:08','Over the last four years, I have worked as a lecturer teaching courses about Baltimore and African American history, and I have also served as project manager for the Diaspora Pathways Archival Access Project (DPAAP), a partnership between Johns Hopkins University and the Afro-American Newspapers funded by the Andrew W. Mellon Foundation.  These experiences have shown me that students learn best when they are not simply taught history, but when they also act as historians. Baltimore offers both possibilities and challenges  for students doing historical projects.  Much of the city’s history remains unwritten, and historical materials are often tucked away in small archives and private homes.  Records that are not easily accessible present a special problem for students who are constrained by time and transportation.  Both the East Baltimore Oral History Project and the Afro Archives partnership seek to address these challenges by involving students in the process of uncovering, describing, and making accessible historical records, and then encouraging students to use these resources for historical research.  \r\nThe East Baltimore History Project involves students in the work of preserving the memories of established members of the East Baltimore community.  For students this work addresses a major complaint about life as a Johns Hopkins undergraduate—that students are too removed from the life of the city, and that students are not encouraged to interact with the city, and its inhabitants, in meaningful ways.  The interviewing process has the additional benefit of making students experts, allowing them to bring a substantive point of view and body of evidence as they critique course readings and engage in class discussions.  As interviews are added to the project website, students produce an accessible community history resource that will last well beyond the usual semester long class project.\r\nDPAAP also depends heavily on the work of student archival interns, and on the technical skills of the current and former students who form the Project Gado team led by recent Hopkins graduate Tom Smith.  Archival interns have been involved in every step of uncovering the archives, from labeling boxes and shelves, to entering information into our archival database, to writing essays for our database website.  This work has given interns a perspective on African American history usually reserved only for history professionals.  With materials pertaining to almost every local, national, and international aspect of Black history, interns are often asked to describe the central themes and narratives residing of this diverse archives.  This challenge requires them to address the problem of twentieth century information overload familiar to both historians and archivists.  The Project Gado team offers a different set of solutions to the problem of preserving and making accessible vast amounts of archival materials.  The members of Project Gado are involved in innovative work in the digital humanities as they create low-cost options for large scale digitization.  The work of Tom Smith and Project Gado suggests another possibility for hands-on coursework in history, courses that would integrate technical skills and the creation of hardware and software into a rigorous humanities education to prepare students to be 21st century humanities scholars.\r\n','Moira Hinderer - Commentary','','inherit','open','open','','1062-revision-9','','','2012-02-11 02:48:08','2012-02-11 02:48:08','',1062,'http://www.archivejournal.net/2012/02/1062-revision-9/',0,'revision','',0),(1249,13,'2012-02-11 19:14:25','2012-02-11 19:14:25','','Mapping the Provenance of Museum Objects','','inherit','open','open','','1121-revision-27','','','2012-02-11 19:14:25','2012-02-11 19:14:25','',1121,'http://www.archivejournal.net/2012/02/1121-revision-27/',0,'revision','',0),(1250,13,'2012-02-11 01:45:04','2012-02-11 01:45:04','','Student-Built Archival Tools','','inherit','open','open','','1057-revision-9','','','2012-02-11 01:45:04','2012-02-11 01:45:04','',1057,'http://www.archivejournal.net/2012/02/1057-revision-9/',0,'revision','',0),(1251,13,'2012-02-11 19:40:33','2012-02-11 19:40:33','<img class=\"alignleft size-full wp-image-1247\" title=\"jhu_teacher photo_hinderer\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_teacher-photo_hinderer.jpg\" alt=\"\" width=\"120\" height=\"160\" />Over the last four years, I have worked as a lecturer teaching courses about Baltimore and African American history, and I have also served as project manager for the Diaspora Pathways Archival Access Project (DPAAP), a partnership between Johns Hopkins University and the Afro-American Newspapers funded by the Andrew W. Mellon Foundation. These experiences have shown me that students learn best when they are not simply taught history, but when they also act as historians. Baltimore offers both possibilities and challenges for students doing historical projects. Much of the city’s history remains unwritten, and historical materials are often tucked away in small archives and private homes. Records that are not easily accessible present a special problem for students who are constrained by time and transportation. Both the East Baltimore Oral History Project and the Afro Archives partnership seek to address these challenges by involving students in the process of uncovering, describing, and making accessible historical records, and then encouraging students to use these resources for historical research.\r\nThe East Baltimore History Project involves students in the work of preserving the memories of established members of the East Baltimore community. For students this work addresses a major complaint about life as a Johns Hopkins undergraduate—that students are too removed from the life of the city, and that students are not encouraged to interact with the city, and its inhabitants, in meaningful ways. The interviewing process has the additional benefit of making students experts, allowing them to bring a substantive point of view and body of evidence as they critique course readings and engage in class discussions. As interviews are added to the project website, students produce an accessible community history resource that will last well beyond the usual semester long class project.\r\nDPAAP also depends heavily on the work of student archival interns, and on the technical skills of the current and former students who form the Project Gado team led by recent Hopkins graduate Tom Smith. Archival interns have been involved in every step of uncovering the archives, from labeling boxes and shelves, to entering information into our archival database, to writing essays for our database website. This work has given interns a perspective on African American history usually reserved only for history professionals. With materials pertaining to almost every local, national, and international aspect of Black history, interns are often asked to describe the central themes and narratives residing of this diverse archives. This challenge requires them to address the problem of twentieth century information overload familiar to both historians and archivists. The Project Gado team offers a different set of solutions to the problem of preserving and making accessible vast amounts of archival materials. The members of Project Gado are involved in innovative work in the digital humanities as they create low-cost options for large scale digitization. The work of Tom Smith and Project Gado suggests another possibility for hands-on coursework in history, courses that would integrate technical skills and the creation of hardware and software into a rigorous humanities education to prepare students to be 21st century humanities scholars.','Moira Hinderer - Commentary','','inherit','open','open','','1062-revision-10','','','2012-02-11 19:40:33','2012-02-11 19:40:33','',1062,'http://www.archivejournal.net/2012/02/1062-revision-10/',0,'revision','',0),(1252,2,'2012-11-29 03:27:17','2012-11-29 03:27:17','This case study focuses on two archival tools designed by Tom Smith, a Cognitive Science and Anthropology major who graduated in 2011: a web application for an oral history archive and a low-cost robotic scanner for paper-based materials.\r\n\r\nIn 2008 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 class=\"size-full wp-image-1253\" title=\"jhu_project photo_afro\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_project-photo_afro.jpg\" alt=\"\" width=\"638\" height=\"425\" /></a> <span class=\"caption\" style=\"margin-bottom: 30px;\">Unprocessed boxes of archival material, Baltimore <em>Afro-American Newspapers</em>, 2008.</span>\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','','1064-autosave','','','2012-11-29 03:27:17','2012-11-29 03:27:17','',1064,'http://www.archivejournal.net/2012/02/1064-autosave/',0,'revision','',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://www.archivejournal.net/wp-content/uploads/2012/02/jhu_project-photo_afro.jpg',0,'attachment','image/jpeg',0),(1254,13,'2012-02-11 02:49:28','2012-02-11 02:49:28','This case study focuses on two archival tools designed by Tom Smith, a Cognitive Science and Anthropology major who graduated in 2011: a web application for an oral history archive and a low-cost robotic scanner for paper-based materials.\r\n	\r\nIn 2008 Smith took a practicum course called “The Power of Place,” taught by Melanie Shell-Weiss through the Center for Africana Studies [link to http://krieger.jhu.edu/africana].  For the course, students recorded oral histories of residents of Baltimore\'s Middle East neighborhood for the East Baltimore Oral History Project (EBOH), which were later assembled into a digital audio archive [link to http://eboh.jhu.edu/oralhistoryplayer/].  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, he eventually built the player software featured on the project website.  The software that he developed is open source, so anyone can use it for the own collections without any license/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\nSmith’s research on practical archival problems brought him into contact with Moira Hinderer, the project manager for the Diaspora Pathways Archival Access Project (DPAAP), a partnership between the Baltimore Afro-American Newspapers and Johns Hopkins University [link to http://magazine.jhu.edu/2011/11/unboxing-history/].  DPAAP focuses on organizing and preserving the archives of the Afro Newspaper; they have worked on the newspapers’ morgue collections as well as personal papers and institutional records. [link to http://morgue.afro.com/AfroArchon/].  Hinderer, who is also a lecturer in the Center for Africana Studies at Johns Hopkins, teaches classes in which students work directly with the Afro’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 Afro prompted Smith to invent another tool: the Gado scanner [link to http://projectgado.org/].\r\n','JHU - Project Description','','inherit','open','open','','1064-revision-4','','','2012-02-11 02:49:28','2012-02-11 02:49:28','',1064,'http://www.archivejournal.net/2012/02/1064-revision-4/',0,'revision','',0),(1256,13,'2012-02-11 19:51:08','2012-02-11 19:51:08','In 2008 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>. For the course, students recorded oral histories of residents of Baltimore\'s Middle East neighborhood for the East Baltimore Oral History Project (EBOH), which were 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, he eventually built the player software featured on the project website. The software that he developed is open source, so anyone can use it for the own collections without any license/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<img class=\"alignright size-medium wp-image-1253\" title=\"jhu_project photo_afro\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_project-photo_afro-333x221.jpg\" alt=\"\" width=\"333\" height=\"221\" />Smith’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 Afro-American Newspapers and Johns Hopkins University. DPAAP focuses on organizing and preserving the archives of the Afro Newspaper; 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 Afro’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 Afro prompted Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>.','JHU - Project Description','','inherit','open','open','','1064-revision-6','','','2012-02-11 19:51:08','2012-02-11 19:51:08','',1064,'http://www.archivejournal.net/2012/02/1064-revision-6/',0,'revision','',0),(1257,13,'2012-02-11 19:51:47','2012-02-11 19:51:47','<img class=\"alignleft size-medium wp-image-1253\" title=\"jhu_project photo_afro\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_project-photo_afro-333x221.jpg\" alt=\"\" width=\"333\" height=\"221\" />In 2008 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>. For the course, students recorded oral histories of residents of Baltimore\'s Middle East neighborhood for the East Baltimore Oral History Project (EBOH), which were 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, he eventually built the player software featured on the project website. The software that he developed is open source, so anyone can use it for the own collections without any license/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\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 Afro-American Newspapers and Johns Hopkins University. DPAAP focuses on organizing and preserving the archives of the Afro Newspaper; 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 Afro’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 Afro prompted Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>.','JHU - Project Description','','inherit','open','open','','1064-revision-7','','','2012-02-11 19:51:47','2012-02-11 19:51:47','',1064,'http://www.archivejournal.net/2012/02/1064-revision-7/',0,'revision','',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://www.archivejournal.net/wp-content/uploads/2012/02/jhu_student-project-photo-1_gado.jpg',0,'attachment','image/jpeg',0),(2451,19,'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://www.archivejournal.net/wp-content/uploads/2012/09/jhu_student-project-photo-2_eboh.jpg',0,'attachment','image/jpeg',0),(1260,10,'2012-11-29 10:44:59','2012-11-29 10:44:59','<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>\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>\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\" 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://www.google.com/url?q=http%3A%2F%2Fmagazine.jhu.edu%2F2011%2F11%2Funboxing-history%2F&sa=D&sntz=1&usg=AFQjCNGaXC5EYOd1Hj_5kz-kcv3TgB4_qA\">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','','','2012-11-29 10:44:59','2012-11-29 10:44:59','',1057,'http://www.archivejournal.net/2012/02/1057-autosave/',0,'revision','',0),(1261,13,'2012-02-11 19:41:55','2012-02-11 19:41:55','','Student-Built Archival Tools','','inherit','open','open','','1057-revision-10','','','2012-02-11 19:41:55','2012-02-11 19:41:55','',1057,'http://www.archivejournal.net/2012/02/1057-revision-10/',0,'revision','',0),(1262,13,'2012-02-11 19:42:28','2012-02-11 19:42:28','<img class=\"alignleft size-full wp-image-1247\" title=\"jhu_teacher photo_hinderer\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_teacher-photo_hinderer.jpg\" alt=\"\" width=\"120\" height=\"160\" />Over the last four years, I have worked as a lecturer teaching courses about Baltimore and African American history, and I have also served as project manager for the Diaspora Pathways Archival Access Project (DPAAP), a partnership between Johns Hopkins University and the Afro-American Newspapers funded by the Andrew W. Mellon Foundation. These experiences have shown me that students learn best when they are not simply taught history, but when they also act as historians. Baltimore offers both possibilities and challenges for students doing historical projects. Much of the city’s history remains unwritten, and historical materials are often tucked away in small archives and private homes. Records that are not easily accessible present a special problem for students who are constrained by time and transportation. Both the East Baltimore Oral History Project and the Afro Archives partnership seek to address these challenges by involving students in the process of uncovering, describing, and making accessible historical records, and then encouraging students to use these resources for historical research.\r\n\r\nThe East Baltimore History Project involves students in the work of preserving the memories of established members of the East Baltimore community. For students this work addresses a major complaint about life as a Johns Hopkins undergraduate—that students are too removed from the life of the city, and that students are not encouraged to interact with the city, and its inhabitants, in meaningful ways. The interviewing process has the additional benefit of making students experts, allowing them to bring a substantive point of view and body of evidence as they critique course readings and engage in class discussions. As interviews are added to the project website, students produce an accessible community history resource that will last well beyond the usual semester long class project.\r\n\r\nDPAAP also depends heavily on the work of student archival interns, and on the technical skills of the current and former students who form the Project Gado team led by recent Hopkins graduate Tom Smith. Archival interns have been involved in every step of uncovering the archives, from labeling boxes and shelves, to entering information into our archival database, to writing essays for our database website. This work has given interns a perspective on African American history usually reserved only for history professionals. With materials pertaining to almost every local, national, and international aspect of Black history, interns are often asked to describe the central themes and narratives residing of this diverse archives. This challenge requires them to address the problem of twentieth century information overload familiar to both historians and archivists. The Project Gado team offers a different set of solutions to the problem of preserving and making accessible vast amounts of archival materials. The members of Project Gado are involved in innovative work in the digital humanities as they create low-cost options for large scale digitization. The work of Tom Smith and Project Gado suggests another possibility for hands-on coursework in history, courses that would integrate technical skills and the creation of hardware and software into a rigorous humanities education to prepare students to be 21st century humanities scholars.','Moira Hinderer - Commentary','','inherit','open','open','','1062-revision-11','','','2012-02-11 19:42:28','2012-02-11 19:42:28','',1062,'http://www.archivejournal.net/2012/02/1062-revision-11/',0,'revision','',0),(1263,13,'2012-02-11 19:52:32','2012-02-11 19:52:32','<img class=\"alignleft size-medium wp-image-1253\" title=\"jhu_project photo_afro\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_project-photo_afro-333x221.jpg\" alt=\"\" width=\"333\" height=\"221\" />In 2008 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>. For the course, students recorded oral histories of residents of Baltimore\'s Middle East neighborhood for the East Baltimore Oral History Project (EBOH), which were 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, he eventually built the player software featured on the project website. The software that he developed is open source, so anyone can use it for the own collections without any license/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\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 Afro-American Newspapers and Johns Hopkins University. DPAAP focuses on organizing and preserving the archives of the Afro Newspaper; 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 Afro’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 Afro prompted Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>.','Afro - Project Description','','inherit','open','open','','1064-revision-8','','','2012-02-11 19:52:32','2012-02-11 19:52:32','',1064,'http://www.archivejournal.net/2012/02/1064-revision-8/',0,'revision','',0),(1264,13,'2012-02-11 20:03:58','2012-02-11 20:03:58','In 2008 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>. For the course, students recorded oral histories of residents of Baltimore\'s Middle East neighborhood for the East Baltimore Oral History Project (EBOH), which were 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, he eventually built the player software featured on the project website. The software that he developed is open source, so anyone can use it for the own collections without any license/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=\"attachment_1253\" align=\"alignright\" width=\"333\" caption=\"Unprocessed boxes of archival material, Baltimore Afro-American Newspapers, 2008.\"]<a href=\"http://morgue.afro.com/AfroArchon/\"><img class=\"size-medium wp-image-1253\" title=\"jhu_project photo_afro\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_project-photo_afro-333x221.jpg\" alt=\"\" width=\"333\" height=\"221\" /></a>[/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 Afro-American Newspapers and Johns Hopkins University. DPAAP focuses on organizing and preserving the archives of the Afro Newspaper; 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 Afro’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 Afro prompted Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>.','Afro - Project Description','','inherit','open','open','','1064-revision-9','','','2012-02-11 20:03:58','2012-02-11 20:03:58','',1064,'http://www.archivejournal.net/2012/02/1064-revision-9/',0,'revision','',0),(1266,13,'2012-02-11 20:07:46','2012-02-11 20:07:46','In 2008 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>. For the course, students recorded oral histories of residents of Baltimore\'s Middle East neighborhood for the East Baltimore Oral History Project (EBOH), which were 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, he eventually built the player software featured on the project website. The software that he developed is open source, so anyone can use it for the own collections without any license/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<div class=\"alignright\" style=\"display: inline-block;\"><a href=\"http://morgue.afro.com/AfroArchon/\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_project-photo_afro-333x221.jpg\" alt=\"\" title=\"jhu_project photo_afro\" width=\"333\" height=\"221\" class=\"size-medium wp-image-1253\" /></a><span class=\"wp-caption-text\">Unprocessed boxes of archival material, Baltimore Afro-American Newspapers, 2008.</span></div>Smith’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 Afro-American Newspapers and Johns Hopkins University. DPAAP focuses on organizing and preserving the archives of the Afro Newspaper; 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 Afro’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 Afro prompted Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>.','Afro - Project Description','','inherit','open','open','','1064-revision-11','','','2012-02-11 20:07:46','2012-02-11 20:07:46','',1064,'http://www.archivejournal.net/2012/02/1064-revision-11/',0,'revision','',0),(1265,13,'2012-02-11 20:04:52','2012-02-11 20:04:52','In 2008 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>. For the course, students recorded oral histories of residents of Baltimore\'s Middle East neighborhood for the East Baltimore Oral History Project (EBOH), which were 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, he eventually built the player software featured on the project website. The software that he developed is open source, so anyone can use it for the own collections without any license/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=\"attachment_1253\" align=\"alignright\" width=\"333\" caption=\"Unprocessed boxes of archival material, Baltimore Afro-American Newspapers, 2008.\"]<a href=\"http://morgue.afro.com/AfroArchon/\"><img class=\"size-medium wp-image-1253\" title=\"jhu_project photo_afro\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_project-photo_afro-333x221.jpg\" alt=\"\" width=\"333\" height=\"221\" /></a>[/caption]Smith’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 Afro-American Newspapers and Johns Hopkins University. DPAAP focuses on organizing and preserving the archives of the Afro Newspaper; 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 Afro’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 Afro prompted Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>.','Afro - Project Description','','inherit','open','open','','1064-revision-10','','','2012-02-11 20:04:52','2012-02-11 20:04:52','',1064,'http://www.archivejournal.net/2012/02/1064-revision-10/',0,'revision','',0),(1267,13,'2012-02-11 20:09:37','2012-02-11 20:09:37','In 2008 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>. For the course, students recorded oral histories of residents of Baltimore\'s Middle East neighborhood for the East Baltimore Oral History Project (EBOH), which were 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, he eventually built the player software featured on the project website. The software that he developed is open source, so anyone can use it for the own collections without any license/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=\"attachment_1253\" align=\"alignright\" width=\"333\" caption=\"Unprocessed boxes of archival material, Baltimore Afro-American Newspapers, 2008.\"]<a href=\"http://morgue.afro.com/AfroArchon/\"><img src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_project-photo_afro-333x221.jpg\" alt=\"\" title=\"jhu_project photo_afro\" width=\"333\" height=\"221\" class=\"size-medium wp-image-1253\" /></a>[/caption]Smith’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 Afro-American Newspapers and Johns Hopkins University. DPAAP focuses on organizing and preserving the archives of the Afro Newspaper; 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 Afro’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 Afro prompted Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>.','Afro - Project Description','','inherit','open','open','','1064-revision-12','','','2012-02-11 20:09:37','2012-02-11 20:09:37','',1064,'http://www.archivejournal.net/2012/02/1064-revision-12/',0,'revision','',0),(1268,13,'2012-02-11 20:12:17','2012-02-11 20:12:17','In 2008 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>. For the course, students recorded oral histories of residents of Baltimore\'s Middle East neighborhood for the East Baltimore Oral History Project (EBOH), which were 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, he eventually built the player software featured on the project website. The software that he developed is open source, so anyone can use it for the own collections without any license/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=\"attachment_1253\" width=\"333\" caption=\"Unprocessed boxes of archival material, Baltimore Afro-American Newspapers, 2008.\"]<a href=\"http://morgue.afro.com/AfroArchon/\"><img class=\"size-medium wp-image-1253\" title=\"jhu_project photo_afro\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_project-photo_afro-333x221.jpg\" alt=\"\" width=\"333\" height=\"221\" /></a>[/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 Afro-American Newspapers and Johns Hopkins University. DPAAP focuses on organizing and preserving the archives of the Afro Newspaper; 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 Afro’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 Afro prompted Smith to invent another tool: the <a href=\"http://projectgado.org/\">Gado scanner</a>.','Afro - Project Description','','inherit','open','open','','1064-revision-13','','','2012-02-11 20:12:17','2012-02-11 20:12:17','',1064,'http://www.archivejournal.net/2012/02/1064-revision-13/',0,'revision','',0),(1269,13,'2012-02-11 19:39:20','2012-02-11 19:39:20','<img class=\"alignleft size-full wp-image-1244\" title=\"jhu_student photo_smith\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_student-photo_smith.jpg\" alt=\"\" width=\"120\" height=\"160\" />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, permeates 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 which 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 visit to the Afro American Newspaper 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 Afro’s collection simply weren’t available. Again, I saw a technical solution. I would build a robot. I proposed creating an automatic scanner which could lift and digitize the Afro’s sensitive artifacts, all for less than $500. No one at JHU thought it would happen. Luckily, Professor Shell-Weiss managed to raise some small funds, and I spent a summer prototyping. The result was the Gado 1, a proof-of-concept which would later scan over 1,000 images at the Afro. The price tag? $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 which dramatically outpaces the original. Since testing began, my machine has digitized over 3,000 artifacts at the Afro, at a tiny fraction of the cost of manual scanning. In February 2012, we will make these images available to the general public, and launch GadoImages.com in order to distribute them to paying licensors. I believe Gado has the potential to dramatically alter the economics of archival digitization. And I would never be at this point without that first push to step outside the classroom and start thinking in broader terms.','Tom Smith - Commentary','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, permeates 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.','inherit','open','open','','1059-revision-10','','','2012-02-11 19:39:20','2012-02-11 19:39:20','',1059,'http://www.archivejournal.net/2012/02/1059-revision-10/',0,'revision','',0),