(3666,10,'2012-11-02 22:11:21','2012-11-02 22:11:21','<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\" />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.','inherit','open','open','','1132-revision-16','','','2012-11-02 22:11:21','2012-11-02 22:11:21','',1132,'http://www.archivejournal.net/issue/2/uncategorized/1132-revision-16/',0,'revision','',0),(3667,10,'2012-11-28 23:49:10','2012-11-28 23:49:10','<span class=\"caption\"><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, homewoodphoto.jhu.edu</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.','inherit','open','open','','1132-revision-17','','','2012-11-28 23:49:10','2012-11-28 23:49:10','',1132,'http://www.archivejournal.net/issue/2/uncategorized/1132-revision-17/',0,'revision','',0),(3668,10,'2012-11-28 23:54:32','2012-11-28 23:54:32','<span class=\"caption\" 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>\r\n\r\nMaterial 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.','inherit','open','open','','1132-revision-18','','','2012-11-28 23:54:32','2012-11-28 23:54:32','',1132,'http://www.archivejournal.net/issue/2/uncategorized/1132-revision-18/',0,'revision','',0),(3669,10,'2012-11-28 23:55:01','2012-11-28 23:55:01','<span class=\"caption\" 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.','inherit','open','open','','1132-revision-19','','','2012-11-28 23:55:01','2012-11-28 23:55:01','',1132,'http://www.archivejournal.net/issue/2/uncategorized/1132-revision-19/',0,'revision','',0),(3670,10,'2012-11-28 23:55:40','2012-11-28 23:55:40','.<span class=\"caption\" 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.','inherit','open','open','','1132-revision-20','','','2012-11-28 23:55:40','2012-11-28 23:55:40','',1132,'http://www.archivejournal.net/issue/2/uncategorized/1132-revision-20/',0,'revision','',0),(3671,10,'2012-11-28 23:57:44','2012-11-28 23:57:44','.<span class=\"alignleft wp-caption\" 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.','inherit','open','open','','1132-revision-21','','','2012-11-28 23:57:44','2012-11-28 23:57:44','',1132,'http://www.archivejournal.net/issue/2/uncategorized/1132-revision-21/',0,'revision','',0),(3673,10,'2012-11-28 23:59:05','2012-11-28 23:59:05','<span class=\"alignleft caption\" 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>\r\n\r\nMaterial 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.','inherit','open','open','','1132-revision-23','','','2012-11-28 23:59:05','2012-11-28 23:59:05','',1132,'http://www.archivejournal.net/issue/2/uncategorized/1132-revision-23/',0,'revision','',0),(3672,10,'2012-11-28 23:58:21','2012-11-28 23:58:21','<span class=\"alignleft wp-caption\" 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> \r\n\r\nMaterial 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.','inherit','open','open','','1132-revision-22','','','2012-11-28 23:58:21','2012-11-28 23:58:21','',1132,'http://www.archivejournal.net/issue/2/uncategorized/1132-revision-22/',0,'revision','',0),(3674,10,'2012-11-28 23:59:31','2012-11-28 23:59:31','<span class=\"alignleft caption\" 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.','inherit','open','open','','1132-revision-24','','','2012-11-28 23:59:31','2012-11-28 23:59:31','',1132,'http://www.archivejournal.net/issue/2/uncategorized/1132-revision-24/',0,'revision','',0),(3675,10,'2012-11-29 00:01:03','2012-11-29 00:01:03','<span class=\"alignleft 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.','inherit','open','open','','1132-revision-25','','','2012-11-29 00:01:03','2012-11-29 00:01:03','',1132,'http://www.archivejournal.net/issue/2/uncategorized/1132-revision-25/',0,'revision','',0),(3676,10,'2012-11-29 00:01:41','2012-11-29 00:01:41','.<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.','inherit','open','open','','1132-revision-26','','','2012-11-29 00:01:41','2012-11-29 00:01:41','',1132,'http://www.archivejournal.net/issue/2/uncategorized/1132-revision-26/',0,'revision','',0),(3677,10,'2012-11-29 00:02:30','2012-11-29 00:02:30','<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.','inherit','open','open','','1132-revision-27','','','2012-11-29 00:02:30','2012-11-29 00:02:30','',1132,'http://www.archivejournal.net/issue/2/uncategorized/1132-revision-27/',0,'revision','',0),(3678,10,'2012-11-29 00:02:58','2012-11-29 00:02:58','<span class=\"alignleft 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.','inherit','open','open','','1132-revision-28','','','2012-11-29 00:02:58','2012-11-29 00:02:58','',1132,'http://www.archivejournal.net/issue/2/uncategorized/1132-revision-28/',0,'revision','',0),(3679,10,'2012-11-02 22:12:17','2012-11-02 22:12:17','<div><em><img class=\"alignleft size-full wp-image-1223\" title=\"szerba\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/szerba.jpg\" alt=\"\" width=\"120\" height=\"160\" />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.','inherit','open','open','','1123-revision-19','','','2012-11-02 22:12:17','2012-11-02 22:12:17','',1123,'http://www.archivejournal.net/issue/2/uncategorized/1123-revision-19/',0,'revision','',0),(3680,10,'2012-11-28 22:08:08','2012-11-28 22:08:08','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1.)<span id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width: 335px;\"><a title=\"Bandolier Bag\" href=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1.jpg\"><img class=\"size-medium wp-image-2625\" title=\"Ojibwe Bandolier Bag\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1-333x147.jpg\" alt=\"\'Ojibwe Bandolier Bag,\' Penn Museum, photograph by David McDonald, DMcD Productions.\" width=\"333\" height=\"147\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: \"Ojibwe Bandolier Bag,\" Penn Museum, photograph by David McDonald, DMcD Productions.</span></span> Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum.','inherit','open','open','','1583-revision-43','','','2012-11-28 22:08:08','2012-11-28 22:08:08','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-43/',0,'revision','',0),(3681,10,'2012-11-29 00:21:19','2012-11-29 00:21:19','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1.)<span id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width: 335px;\"><a title=\"Bandolier Bag\" href=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1.jpg\"><img class=\"size-medium wp-image-2625\" title=\"Ojibwe Bandolier Bag\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1-333x147.jpg\" alt=\"\'Ojibwe Bandolier Bag,\' Penn Museum, photograph by David McDonald, DMcD Productions.\" width=\"333\" height=\"147\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: \"Ojibwe Bandolier Bag,\" Penn Museum, photograph by David McDonald, DMcD Productions.</span></span> Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations.\r\n\r\nLast semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.)\r\n\r\n<span id=\"attachment_2609\" class=\"alignright wp-caption\" style=\"width: 419px;\"><a href=\"http://www.archivejournal.net/issue/2/three-sixty/undergraduates-in-the-archives-powell-3/attachment/powell_2/\" rel=\"attachment wp-att-2609\"><img class=\"size-full wp-image-2609\" title=\"Powell 2, Cherokee Stickball\" src=\"http://www.archivejournal.net/journal/wp-content/uploads/2012/02/powell_2.jpg\" alt=\"Cherokee Stickball, American Philosophical Society, Frank Speck collection.\" width=\"419\" height=\"482\" /></a> Cherokee Stickball, American Philosophical Society, Frank Speck collection.[/span]\r\n\r\nIn the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum.','inherit','open','open','','1583-revision-44','','','2012-11-29 00:21:19','2012-11-29 00:21:19','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-44/',0,'revision','',0),(3682,10,'2012-11-29 00:23:45','2012-11-29 00:23:45','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1.)<span id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width: 335px;\"><a title=\"Bandolier Bag\" href=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1.jpg\"><img class=\"size-medium wp-image-2625\" title=\"Ojibwe Bandolier Bag\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1-333x147.jpg\" alt=\"\'Ojibwe Bandolier Bag,\' Penn Museum, photograph by David McDonald, DMcD Productions.\" width=\"333\" height=\"147\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: \"Ojibwe Bandolier Bag,\" Penn Museum, photograph by David McDonald, DMcD Productions.</span></span> Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations. Last semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) <span id=\"attachment_2609\" class=\"alignright wp-caption\" style=\"width: 300px;\"><a href=\"http://www.archivejournal.net/issue/2/three-sixty/undergraduates-in-the-archives-powell-3/attachment/powell_2/\" rel=\"attachment wp-att-2609\"><img class=\"size-full wp-image-2609\" title=\"Powell 2, Cherokee Stickball\" src=\"http://www.archivejournal.net/journal/wp-content/uploads/2012/02/powell_2.jpg\" alt=\"Cherokee Stickball, American Philosophical Society, Frank Speck collection.\" width=\"300\" height=\"345\" /></a> Cherokee Stickball, American Philosophical Society, Frank Speck collection.</span> In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum.','inherit','open','open','','1583-revision-45','','','2012-11-29 00:23:45','2012-11-29 00:23:45','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-45/',0,'revision','',0),(3683,10,'2012-11-29 00:27:57','2012-11-29 00:27:57','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum, all of which were collected in the 1930s. (See Figure 1.)<span id=\"attachment_2610\" class=\"alignright wp-caption\" style=\"width: 335px;\"><a title=\"Bandolier Bag\" href=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1.jpg\"><img class=\"size-medium wp-image-2625\" title=\"Ojibwe Bandolier Bag\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/10/powell_1-333x147.jpg\" alt=\"\'Ojibwe Bandolier Bag,\' Penn Museum, photograph by David McDonald, DMcD Productions.\" width=\"333\" height=\"147\" /></a><span class=\"wp-caption-text\"><em>Figure 1</em>: \"Ojibwe Bandolier Bag,\" Penn Museum, photograph by David McDonald, DMcD Productions.</span></span> Not long before the semester started, I had been contacted by Gord Jones, the project manager of Pimachiowin Aki Corporation, who is working on submitting a UNESCO World Heritage Site grant application to preserve 40,000 square kilometers of boreal forest and the cultural landscape of five Ojibwe First Nations. One challenge of the grant is to define a “cultural landscape.” A number of scholars associated with the Pimachiowin Aki project had come to the APS and digitized material from the Hallowell collection. Hallowell had worked in Ojibwe First Nation communities in northern Manitoba and Ontario for ten years, so there was a large amount of material related to this very small, remote place. The students photographed and documented the objects from the Hallowell collection at the Penn Museum and presented them to Ojibwe representatives of the Pimachiowin Aki project at a conference held at the APS shortly after the semester ended. The students’ material is now part of a historic project, the first UNESCO World Heritage Site application ever submitted by the Canadian government on behalf of First Nations. Last semester my students worked in groups to curate an exhibit entitled <em>Cherokee Stickball</em>, based on the research of Frank Speck, a highly distinguished anthropologist. Speck taught at Penn for half a century, collecting more than forty stickball sticks for the Penn Museum and depositing photographs of Cherokee stickball games at the APS. (See Figure 2.) <span id=\"attachment_2609\" class=\"alignright wp-caption\" style=\"width: 300px;\"><a href=\"http://www.archivejournal.net/issue/2/three-sixty/undergraduates-in-the-archives-powell-3/attachment/powell_2/\" rel=\"attachment wp-att-2609\"><img class=\"size-full wp-image-2609\" title=\"Powell 2, Cherokee Stickball\" src=\"http://www.archivejournal.net/journal/wp-content/uploads/2012/02/powell_2.jpg\" alt=\"Cherokee Stickball, American Philosophical Society, Frank Speck collection.\" width=\"300\" height=\"345\" /></a> <span class=\"wp-caption-text\"><em>Figure 2.</em> Cherokee Stickball, American Philosophical Society, Frank Speck collection.</span></span> In the 1930s, Speck worked with a Cherokee Medicine Man named Will West Long, who provided Speck with a rich ethnographic description of the spiritual dimensions of the game. Will West’s grand nephew, T.J. Holland, came to the APS conference in the spring of 2010, and I had the opportunity to interview him along with another very knowledgeable elder, Tom Belt. The students created Quick Time videos that combined Speck’s photographs taken in the 1930s with the contemporary oral histories. They also photographed all of the sticks in the Penn Museum’s collection and created a database of descriptive materials. One of the students won a Mellon grant through Penn to take the digital materials to the Eastern Band of the Cherokee in North Carolina. Today, Cherokee craftsman are recreating the older sticks based on the students’ photographs, and the videos will be used in a museum exhibit that will be displayed at the tribally owned Junaluska Museum, located in Robbinsville, North Carolina.','Undergraduates in the Archives - Powell 3','There have been many exciting outcomes from the students’ interactions with archival materials. In the spring of 2010, the class project was to design a digital exhibit that would bring together Penn anthropologist A. Irving Hallowell’s Ojibwe photographs from the American Philosophical Society and Ojibwe artifacts from the Penn Museum.','inherit','open','open','','1583-revision-46','','','2012-11-29 00:27:57','2012-11-29 00:27:57','',1583,'http://www.archivejournal.net/issue/2/uncategorized/1583-revision-46/',0,'revision','',0),(3684,10,'2012-11-29 00:18:18','2012-11-29 00:18:18','<span class=\"alignright caption\"><img class=\"alignleft size-full wp-image-1223\" 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><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.','inherit','open','open','','1123-revision-20','','','2012-11-29 00:18:18','2012-11-29 00:18:18','',1123,'http://www.archivejournal.net/issue/2/uncategorized/1123-revision-20/',0,'revision','',0);
INSERT INTO `wp_posts` VALUES (3685,10,'2012-11-29 00:30:44','2012-11-29 00:30:44','<span class=\"alignright caption\"><img class=\"size-full wp-image-1223\" 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.','inherit','open','open','','1123-revision-21','','','2012-11-29 00:30:44','2012-11-29 00:30:44','',1123,'http://www.archivejournal.net/issue/2/uncategorized/1123-revision-21/',0,'revision','',0),(3686,10,'2012-10-15 23:06:49','2012-10-15 23:06:49','<img class=\"alignleft size-full wp-image-968\" style=\"margin-right: 20px; margin-bottom: 10px;\" title=\"James barnett\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/barnett.jpg\" alt=\"James Barnett Headshot\" width=\"120\" height=\"160\" />\r\n\r\nDigitally scanning archival objects requires not only technical know-how but also an appreciation for the subject matter. My fine-arts background gave me the knowledge and skill set to digitize architectural renderings by Carrère &amp; Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.\r\n\r\nGoing into the project, I thought my experience in printmaking would influence the way I scanned the drawings, not realizing that the reverse would happen; the scanning actually affected my art practice. In printmaking I have dealt with large paper before, but never anything quite as large as these archival renderings. My experience handling large paper for the digitization project scaled up my thinking in my own work outside of the project. Consequently, my own art work got larger. With confidence in my newly learned ability to handle paper larger than me, I started a large installation piece in which I put together staging proofs of an etching plate into a single four-by-six feet layered installation. The scale and construction would have never come to mind had I not worked with these large architectural drawings.\r\n\r\n<img class=\"alignright size-medium wp-image-969\" style=\"margin-left: 20px; margin-bottom: 10px;\" title=\"uf_student  action photo_barnett 6\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-6-333x222.jpg\" alt=\"\" width=\"333\" height=\"222\" />\r\n\r\nWorking with the photo editing software to optimize the scanned images for online viewing has also affected my art. Most of the archival pieces were so large they had to be captured in successive scans of two or more and stitched together in a photo editing program. In the digital stitching process, layers are important in getting a seamless product. When scanning the segments, I had to figure out where the respective scans would overlap in their respective digital layers so that when I got to the stitching, they all line up correctly. This takes planning, calculating, and configuring measurements in relation to the object. This idea of smaller units constructing a whole informed my process in constructing the art installation mentioned above, and it continues to affect my work.\r\n\r\nWhile I did not realize it at the time, my artwork reflects the processes I was dealing with at work. All together, the many different renderings that are part of the Carrère &amp; Hastings project build a picture of the architects’ process. I learned to see their end result, the building itself, as not the whole story but the final step in the process that you can only see if you include the drawings. This idea influenced my own installation. I felt that my whole process had to be shown; the print proofs (the intermittent states) are just as important as the end result. I never would have come to this idea had I not worked on the Carrère &amp; Hastings project.','James Barnett - 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 Carrère & Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.','inherit','open','open','','967-revision-16','','','2012-10-15 23:06:49','2012-10-15 23:06:49','',967,'http://www.archivejournal.net/issue/2/uncategorized/967-revision-16/',0,'revision','',0),(3687,10,'2012-11-29 00:42:01','2012-11-29 00:42:01','<img class=\"alignleft size-full wp-image-968\" style=\"margin-right: 20px; margin-bottom: 10px;\" title=\"James barnett\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/barnett.jpg\" alt=\"James Barnett Headshot\" width=\"120\" height=\"160\" />\r\n\r\nDigitally scanning archival objects requires not only technical know-how but also an appreciation for the subject matter. My fine-arts background gave me the knowledge and skill set to digitize architectural renderings by Carrère &amp; Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.\r\n\r\nGoing into the project, I thought my experience in printmaking would influence the way I scanned the drawings, not realizing that the reverse would happen; the scanning actually affected my art practice. In printmaking I have dealt with large paper before, but never anything quite as large as these archival renderings. My experience handling large paper for the digitization project scaled up my thinking in my own work outside of the project. Consequently, my own art work got larger. With confidence in my newly learned ability to handle paper larger than me, I started a large installation piece in which I put together staging proofs of an etching plate into a single four-by-six feet layered installation. The scale and construction would have never come to mind had I not worked with these large architectural drawings.\r\n\r\n<span class=\"caption\"><img class=\"alignright size-medium wp-image-969\" style=\"margin-left: 20px; margin-bottom: 10px;\" title=\"uf_student  action photo_barnett 6\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-6-333x222.jpg\" alt=\"\" width=\"333\" height=\"222\" /> Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings’ “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890. Photo credit: Joe Kaleita, University of Florida Libraries.</span>\r\n\r\nWorking with the photo editing software to optimize the scanned images for online viewing has also affected my art. Most of the archival pieces were so large they had to be captured in successive scans of two or more and stitched together in a photo editing program. In the digital stitching process, layers are important in getting a seamless product. When scanning the segments, I had to figure out where the respective scans would overlap in their respective digital layers so that when I got to the stitching, they all line up correctly. This takes planning, calculating, and configuring measurements in relation to the object. This idea of smaller units constructing a whole informed my process in constructing the art installation mentioned above, and it continues to affect my work.\r\n\r\nWhile I did not realize it at the time, my artwork reflects the processes I was dealing with at work. All together, the many different renderings that are part of the Carrère &amp; Hastings project build a picture of the architects’ process. I learned to see their end result, the building itself, as not the whole story but the final step in the process that you can only see if you include the drawings. This idea influenced my own installation. I felt that my whole process had to be shown; the print proofs (the intermittent states) are just as important as the end result. I never would have come to this idea had I not worked on the Carrère &amp; Hastings project.','James Barnett - 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 Carrère & Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.','inherit','open','open','','967-revision-17','','','2012-11-29 00:42:01','2012-11-29 00:42:01','',967,'http://www.archivejournal.net/issue/2/uncategorized/967-revision-17/',0,'revision','',0),(3688,10,'2012-11-29 00:42:32','2012-11-29 00:42:32','<img class=\"alignleft size-full wp-image-968\" style=\"margin-right: 20px; margin-bottom: 10px;\" title=\"James barnett\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/barnett.jpg\" alt=\"James Barnett Headshot\" width=\"120\" height=\"160\" />\r\n\r\nDigitally scanning archival objects requires not only technical know-how but also an appreciation for the subject matter. My fine-arts background gave me the knowledge and skill set to digitize architectural renderings by Carrère &amp; Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.\r\n\r\nGoing into the project, I thought my experience in printmaking would influence the way I scanned the drawings, not realizing that the reverse would happen; the scanning actually affected my art practice. In printmaking I have dealt with large paper before, but never anything quite as large as these archival renderings. My experience handling large paper for the digitization project scaled up my thinking in my own work outside of the project. Consequently, my own art work got larger. With confidence in my newly learned ability to handle paper larger than me, I started a large installation piece in which I put together staging proofs of an etching plate into a single four-by-six feet layered installation. The scale and construction would have never come to mind had I not worked with these large architectural drawings.\r\n\r\n<span class=\"alignright caption\"><img class=\"alignright size-medium wp-image-969\" style=\"margin-left: 20px; margin-bottom: 10px;\" title=\"uf_student  action photo_barnett 6\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-6-333x222.jpg\" alt=\"\" width=\"333\" height=\"222\" /> Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings’ “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890. Photo credit: Joe Kaleita, University of Florida Libraries.</span>\r\n\r\nWorking with the photo editing software to optimize the scanned images for online viewing has also affected my art. Most of the archival pieces were so large they had to be captured in successive scans of two or more and stitched together in a photo editing program. In the digital stitching process, layers are important in getting a seamless product. When scanning the segments, I had to figure out where the respective scans would overlap in their respective digital layers so that when I got to the stitching, they all line up correctly. This takes planning, calculating, and configuring measurements in relation to the object. This idea of smaller units constructing a whole informed my process in constructing the art installation mentioned above, and it continues to affect my work.\r\n\r\nWhile I did not realize it at the time, my artwork reflects the processes I was dealing with at work. All together, the many different renderings that are part of the Carrère &amp; Hastings project build a picture of the architects’ process. I learned to see their end result, the building itself, as not the whole story but the final step in the process that you can only see if you include the drawings. This idea influenced my own installation. I felt that my whole process had to be shown; the print proofs (the intermittent states) are just as important as the end result. I never would have come to this idea had I not worked on the Carrère &amp; Hastings project.','James Barnett - 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 Carrère & Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.','inherit','open','open','','967-revision-18','','','2012-11-29 00:42:32','2012-11-29 00:42:32','',967,'http://www.archivejournal.net/issue/2/uncategorized/967-revision-18/',0,'revision','',0),(3689,10,'2012-11-29 00:43:45','2012-11-29 00:43:45','<img class=\"alignleft size-full wp-image-968\" style=\"margin-right: 20px; margin-bottom: 10px;\" title=\"James barnett\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/barnett.jpg\" alt=\"James Barnett Headshot\" width=\"120\" height=\"160\" />\r\n\r\nDigitally scanning archival objects requires not only technical know-how but also an appreciation for the subject matter. My fine-arts background gave me the knowledge and skill set to digitize architectural renderings by Carrère &amp; Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.\r\n\r\nGoing into the project, I thought my experience in printmaking would influence the way I scanned the drawings, not realizing that the reverse would happen; the scanning actually affected my art practice. In printmaking I have dealt with large paper before, but never anything quite as large as these archival renderings. My experience handling large paper for the digitization project scaled up my thinking in my own work outside of the project. Consequently, my own art work got larger. With confidence in my newly learned ability to handle paper larger than me, I started a large installation piece in which I put together staging proofs of an etching plate into a single four-by-six feet layered installation. The scale and construction would have never come to mind had I not worked with these large architectural drawings.\r\n\r\n<span class=\"alignright wp-caption-text style=\"width: 200px; margin-bottom: 20px;\"><img class=\"alignright size-medium wp-image-969\" style=\"margin-left: 20px; margin-bottom: 10px;\" title=\"uf_student  action photo_barnett 6\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-6-333x222.jpg\" alt=\"\" width=\"333\" height=\"222\" /> Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings’ “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890. Photo credit: Joe Kaleita, University of Florida Libraries.</span>\r\n\r\nWorking with the photo editing software to optimize the scanned images for online viewing has also affected my art. Most of the archival pieces were so large they had to be captured in successive scans of two or more and stitched together in a photo editing program. In the digital stitching process, layers are important in getting a seamless product. When scanning the segments, I had to figure out where the respective scans would overlap in their respective digital layers so that when I got to the stitching, they all line up correctly. This takes planning, calculating, and configuring measurements in relation to the object. This idea of smaller units constructing a whole informed my process in constructing the art installation mentioned above, and it continues to affect my work.\r\n\r\nWhile I did not realize it at the time, my artwork reflects the processes I was dealing with at work. All together, the many different renderings that are part of the Carrère &amp; Hastings project build a picture of the architects’ process. I learned to see their end result, the building itself, as not the whole story but the final step in the process that you can only see if you include the drawings. This idea influenced my own installation. I felt that my whole process had to be shown; the print proofs (the intermittent states) are just as important as the end result. I never would have come to this idea had I not worked on the Carrère &amp; Hastings project.','James Barnett - 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 Carrère & Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.','inherit','open','open','','967-revision-19','','','2012-11-29 00:43:45','2012-11-29 00:43:45','',967,'http://www.archivejournal.net/issue/2/uncategorized/967-revision-19/',0,'revision','',0),(3690,10,'2012-11-29 00:45:41','2012-11-29 00:45:41','<img class=\"alignleft size-full wp-image-968\" style=\"margin-right: 20px; margin-bottom: 10px;\" title=\"James barnett\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/barnett.jpg\" alt=\"James Barnett Headshot\" width=\"120\" height=\"160\" />\r\n\r\nDigitally scanning archival objects requires not only technical know-how but also an appreciation for the subject matter. My fine-arts background gave me the knowledge and skill set to digitize architectural renderings by Carrère &amp; Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.\r\n\r\nGoing into the project, I thought my experience in printmaking would influence the way I scanned the drawings, not realizing that the reverse would happen; the scanning actually affected my art practice. In printmaking I have dealt with large paper before, but never anything quite as large as these archival renderings. My experience handling large paper for the digitization project scaled up my thinking in my own work outside of the project. Consequently, my own art work got larger. With confidence in my newly learned ability to handle paper larger than me, I started a large installation piece in which I put together staging proofs of an etching plate into a single four-by-six feet layered installation. The scale and construction would have never come to mind had I not worked with these large architectural drawings.\r\n\r\n<span class=\"alignright wp-caption-text style=\"width: 200px; margin-bottom: 20px;\"><img class=\"alignright size-medium wp-image-969\" style=\"margin-left: 20px; margin-bottom: 10px;\" title=\"uf_student  action photo_barnett 6\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-6-333x222.jpg\" alt=\"\" width=\"333\" height=\"222\" /> <span class=\"wp-caption-text\">Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings’ “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890. Photo credit: Joe Kaleita, University of Florida Libraries.</span></span>\r\n\r\nWorking with the photo editing software to optimize the scanned images for online viewing has also affected my art. Most of the archival pieces were so large they had to be captured in successive scans of two or more and stitched together in a photo editing program. In the digital stitching process, layers are important in getting a seamless product. When scanning the segments, I had to figure out where the respective scans would overlap in their respective digital layers so that when I got to the stitching, they all line up correctly. This takes planning, calculating, and configuring measurements in relation to the object. This idea of smaller units constructing a whole informed my process in constructing the art installation mentioned above, and it continues to affect my work.\r\n\r\nWhile I did not realize it at the time, my artwork reflects the processes I was dealing with at work. All together, the many different renderings that are part of the Carrère &amp; Hastings project build a picture of the architects’ process. I learned to see their end result, the building itself, as not the whole story but the final step in the process that you can only see if you include the drawings. This idea influenced my own installation. I felt that my whole process had to be shown; the print proofs (the intermittent states) are just as important as the end result. I never would have come to this idea had I not worked on the Carrère &amp; Hastings project.','James Barnett - 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 Carrère & Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.','inherit','open','open','','967-revision-20','','','2012-11-29 00:45:41','2012-11-29 00:45:41','',967,'http://www.archivejournal.net/issue/2/uncategorized/967-revision-20/',0,'revision','',0),(3691,10,'2012-11-29 00:46:39','2012-11-29 00:46:39','<img class=\"alignleft size-full wp-image-968\" style=\"margin-right: 20px; margin-bottom: 10px;\" title=\"James barnett\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/barnett.jpg\" alt=\"James Barnett Headshot\" width=\"120\" height=\"160\" />\r\n\r\nDigitally scanning archival objects requires not only technical know-how but also an appreciation for the subject matter. My fine-arts background gave me the knowledge and skill set to digitize architectural renderings by Carrère &amp; Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.\r\n\r\nGoing into the project, I thought my experience in printmaking would influence the way I scanned the drawings, not realizing that the reverse would happen; the scanning actually affected my art practice. In printmaking I have dealt with large paper before, but never anything quite as large as these archival renderings. My experience handling large paper for the digitization project scaled up my thinking in my own work outside of the project. Consequently, my own art work got larger. With confidence in my newly learned ability to handle paper larger than me, I started a large installation piece in which I put together staging proofs of an etching plate into a single four-by-six feet layered installation. The scale and construction would have never come to mind had I not worked with these large architectural drawings.\r\n\r\n<span class=\"alignright wp-caption-text style=\"><img class=\"alignright size-medium wp-image-969\" style=\"margin-left: 20px; margin-bottom: 10px;\" title=\"uf_student  action photo_barnett 6\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-6-333x222.jpg\" alt=\"\" width=\"333\" height=\"222\" /> <span class=\"wp-caption-text\" width=\"333\">Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings’ “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890. Photo credit: Joe Kaleita, University of Florida Libraries.</span></span>\r\n\r\nWorking with the photo editing software to optimize the scanned images for online viewing has also affected my art. Most of the archival pieces were so large they had to be captured in successive scans of two or more and stitched together in a photo editing program. In the digital stitching process, layers are important in getting a seamless product. When scanning the segments, I had to figure out where the respective scans would overlap in their respective digital layers so that when I got to the stitching, they all line up correctly. This takes planning, calculating, and configuring measurements in relation to the object. This idea of smaller units constructing a whole informed my process in constructing the art installation mentioned above, and it continues to affect my work.\r\n\r\nWhile I did not realize it at the time, my artwork reflects the processes I was dealing with at work. All together, the many different renderings that are part of the Carrère &amp; Hastings project build a picture of the architects’ process. I learned to see their end result, the building itself, as not the whole story but the final step in the process that you can only see if you include the drawings. This idea influenced my own installation. I felt that my whole process had to be shown; the print proofs (the intermittent states) are just as important as the end result. I never would have come to this idea had I not worked on the Carrère &amp; Hastings project.','James Barnett - 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 Carrère & Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.','inherit','open','open','','967-revision-21','','','2012-11-29 00:46:39','2012-11-29 00:46:39','',967,'http://www.archivejournal.net/issue/2/uncategorized/967-revision-21/',0,'revision','',0),(3692,10,'2012-11-29 00:47:56','2012-11-29 00:47:56','<img class=\"alignleft size-full wp-image-968\" style=\"margin-right: 20px; margin-bottom: 10px;\" title=\"James barnett\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/barnett.jpg\" alt=\"James Barnett Headshot\" width=\"120\" height=\"160\" />\r\n\r\nDigitally scanning archival objects requires not only technical know-how but also an appreciation for the subject matter. My fine-arts background gave me the knowledge and skill set to digitize architectural renderings by Carrère &amp; Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.\r\n\r\nGoing into the project, I thought my experience in printmaking would influence the way I scanned the drawings, not realizing that the reverse would happen; the scanning actually affected my art practice. In printmaking I have dealt with large paper before, but never anything quite as large as these archival renderings. My experience handling large paper for the digitization project scaled up my thinking in my own work outside of the project. Consequently, my own art work got larger. With confidence in my newly learned ability to handle paper larger than me, I started a large installation piece in which I put together staging proofs of an etching plate into a single four-by-six feet layered installation. The scale and construction would have never come to mind had I not worked with these large architectural drawings.\r\n\r\n<span class=\"alignright wp-caption-text style=width: 333px;\"><img class=\"alignright size-medium wp-image-969\" style=\"margin-left: 20px; margin-bottom: 10px;\" title=\"uf_student  action photo_barnett 6\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-6-333x222.jpg\" alt=\"\" width=\"333\" height=\"222\" /> <span class=\"wp-caption-text\">Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings’ “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890. Photo credit: Joe Kaleita, University of Florida Libraries.</span></span>\r\n\r\nWorking with the photo editing software to optimize the scanned images for online viewing has also affected my art. Most of the archival pieces were so large they had to be captured in successive scans of two or more and stitched together in a photo editing program. In the digital stitching process, layers are important in getting a seamless product. When scanning the segments, I had to figure out where the respective scans would overlap in their respective digital layers so that when I got to the stitching, they all line up correctly. This takes planning, calculating, and configuring measurements in relation to the object. This idea of smaller units constructing a whole informed my process in constructing the art installation mentioned above, and it continues to affect my work.\r\n\r\nWhile I did not realize it at the time, my artwork reflects the processes I was dealing with at work. All together, the many different renderings that are part of the Carrère &amp; Hastings project build a picture of the architects’ process. I learned to see their end result, the building itself, as not the whole story but the final step in the process that you can only see if you include the drawings. This idea influenced my own installation. I felt that my whole process had to be shown; the print proofs (the intermittent states) are just as important as the end result. I never would have come to this idea had I not worked on the Carrère &amp; Hastings project.','James Barnett - 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 Carrère & Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.','inherit','open','open','','967-revision-22','','','2012-11-29 00:47:56','2012-11-29 00:47:56','',967,'http://www.archivejournal.net/issue/2/uncategorized/967-revision-22/',0,'revision','',0),(3693,10,'2012-11-29 00:50:11','2012-11-29 00:50:11','<img class=\"alignleft size-full wp-image-968\" style=\"margin-right: 20px; margin-bottom: 10px;\" title=\"James barnett\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/barnett.jpg\" alt=\"James Barnett Headshot\" width=\"120\" height=\"160\" />\r\n\r\nDigitally scanning archival objects requires not only technical know-how but also an appreciation for the subject matter. My fine-arts background gave me the knowledge and skill set to digitize architectural renderings by Carrère &amp; Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.\r\n\r\nGoing into the project, I thought my experience in printmaking would influence the way I scanned the drawings, not realizing that the reverse would happen; the scanning actually affected my art practice. In printmaking I have dealt with large paper before, but never anything quite as large as these archival renderings. My experience handling large paper for the digitization project scaled up my thinking in my own work outside of the project. Consequently, my own art work got larger. With confidence in my newly learned ability to handle paper larger than me, I started a large installation piece in which I put together staging proofs of an etching plate into a single four-by-six feet layered installation. The scale and construction would have never come to mind had I not worked with these large architectural drawings.\r\n\r\n<span class=\"alignright wp-caption style=\"width: 333px;\"><img class=\"alignright size-medium wp-image-969\" style=\"margin-left: 20px; margin-bottom: 10px;\" title=\"uf_student  action photo_barnett 6\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-6-333x222.jpg\" alt=\"\" width=\"333\" height=\"222\" /> <span class=\"wp-caption-text\">Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings’ “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890. Photo credit: Joe Kaleita, University of Florida Libraries.</span></span>Working with the photo editing software to optimize the scanned images for online viewing has also affected my art. Most of the archival pieces were so large they had to be captured in successive scans of two or more and stitched together in a photo editing program. In the digital stitching process, layers are important in getting a seamless product. When scanning the segments, I had to figure out where the respective scans would overlap in their respective digital layers so that when I got to the stitching, they all line up correctly. This takes planning, calculating, and configuring measurements in relation to the object. This idea of smaller units constructing a whole informed my process in constructing the art installation mentioned above, and it continues to affect my work.\r\n\r\nWhile I did not realize it at the time, my artwork reflects the processes I was dealing with at work. All together, the many different renderings that are part of the Carrère &amp; Hastings project build a picture of the architects’ process. I learned to see their end result, the building itself, as not the whole story but the final step in the process that you can only see if you include the drawings. This idea influenced my own installation. I felt that my whole process had to be shown; the print proofs (the intermittent states) are just as important as the end result. I never would have come to this idea had I not worked on the Carrère &amp; Hastings project.','James Barnett - 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 Carrère & Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.','inherit','open','open','','967-revision-23','','','2012-11-29 00:50:11','2012-11-29 00:50:11','',967,'http://www.archivejournal.net/issue/2/uncategorized/967-revision-23/',0,'revision','',0),(3694,10,'2012-11-29 00:50:54','2012-11-29 00:50:54','<img class=\"alignleft size-full wp-image-968\" style=\"margin-right: 20px; margin-bottom: 10px;\" title=\"James barnett\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/barnett.jpg\" alt=\"James Barnett Headshot\" width=\"120\" height=\"160\" />\r\n\r\nDigitally scanning archival objects requires not only technical know-how but also an appreciation for the subject matter. My fine-arts background gave me the knowledge and skill set to digitize architectural renderings by Carrère &amp; Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.\r\n\r\nGoing into the project, I thought my experience in printmaking would influence the way I scanned the drawings, not realizing that the reverse would happen; the scanning actually affected my art practice. In printmaking I have dealt with large paper before, but never anything quite as large as these archival renderings. My experience handling large paper for the digitization project scaled up my thinking in my own work outside of the project. Consequently, my own art work got larger. With confidence in my newly learned ability to handle paper larger than me, I started a large installation piece in which I put together staging proofs of an etching plate into a single four-by-six feet layered installation. The scale and construction would have never come to mind had I not worked with these large architectural drawings.\r\n\r\n<span class=\"alignright wp-caption style=\"width: 333px\"><img class=\"alignright size-medium wp-image-969\" style=\"margin-left: 20px; margin-bottom: 10px;\" title=\"uf_student  action photo_barnett 6\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-6-333x222.jpg\" alt=\"\" width=\"333\" height=\"222\" /> <span class=\"wp-caption-text\">Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings’ “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890. Photo credit: Joe Kaleita, University of Florida Libraries.</span></span>Working with the photo editing software to optimize the scanned images for online viewing has also affected my art. Most of the archival pieces were so large they had to be captured in successive scans of two or more and stitched together in a photo editing program. In the digital stitching process, layers are important in getting a seamless product. When scanning the segments, I had to figure out where the respective scans would overlap in their respective digital layers so that when I got to the stitching, they all line up correctly. This takes planning, calculating, and configuring measurements in relation to the object. This idea of smaller units constructing a whole informed my process in constructing the art installation mentioned above, and it continues to affect my work.\r\n\r\nWhile I did not realize it at the time, my artwork reflects the processes I was dealing with at work. All together, the many different renderings that are part of the Carrère &amp; Hastings project build a picture of the architects’ process. I learned to see their end result, the building itself, as not the whole story but the final step in the process that you can only see if you include the drawings. This idea influenced my own installation. I felt that my whole process had to be shown; the print proofs (the intermittent states) are just as important as the end result. I never would have come to this idea had I not worked on the Carrère &amp; Hastings project.','James Barnett - 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 Carrère & Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.','inherit','open','open','','967-revision-24','','','2012-11-29 00:50:54','2012-11-29 00:50:54','',967,'http://www.archivejournal.net/issue/2/uncategorized/967-revision-24/',0,'revision','',0),(3696,10,'2012-11-29 00:55:02','2012-11-29 00:55:02','<h4>The images above are a small fraction of the materials made available through the project and Jimmy\'s work. The full range can be seen in the <a href=\"http://ufdc.ufl.edu/caha/all\" target=\"_blank\">Carrère &amp; Hastings Digital Collection</a>, part of the University of Florida Digital Collections. You can read more at the project blog: <a href=\"http://flaglerdrawings.wordpress.com/\" target=\"_blank\">flaglerdrawings.wordpress.com</a>.</h4>\r\n&nbsp;\r\n\r\n<img class=\"size-large wp-image-957\" style=\"width: 638;\" title=\"uf_student  action photo_barnett 3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-3-1024x682.jpg\" alt=\"\" />\r\n\r\n<a href=\"http://ufdc.ufl.edu/UF00082657/00001\" target=\"_blank\"><img class=\"size-full wp-image-959\" style=\"width: 638;\" title=\"Ground Plan, Presbyterian Church\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-1.jpg\" alt=\"\" /></a>\r\n<span class=\"wp-caption-text\">An example of the results of James (Jimmy) Barnett’s work digitizing and preserving a large-scale architectural drawing. John Carrère and Thomas Hastings. “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890.</span>\r\n\r\n<a href=\"http://ufdc.ufl.edu/UF00089836/00001\" target=\"_blank\"><img class=\"size-full wp-image-958\" style=\"width: 638;\" title=\"Part Plan of Fourth Floor\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-2.jpg\" alt=\"\" /></a>\r\n<span class=\"wp-caption-text\">John Carrère and Thomas Hastings. “Part Plan of Fourth Floor. Architectural drawings of the Hotel Ponce de Leon, St. Augustine, Florida.” 96 x 40 inches.</span>\r\n','Digitizing Large-Format Architectural Plans','This case study showcases an undergraduate’s work as the lead digital scanner of architectural drawings for the Carrère & Hastings Digital Collection, a collaborative project between the University of Florida (UF) and Flagler College to conserve and digitally preserve the large and fragile drawings. For years the drawings were stored in a basement boiler room and suffered from exposure to high Florida temperatures, humidity, insects, and rodents. The collection is now under the care of a team of faculty, staff, and students from the UF’s Special Collections, Conservation Unit, and Digital Library Center.','inherit','open','open','','946-revision-50','','','2012-11-29 00:55:02','2012-11-29 00:55:02','',946,'http://www.archivejournal.net/issue/2/uncategorized/946-revision-50/',0,'revision','',0),(3697,2,'2012-11-02 21:56:14','2012-11-02 21:56:14','<img class=\"alignleft size-full wp-image-1279\" title=\"goucher_instructor image_sanders\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_instructor-image_sanders.jpg\" alt=\"Sanders\" width=\"120\" height=\"160\" />Students prepare for English 241: Archeology of Text research projects in twelve weeks of readings and laboratory experiences, which introduce the skills necessary to work with early printed books and archival documents. (For the text of the assignment, see <a href=\"http://faculty.goucher.edu/eng241/241_individual_research_projects_F09.htm\" target=\"_blank\">here</a>). The goal of these projects is to enable each student to pursue a self-designed creative or descriptive study of books, manuscripts, and other artifacts from Special Collections and Archives. Because the course is interdisciplinary and students come from many majors, it is hard to predict where students’ curiosities will take them. The best way to encourage active student engagement is to prepare students for the widest range of book- and document-related work. Successful projects can lead to further research supported by Goucher’s Peirce Center fellowships.\r\n\r\nBeginning with the study of how a digital document is constructed and the history of the Internet’s “cloud” library, students practice searching online scholarly sites such as the <em>Oxford English Dictionary</em> (OED), WorldCat, <em>English Short-Title Catalog</em> (ESTC), and the continental library collections accessible through the University of Karlsruhe’s online catalog. They also explore using search engines and databases to identify and locate people, places, and things. Those skills provide interpretive context for hand-press books in the course’s next segment. After three weeks of studying typography, format, bindings, and hand-made paper and its manufacture, students have learned the most basic descriptive bibliography skills. This enables them to describe the edition-specific and copy-specific details of their “cadaver books,” a set of early printed books they handle each week to encourage safe and intelligent treatment of early paper and bindings. Finally, paper and parchment manuscript laboratories teach students to decipher secretary and scribal hands from the nineteenth through the thirteenth centuries. This enables them to interpret marginalia in early printed books, including owners’ inscriptions and other provenance and use evidence.\r\n\r\nSarah Kendall’s study of the Burke Austen Collection’s copy of the two-volume American first edition of Jane Austen’s <em>Emma</em> (Philadelphia: M. Carey, ; for sale by Wells &amp; Lilly, Boston, 1816) represents a creative response to traditional rare-book provenance study, resulting in her discovery of a significant trove of correspondence in the book’s archival container. Before Alberta Burke brought the book to Baltimore, it had passed through the hands of Christina Broun Dalhousie (the Countess Dalhousie); a prominent collector, Frank J. Hogan; and a poet, Siegfried Sassoon. Kendall’s study demonstrates the way a book’s value changes as it moves from owner to owner, becoming as attractive for its associations and rarity as it is for its text. An archives-based approach to using the course’s analytical tools is represented by Cassie Brand’s study of U.S. Naval Academy dance cards found in the scrapbook kept by Goucher student Mary Lee Keith (Class of 1924), augmented by research at The Nimitz Library in Annapolis. Brand showed how the cards could be used to study crucial changes in American courtship conventions as women took control of their relations with potential suitors.\r\n\r\nThese two projects represent the course’s goal: to enable original, undergraduate, hands-on archival research using interdisciplinary skills:\r\n<ul>\r\n	<li>See images from <a href=\"http://faculty.goucher.edu/eng241/cassie_brand_IRP_imaging_Fall%202007.htm\" target=\"_blank\">Brand’s dance card project</a>.</li>\r\n	<li>See a portfolio of images of the <a href=\"http://faculty.goucher.edu/eng241/English_241_IRP_Images_F07.htm\" target=\"_blank\">2007 class researching final projects</a>.</li>\r\n</ul>','Arnold Sanders - Commentary','Students prepare for English 241, “Archeology of Text,” research projects in twelve weeks of readings and laboratory experiences which introduce skills necessary to work with early printed books and archival documents. The goal of these projects is to enable each student to pursue a self-designed creative or descriptive study of books, manuscripts, and other artifacts from Special Collections and Archives. Because the course is interdisciplinary and students come from many majors, it is hard to predict where students’ curiosities will take them. The best way to encourage active student engagement is prepare students for the widest range of book and document related work. Successful projects can lead to further research supported by Goucher’s Peirce Center fellowships.','inherit','open','open','','1049-revision-17','','','2012-11-02 21:56:14','2012-11-02 21:56:14','',1049,'http://www.archivejournal.net/issue/2/uncategorized/1049-revision-17/',0,'revision','',0),(3698,2,'2012-11-09 04:12:30','2012-11-09 04:12:30','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\n\r\nWhile working in Special Collections, I had often walked by large blue boxes containing scrapbooks, but I had yet to look through them. When I began leafing through them, I found that I learned as much about Goucher College as I did about the women who put the scrapbooks together. Many of the scrapbooks had things in common, including Valentines, pressed flowers, calling cards, and photographs. But what intrigued me most were the dance cards. I had never before encountered dance cards, or even heard of them, even though I had been dancing all my life. Many of the dance cards were from the U.S. Naval Academy, a nearby all-male school in need of women with whom to dance. Goucher girls would often travel to Annapolis for the weekend dances and bring back dance cards as souvenirs.\r\n\r\n<img class=\" wp-image-1275\" title=\"goucher_student action photo_brand\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-action-photo_brand.jpg\" alt=\"Cassie Brand working in the former Rare Book Collection Seminar Room \" width=\"510\" height=\"382\" />\r\n\r\nWhen I began researching these cards, I found very little information. I went to all of the reference librarians I could find, but even they had difficulties because very few secondary sources were available. I looked through all the etiquette books I could get my hands on and even asked people to tell me what they knew about dance cards. Those who knew of them provided me with the basic information I needed to study the cards.\r\n\r\nI contacted the U.S. Naval Academy Archives, and with the help of Nancy Magnuson, Goucher College Librarian, I made an appointment to see their collection. There I found an almost complete run of dance cards from the Farewell Ball, which was held every year after graduation. Some were blank, some were filled in, some contained photographs, and some still had their tiny pencils attached. Looking through the cards, I found that they could be studied in several ways. One could examine print history, dance history, social history, or even one woman’s history of dance partners. The first and last dance cards were so drastically different that I chose to look at how the cards changed over the years. I found that the cards’ modifications reflected the changes in social dances.\r\n\r\nThough I have not yet returned to the dance card collections to study them further, they have never been far from my mind. I am still trying to convince people that dance cards are brilliant and should be reinstated for social events. Dance cards remain an interest of mine, and I would love to eventually write their complete history.\r\n\r\n<span class=\"small\">This research paper can be read online, or downloaded in its original form as a word document.</span>','Cassie Brand - Commentary','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.','inherit','open','open','','1051-revision-20','','','2012-11-09 04:12:30','2012-11-09 04:12:30','',1051,'http://www.archivejournal.net/issue/2/uncategorized/1051-revision-20/',0,'revision','',0),(3699,2,'2012-11-09 04:12:27','2012-11-09 04:12:27','As an undergraduate English major with a concentration in creative writing, I had always regarded books as a portal into the world of fiction, a place where I could study plots and themes, setting and syntax. I had never stopped to consider books as historical objects until my first class in English 241: Archeology of Text. The assignment for the final research paper seemed simple: use what we learned during the semester to explore, analyze, and describe a document of interest from Goucher’s Special Collections.\r\n\r\nI knew from the start that I was intrigued by Goucher’s prolific collection of Jane Austen materials, but needed something specific to spark my interest. Walking around the small Special Collections room in the Julia Rogers Library, my gaze landed on a blue box behind a glass case. I soon learned that inside that box lay the first American edition of <em>Emma</em> (Philadelphia: M. Carey; for sale by Wells &amp; Lilly, Boston, 1816).  Nancy Magnuson, college librarian, told me all about Alberta Burke’s letters and thought that they might contain clues for my research. I have always been fascinated with letters (both reading and writing them), and the process of tracking a specific book through personal correspondences captivated me. I chose to study the 1816 first American edition of <em>Emma</em> and explore the letters that track how it found a home in Goucher’s library.\r\n\r\n<img class=\"size-full wp-image-1273\" title=\"goucher_student action photo_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-action-photo_kendall.jpg\" alt=\"Sarah Kendall working with the Burke copy of the American first edition of Austen\'s Emma\" width=\"320\" height=\"375\" />\r\n\r\nI remain baffled by the amount of information and detailed history I discovered while writing a descriptive bibliography. I wrote detailed accounts of the letters from Alberta Burke and David Gilson, the letters between David Gilson and Henry Burke, and the 1816 first edition of <em>Emma</em>. After seeing the interest that both Alberta Burke and David Gilson had in the first American edition of <em>Emma</em>, I knew that perusing the pages and studying the tome in detail would be essential to revealing the book’s history. Sifting through dozens of letters hoping to find mention of <em>Emma</em> thrilled me to no end. Reading different letters from various sources also illuminated how various people valued the first edition and why they wanted it in their possession. The circuit of corresponding materials proved equally intriguing and helpful for tracking down how the book traveled from Philadelphia to Goucher’s library.\r\n\r\nI learned that by latching on to a specific topic, I could follow a steady thread of conversation about <em>Emma</em>. The experience made me feel like a genuine historian instead of an undergraduate student simply researching journal articles or internet resources. It felt very special and intellectually stimulating to handle history with my own hands! I even discovered two additional letters hidden between the inside cover and the title page of the first volume. Unearthing these two letters felt very encouraging and proved that there is always the possibility of finding something new within the archives.\r\n\r\n<span class=\"small\">This research paper can be read online, or <a href=\"#\">downloaded as a PDF</a>.</span>','Sarah Kendall - Commentary','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.','inherit','open','open','','1053-revision-22','','','2012-11-09 04:12:27','2012-11-09 04:12:27','',1053,'http://www.archivejournal.net/issue/2/uncategorized/1053-revision-22/',0,'revision','',0),(3702,2,'2012-11-18 04:32:46','2012-11-18 04:32:46','Behind a low glass case in Goucher’s Special Collection Room sits a humble blue book box that holds the first American edition of Jane Austen’s <em>Emma</em>. Valued from nineteen to seventy-five thousand dollars on ABEBooks.com, the edition is unquestionably valuable. But how did this extremely rare copy end up in Goucher’s modest library? In a letter to David Gilson on August 5th, 1967 Alberta Burke revealed that she owned a copy of the 1816 Philadelphia Emma, which formerly belonged to Siegfried Sassoon. The two corresponded from 1967 to 1975 until Alberta fell ill. Throughout this time a steady thread of conversation exists about the Philadelphia Emma.\r\n\r\nAfter seeing the interest that both Alberta Burke and David Gilson had in the first American edition of Emma, perusing the pages and studying the tome in detail was essential to discover first hand the majesty of the volumes.\r\n\r\n<span id=\"attachment_1319\" class=\"wp-caption alignright\" style=\"width: 281px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image2_kendall.jpg\"><img class=\"size-medium wp-image-1319  \" title=\"goucher_student work image2_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image2_kendall-281x250.jpg\" alt=\"First Edition of Emma (1816)\" width=\"281\" height=\"250\" /></a> <span class=\"wp-caption-text\">Front pastedown and first flyleaf of the Burke Collection copy of the American first edition of Emma (1816), with the book plates of the Countess of Dalhousie, Frank J. Hogan, and Alberta H. Burke.</span></span>\r\n\r\nThe inside of the custom-made blue book box is coated with a light perimeter of oil damage. Nancy Magnuson, one of Goucher’s librarians and liaisons for the Special Collections, said that Alberta Burke felt so attached to the books and bindings in her collections that she oiled the leather twice a year, far more then necessary. The first volume’s brown leather is faded and has been repaired after cracking. On the inside cover are two pasted rectangular cutouts. The first, measuring 3.5cm tall and 8cm wide, reads “Countess of Dalhousie” in delicate black print. The mysterious figure of the Countess Dalhousie intrigued both David Gilson and Alberta Burke. In a letter dated August 15th 1967 Burke wrote, “The Countess of Dalhousie’s signature, but no date, is on the title page. I like to think, most romantically, but with no evidence that she purchased it in new york when she was in Canada with her husband who was governor-general there in 1819.”\r\n\r\nFive months later Burke and Gilson are still perplexed by the elusive Countess and her involvement with the edition. On January 12th, 1968 she writes to Gilson hoping to answer the questions he’d had about the 1816 Philadelphia Emma. She notes that over the first half of the page in volume I there is a note in pencil, “not I think in Sasoon’s writing, probably in that of Percy (Mathews) who was the agent who arranged the sale from Mr. Sasoon to Mr. Hogan.” The note, hand-written in pencil that has faded to the extent of being almost translucent, reads “Countess of D- wife to the 9th Earl (1770-1838). Who was Governor of Canada, Nova Scotia, etc 1819-1828- this explains her owning this edition, which was unknown to G. Keynes when he compiled his Bibliography of Jane Austen, 1929.”\r\n\r\n<!--nextpage-->\r\nThese pieces of evidence show that after being published by M. Carey in Philadelphia, this edition left Chesnut Street and most likely traveled into the hands of Lady Dalhousie. “This copy,” Gilson writes in his bibliography of Jane Austen, “was in the present century found in Salisbury by Siegfried Sassoon.”\r\n\r\nIn the same letter dated August 15th, 1967 in which she writes to Gilson about her romantic notion that the Countess of Dalhousie purchased Emma when visiting New York, she alludes to another letter involving Siegfried Sassoon. “You may be amused at a sentence from Siegfried Sassoon’s letter to Mr. Percy Elkin Mathews (who arranged the sale of the other 1816 Emma to Mr. Hogan in 1941. G. Keynes will be livid with me, as he wrote saying he must collate it as he wants to write something bout it for the Times Lit Supplement- which is poaching on your preserves, isn’t it?” She writes specifically to Gilson that, “ this is not for quotation in any article, but solely for your own pleasure.” Alberta Burke must have known this would tickle David Gilson’s fancy. Since Gilson first intended to write his bibliography on Jane Austen as a revised edition Geoffrey Keynes’s 1929 bibliography, he would understand Muir’s frustration with people encroaching on his research topic.\r\n\r\nBetween the letters from Burke and Gilson and the evidence left behind inside Emma, the provenance of this edition is fairly clear. Emma travels from the Philadelphia publisher to the Countess to Siegfried Sassoon. Inside the first volume of the Emma being examined lays a piece of lavender stationary, measuring 17.6cm tall x 13cm wide, folded in half. Opening it reveals that at the top of the stationary is typed “Heytesbury House, Wiltshire” and at the end of the letter is the minute script signature of Siegfried Sassoon.\r\n\r\nThe letter, addressed to Muir, dated March 12th, 1941 is written in Sassoon’s light and witty style. He starts his letter with, “Emma returns to you in a twitter of excitement about going to California. She is sure that Mr. F. Hogan is a very nice man, though she intends to be a bit sharp with him until she gets to know him.” He then jokes with Muir at the expense of Keynes, writing how “G. Keynes will be livid with me, as he wrote saying he must collate it as he wants to write something about it for the Times Lit Supplement- which is poaching on your preserves, isn’t it?”\r\n\r\nIn 1941 Sassoon sold the edition through Elkin Mathews to Frank J. Hogan (Gilson, 100). Under the Countess of Dalhousie’s book label is the red leather label of Frank J. Hogan. Around the name in gold lettering it reads “the true university of these days is a collection of books.”\r\n\r\nIn addition to the lavender letter from Siegfried Sassoon, two additional correspondences hide between the inside cover and the title page. One letter was written to Mr. Hogan from Mr. Muir relating that the 1816 Philadelphia edition of Emma was on its way. The stationary was that of The Antiquarian Booksellers Association, shown by the stamp on the top right corner. Printed at the top is the name “Elkin Mathews LTD” followed by the director’s names: Greville Worthington, Ian L. Fleming, and P. H. Muir. Underneath the names describes the objects in which these men were interested in: “Rare Books, Manuscripts, Literary Portraits, Music.”\r\n\r\n<!--nextpage-->\r\nLetters leading to other letters seems to be a theme when following this first American edition of Emma. In the letter to Mr. Hogan from Mr. Muir, Muir writes how he feels it is important that Mr. Hogan also get, along with the copy of Emma, the letter from Mr. Sassoon (the lavender letter found in the first volume.) “I think it is only right and proper that you should have with the book the letter that Sassoon sent me when sending the book to me. My own feeling is that one cannot have too much of this kind of thing in association with books.” The truth in Muir’s statement could not be more paramount as it relates to this particular edition of Emma. Burke and Gilson’s letter lead to examining the 1816 Philadelphia edition, which hold the additional correspondences from Sassoon and Muir. Being able to handle and analyze one of the three first American editions is a privilege in itself (Gilson, 100). Yet more than just handling the two volumes, I found the circuit of corresponding materials equally intriguing and helpful to track how the book came from Philadelphia, to the Countess Dalhousie, to Siegfried Sassoon to Frank J. Hogan and finally to Alberta Burke.\r\n\r\nThe last letter found inside the first volume relating to Emma’s provenance is from Mr. Muir to Alberta Burke. Muir writes to Alberta on different stationary then when writing to Mr. Hogan, perhaps to add a more personal touch. Typed on yellow paper with the green “Elkin Mathews Ltd” insignia printed at the top, the letter is typed and dated May 22nd, 1945. Mr. Muir writes that Mr. Hogan purchased the first American 1816 Philadelphia edition for Alberta for only 300 dollars. “I congratulate you,” he writes, “on getting it so cheaply. It is exceedingly rare.”\r\n\r\nThe last letter from Alberta Burke to David Gilson is dated February 4th, 1975. After this date the Austen letters continue between Alberta’s husband Henry Burke and David Gilson. After Alberta’s death on May 22nd, 1975 Goucher’s library received her Jane Austen collection. According to Goucher’s pamphlet “Twenty-Five Years of Jane Austen,” Alberta had always intended to donate the collection to Goucher. “From the time when my Jane Austen material first began to overflow the one-shelf bounds assigned to it, I have always intended that Goucher should be the ultimate recipient, and I have hoped that, sometime in the future, others would partake of the very great pleasure which they have given me for many years.”\r\n\r\nWhen David Gilson in 1982 published A Bibliography of Jane Austen he acknowledged his gratitude to Alberta and Henry Burke. Both Alberta Burke and David Gilson benefited from their letters to one another. Alberta Burke, with her deep seeded love and interest in all things Austen, was able to help David Gilson with his mission to track down Austen texts, study and describe them.\r\n<h5>Works Cited</h5>\r\n<div class=\"footnote\">Gilson, David. <em>A Bibliography of Jane Austen</em>. first. Oxford: Clarendon Press, 1982.</div>\r\n<div class=\"footnote\">Austen, Jane. <em>Emma</em>. First. Philadelphia: M.Carey, 1816.</div>\r\n<!--nextpage-->\r\n<h5>Letters From Alberta Burke to David Gilson</h5>\r\n<ul>\r\n	<li>“Apartment Stationary” 18.8 cm tall x 25.9 cm wide, written section is 18.8cm tall x 13.1 cm wide, folded into four quarters for mailing, black ink, cream paper, red print of “Apartment 1318 116 West University Parkway Baltimore, Maryland 21210.” Gray and maroon thin stripe border.</li>\r\n	<li>“Blue Air Mail” 30.5 cm tall x 18.1cm wide, folded into a 9.7cm tall x 14.8cm wide envelope, black ink, written completely on first side and on first fourth and last fourth on other side.</li>\r\n	<li>“Gray Apartment Stationary” 18.8cm tall x 25.9cm wide, written section is 18.8 cm tall x 13.1 cm wide, folded into four quarters for mailing, black ink, cream paper, gray print of “Apartment 1318 116 West University Parkway Baltimore, Maryland 21210.” Gray thin stripe border.</li>\r\n	<li>“Small Note Card” 14cm tall x 8.4cm wide, thicker note-card type cream paper, written only on one side, addressed to “Mr. D.J Gilson, J1 Blenheim Drive Oxford OX2 8DL England” Airmail! is written above the address in red marker. “Burke 1318 Broadview Apts. 116 W. University Parkway Baltimore, Maryland 21210” is typed in upper left corner. Written in blue ink.</li>\r\n</ul>\r\n<strong>August 5, 1967\r\n</strong><em>Apartment Stationary\r\n</em>Tells Mr. Gilson that she has the Frank J. Hogan copy of the 1816 Philadelphia Emma, which formerly belonged to Siegfried Sassoon.\r\n\r\n<strong>August 15, 1967\r\n</strong><em>Apartment Stationary\r\n</em><em>Written in black fountain pen (script writing), fairly uniform line spacing\r\n</em>“You may be amused at a sentence from Siegfried Sassoon’s letter to Mr. Percy Elkin Mathews (who arranged the sale of the other 1816 Emma to Mr. Hogan in 1941. “G. Keynes will be livid with me, as he wrote saying he must collate it as he wants to write something bout it for the Times Lit Supplement—which is poaching on your preserves, isn’t it?” This is not for quotation in any article, but solely for your own pleasure.”\r\n\r\n“Since my copy of the 1816 Philadelphia Emma…her signature, but no date, is on the title page) I like to think, most romantically, but with no evidence, that she purchased it as a new work when she was in Canada with her husband who was governor-general there in 1819.”\r\n\r\n<strong>January 12, 1968\r\n</strong><em>Apartment Stationary\r\n</em>“I hope that I can answer your questions about the Philadelphia 1816 Emma satisfactorily. On inside cover of both volumes is a book place or visiting card (I don’t know which it is) bearing only the engraved words “Coweliers Dalhousie”…no device etc. In the first volume at the left and perpendicular to the lives of priutsey on the title pages is the signature “Cou C Dalhousie” (there is a bit of extra curlicue over the first letter.) However in volume two the signature…is plainly “C B Dalhousie” over the first preliminary half of volume I here is a note in pencil, not I think in Sassoon’s writing, probably in that of Percy (Mathews) who was the agent who arranged the sale from Mr. Sassoon to Mr. Hogan.”\r\n\r\n<strong>June 10, 1969\r\n</strong><em>Blue Air Mail\r\n</em>“Does Mr. C.B. Hogan’s copy of the 1st Am. E [Emma] conform to the Goodspeed, Boolm Cat. No 317, p.4, 1940 description: “Three vols. In 2…Published by M. Cary. 21 Chestnut St. ….Boston 1816.” I – not sure M. Hogan’s article so can’t collate my copy until his description of his E of my 1st edition is bound(?)”\r\n\r\n<strong>November 18, 1969\r\n</strong><em>Gray Apartment Stationary\r\n</em>“I was delighted to know of a 3rd (if imperfect copy of the Philadelphia E turning up. When I first read the description of it in Goodspeeds (I think) 1940 catalogue I thought it was some Bookshop.\r\n#16 went for $1300 to the same buyer\r\n#17 \" \" 550 \" \" \"\r\n#18 $40.00\r\n#19 $35.00\r\n#20 (The companion to the A--) was valued at $1250 00 by the estate and had a reserve price of $550 which was not reached so that the item was withdrawn.”\r\n\r\n<strong>March 11, 1973\r\n</strong><em>Small Note Card\r\n</em>“In looking for something else, I picked out a letter of Dr. R.W. Chapurace to me dated 13.10.51. In it he says “The 1816 Philadelphia Emma was the result of Scott’s Quarterly Review, I guess. One day I looked out [the word looks like “whatelup” but this is impossible!] 2 R 1826 and found that it is of a ‘New Edition’ N.A+P that lso is unrecorded.” I haven’t checked further to see if I, or any one else has these listed, and perhaps, I am first causing you unnecessary trouble or being commonly behind the fair.”\r\n\r\n<strong>December 16, 1973\r\n</strong><em>Gray Apartment Stationary\r\n</em>“The only first in boards which I have which has its labels intact (they match Keynes) is M.P. The E has had the backstrips repaired and the N.A.+P 2 packstrips have crumbled away completely + 2 are very cracked + missing the labels”\r\n\r\n<!--nextpage-->\r\n<h5>Letters from Gilson to Henry Burke (after Alberta falls ill)</h5>\r\n<ul>\r\n	<li>“Small White Paper” 17.9cm tall x 13.7cm wide, blue ink, almost transparent white paper, written on only one side.</li>\r\n	<li>“Blue Air Mail” 30.5 cm tall x 18.1cm wide, folded into a 9.7cm tall x 14.8cm wide envelope, black ink, written completely on first side and on first fourth and last fourth on other side.</li>\r\n</ul>\r\n<strong>June 14th, 1975\r\n</strong><em>Blue Air Mail\r\n</em>“I see that Sotheby’s are selling on 23rd of June “an autograph letter by Jane Austen to her publisher commenting on the review of her novel Emma by Sir Walter Scott”: presumably RWC 127, marked as ‘original not traced’. I suppose the Pierpont Morgan will be bidding for this!”\r\n\r\n<strong>August 3rd, 1975\r\n</strong><em>Small White Paper\r\n</em>“It would be very kind if you could give me the correct address of Goucher College, and also the name of the librarian whom I should contact with any query relating to Alberta’s books (there may be queries over some of the rarer items, especially the 1816 Philadelphia Emma.)”\r\n\r\n<strong>October 16th, 1976\r\n</strong><em>Small White Pape</em><em>r\r\n</em><em>Written on both sides.\r\n</em>“I spent a very interesting morning on 1st September at John Murray in Albemarte Street; they kindly allowed me to see their ledgers, giving the publication costs and other details of the first editions of Emma and Northanger Abbey and Persuasion.”\r\n\r\n<strong>December 26th, 1976\r\n</strong><em>Small White Paper.\r\n</em><em>Written on both sides.\r\n</em>“Miss Jones of Goucher College has very kindly sent me-free of charge- an excellent photograph of the title page of Vol.1 of Alberta’s copy of the 1816 Philadelphia Emma (my reproduction in the Autumn 1969 Book Collector was from a Xerox of Mr. Hogan’s copy; this photograph is much clearer).”\r\n\r\n<strong>March 20th, 1977\r\n</strong><em>Small White Paper\r\n</em><em>Written on both sides.\r\n</em>“Christie’s sold first editions of Emma and of Northanger Abbey and Persuasion on 2nd February- not particularly good copies (from the catalogue descriptions) although with the half-titles in each case; I don’t know who bought them, but they fetched 350 pounds and 230 pounds respectively. I have been given an extremely imperfect copy of the first-edition of Emma, consisting only of Vol.1 (lacking the half-title), and Vol.3 (lacking all before p.19.) It clearly has no commercial value, but still seems worth having.”\r\n\r\n<!--nextpage-->\r\n<h5>Letters Found Inside First Volume of 1816 Philadelphia <em>Emma</em></h5>\r\n<strong>Letter 1\r\n</strong><em>17.6cm tall x 13cm wide, grayish blue stationary with “Heytesbury House, Wiltshire” printed on top, dated “12a.3.41,” hand written in script, black ink.</em>\r\n“Dear Muir,\r\n‘Emma’ returns to you in a twitter of excitement about ‘going to California.’ She is sure that Mr. F. Hogan is a very nice man though she intends to be a bit sharp with him until she has got to know him.\r\nSeriously- I am greatly obliged to you and --- agree to your 15% etc, and my wish you are making a bit more out of it. (G. Keynes will be livid with me, as he would say, he ---- collate it as he wants to write something about it for the ----- which his --- on your ---, isn’t it?) ….\r\nYours, SS (written on top of each other)\r\n\r\n<span id=\"attachment_1316\" style=\"width: 250px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image3_kendall.jpg\"><img class=\"size-medium wp-image-1316\" title=\"goucher_student work image3_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image3_kendall-186x250.jpg\" alt=\"Siegfried Sassoon\'s letter to Percy Muir\" width=\"186\" height=\"250\" /></a> <span class=\"wp-caption-text\">Siegfried Sassoon\'s letter to Percy Muir, antiquarian book dealer, regarding Sassoon\'s sale of the American first edition of <em>Emma</em> (1816) to Frank J. Hogan (dated December 3, 1941). The letter was discovered inside the front cover of the Burke Collection copy.</span></span>\r\n\r\n<strong>Letter 2</strong>\r\n<em>“Antiquarian Booksellers Association” stamp on top left, written March 18, 1941 and received April 17, 1941 (received date written in pencil on top right corner,) stationary is of “Elkin Mathews LTD. Directors: Greville Worthington, Ian L. Fleming, and P.H. Muir,” underneath is typed “Rare Books, Manuscripts, Literary Portraits, Music.”</em>\r\n“Dear Mr. Hogan,\r\nThis is just a brief note formally to announce the fact that “Emma” left here today on her long journey to California. I think it only right and proper that you should have with the book the letter that Sassoon sent me when sending the book to me. My own feeling is that one cannot have too much of this kind of thing in association with books. I think Siegfried Sassoon a great writer and I would be glad to have this letter myself were I buying one of his books, and I have the feeling that you may think that way, too, so I enclose the letter. He was a great friend and admirer of Charlotte Mew’s, by the way, which may help to endear him to you.\r\nWith every good wish and kind regards,\r\nYours very sincerely,\r\nP. H. MuirHand\r\nwritten note (in same green ink as Muir’s signature) written below signature of “P.H Muir”:\r\n“Note the date on SS’s letter, evidently written on 131h”\r\n\r\n<strong>Letter 3</strong>\r\n<em>Yellow paper, green “Elkin Mathews Ltd,” dated May 22, 1945, typed in faded black ink.</em>\r\n“Dear Mrs. Burke,\r\nThank you very much indeed for your letter of May 6th. I congratulate you on getting the “Emma” so cheaply. It is exceedingly rare and Mr. Hogan as very glad to pay 300 dollars for it. I mention the price in dollars because at the time he bought it the 1-pound was below par and fluctuating, so that the price was actually quoted in dollars. I say that the price was set by Mr. Sassoon and not by me, but I saw no reason at the time to take exception to it.\r\nI always have you in mind for any interesting Jane Austen items, which turn up.\r\nYours very sincerely,\r\nP.H. Muir (signed in green ink)\r\n\r\n<!--nextpage-->\r\n<h5>Emma (1st Edition Philadelphia 1816)</h5>\r\n18.3cm tall x 11.1cm (cover)\r\n\r\n<em>Inside Cover</em>\r\ncut and pasted paper of: COUNTESS OF DALHOUSIE, below: maroon and gold sticker of: Ex Libris Frank J. Hogan (around name says: the true university of these days is a collection of books”\r\n\r\n<em>Next Page</em>\r\nwritten by hand in faded pencil: ”Countess of d.- wife of the 9th Earl (1770-1838). Who was Governor of Canada, Nova Scotia, etc. 1819-1828- This explains her owning this edition, which was unknown to G. Keynes when he compiled his Bibliography of Jane Austen, 1929.”\r\nunder this is the paper square for the “Alberta H. Burke”\r\n\r\n<span id=\"attachment_1314\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image1_kendall.jpg\"><img class=\"size-medium wp-image-1314\" title=\"goucher_student work image1_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image1_kendall-147x250.jpg\" alt=\"American first edition of Jane Austen\'s Emma\" width=\"147\" height=\"250\" /></a> <span class=\"wp-caption-text\">Title page of the Burke Collection copy of the American first edition of Jane Austen\'s <em>Emma</em> (1816).</span></span>\r\n\r\n<em>Title Page</em>\r\nEMMA:\r\nA Novel\r\nHere Volumes in Two\r\n(written on side, vertically: A.B. Dallhousie)\r\nBy the Author of “Pride and Prejudice,”\r\n&amp;c. &amp;c.\r\nVol. 1\r\nPHILADELPHIA:\r\nPublished by M.Carey, No. 121 Chesnut Street\r\nAnd for Sale by Wells &amp; Lilly, Boston\r\n1816\r\n\r\n<em>Next Page</em>\r\nTo his Royal Highness\r\nThe Prince Regent, This Work Is, By his Royal Highness’s Permission, Most Respectfully Dedicated, By His Royal Highness’s Dutiful and Obedient Humble Servant, The Author.”\r\n\r\n<em>First Page of Text</em>\r\n18cm tall x 9.8cm wide\r\nA2 at bottom of first page – 8 pages later is “B” (vol.1), 4 pages later “B2”, 8 pages later “C” (vol.1.), 4 pages later “C2”, 8 pages later “D” (vol.1)\r\naverage full page text block: 12.5cm tall x 7.4cm wide\r\n\r\n<!--nextpage-->\r\n<h5>Letters Found Inside Second Volume</h5>\r\n<strong>Letter 1</strong>\r\n<em>21.5cm tall x13.9cm wide, typed: “Charles Sessler Inc.” Established 1882, Bookseller and Printseller 1308 Walnut Street Philadelphia, PA. 19107” stationary</em>\r\n<em> dated April 24, 1967</em>\r\n“Dear Mr. Burke:\r\nIn 1945 we purchased in New York at the sale of the Frank J. Hogan Library, item No. 7, a copy of EMMA, printed in Philadelphia by Carey in 1816.\r\nDo you still have this book and would you be willing to part with it?”\r\nYours Sincerely,\r\nMabel Zahn (signed in ink)\r\nZ.T. in bottom left corner, typed (?)\r\n\r\n<strong>Letter 2</strong>\r\n<em>Typed, same stationary as letter 1</em>\r\n<em> dated May 3, 1967</em>\r\n“Dear Mr. Burke:\r\nThank you so much for your letter of May 1st.\r\nI am glad that you still have the copy of EMMA. Our inquiry was for a bibliographic purpose. Someone who is working on the bibliography has asked us about the copy we sold you and naturally we followed through for him.\r\nWith best wishes,\r\nYours Sincerely,\r\nMabel Zahn\r\n-Z.T. in bottom left corner, typed (?)','How Emma Travels: By Letters, Hands and Libraries','Behind a low glass case in Goucher’s Special Collection Room sits a humble blue book box that holds the first American edition of Jane Austen’s Emma. Valued from nineteen to seventy-five thousand dollars on ABEBooks.com, the edition is unquestionably valuable. But how did this extremely rare copy end up in Goucher’s modest library? In a letter to David Gilson on August 5th, 1967 Alberta Burke revealed that she owned a copy of the 1816 Philadelphia Emma, which formerly belonged to Siegfried Sassoon. The two corresponded from 1967 to 1975 until Alberta fell ill. Throughout this time a steady thread of conversation exists about the Philadelphia Emma.\r\n\r\nAfter seeing the interest that both Alberta Burke and David Gilson had in the first American edition of Emma, perusing the pages and studying the tome in detail was essential to discover first hand the majesty of the volumes.','inherit','open','open','','1300-revision-69','','','2012-11-18 04:32:46','2012-11-18 04:32:46','',1300,'http://www.archivejournal.net/issue/2/uncategorized/1300-revision-69/',0,'revision','',0),(3703,2,'2012-11-29 02:28:18','2012-11-29 02:28:18','Behind a low glass case in Goucher’s Special Collection Room sits a humble blue book box that holds the first American edition of Jane Austen’s <em>Emma</em>. Valued from nineteen to seventy-five thousand dollars on ABEBooks.com, the edition is unquestionably valuable. But how did this extremely rare copy end up in Goucher’s modest library? In a letter to David Gilson on August 5th, 1967 Alberta Burke revealed that she owned a copy of the 1816 Philadelphia Emma, which formerly belonged to Siegfried Sassoon. The two corresponded from 1967 to 1975 until Alberta fell ill. Throughout this time a steady thread of conversation exists about the Philadelphia Emma.\r\n\r\nAfter seeing the interest that both Alberta Burke and David Gilson had in the first American edition of Emma, perusing the pages and studying the tome in detail was essential to discover first hand the majesty of the volumes.\r\n\r\n<span id=\"attachment_1319\" class=\"wp-caption alignright\" style=\"width: 281px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image2_kendall.jpg\"><img class=\"size-medium wp-image-1319  \" title=\"goucher_student work image2_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image2_kendall-281x250.jpg\" alt=\"First Edition of Emma (1816)\" width=\"281\" height=\"250\" /></a> <span class=\"wp-caption-text\">Front pastedown and first flyleaf of the Burke Collection copy of the American first edition of Emma (Philadelphia: M. Carey; for sale by Wells &amp; Lilly, Boston, 1816), with the book plates of the Countess of Dalhousie, Frank J. Hogan, and Alberta H. Burke.</span></span>\r\n\r\nThe inside of the custom-made blue book box is coated with a light perimeter of oil damage. Nancy Magnuson, one of Goucher’s librarians and liaisons for the Special Collections, said that Alberta Burke felt so attached to the books and bindings in her collections that she oiled the leather twice a year, far more then necessary. The first volume’s brown leather is faded and has been repaired after cracking. On the inside cover are two pasted rectangular cutouts. The first, measuring 3.5cm tall and 8cm wide, reads “Countess of Dalhousie” in delicate black print. The mysterious figure of the Countess Dalhousie intrigued both David Gilson and Alberta Burke. In a letter dated August 15th 1967 Burke wrote, “The Countess of Dalhousie’s signature, but no date, is on the title page. I like to think, most romantically, but with no evidence that she purchased it in new york when she was in Canada with her husband who was governor-general there in 1819.”\r\n\r\nFive months later Burke and Gilson are still perplexed by the elusive Countess and her involvement with the edition. On January 12th, 1968 she writes to Gilson hoping to answer the questions he’d had about the 1816 Philadelphia Emma. She notes that over the first half of the page in volume I there is a note in pencil, “not I think in Sasoon’s writing, probably in that of Percy (Mathews) who was the agent who arranged the sale from Mr. Sasoon to Mr. Hogan.” The note, hand-written in pencil that has faded to the extent of being almost translucent, reads “Countess of D- wife to the 9th Earl (1770-1838). Who was Governor of Canada, Nova Scotia, etc 1819-1828- this explains her owning this edition, which was unknown to G. Keynes when he compiled his Bibliography of Jane Austen, 1929.”\r\n\r\n<!--nextpage-->\r\nThese pieces of evidence show that after being published by M. Carey in Philadelphia, this edition left Chesnut Street and most likely traveled into the hands of Lady Dalhousie. “This copy,” Gilson writes in his bibliography of Jane Austen, “was in the present century found in Salisbury by Siegfried Sassoon.”\r\n\r\nIn the same letter dated August 15th, 1967 in which she writes to Gilson about her romantic notion that the Countess of Dalhousie purchased Emma when visiting New York, she alludes to another letter involving Siegfried Sassoon. “You may be amused at a sentence from Siegfried Sassoon’s letter to Mr. Percy Elkin Mathews (who arranged the sale of the other 1816 Emma to Mr. Hogan in 1941. G. Keynes will be livid with me, as he wrote saying he must collate it as he wants to write something bout it for the Times Lit Supplement- which is poaching on your preserves, isn’t it?” She writes specifically to Gilson that, “ this is not for quotation in any article, but solely for your own pleasure.” Alberta Burke must have known this would tickle David Gilson’s fancy. Since Gilson first intended to write his bibliography on Jane Austen as a revised edition Geoffrey Keynes’s 1929 bibliography, he would understand Muir’s frustration with people encroaching on his research topic.\r\n\r\nBetween the letters from Burke and Gilson and the evidence left behind inside Emma, the provenance of this edition is fairly clear. Emma travels from the Philadelphia publisher to the Countess to Siegfried Sassoon. Inside the first volume of the Emma being examined lays a piece of lavender stationary, measuring 17.6cm tall x 13cm wide, folded in half. Opening it reveals that at the top of the stationary is typed “Heytesbury House, Wiltshire” and at the end of the letter is the minute script signature of Siegfried Sassoon.\r\n\r\nThe letter, addressed to Muir, dated March 12th, 1941 is written in Sassoon’s light and witty style. He starts his letter with, “Emma returns to you in a twitter of excitement about going to California. She is sure that Mr. F. Hogan is a very nice man, though she intends to be a bit sharp with him until she gets to know him.” He then jokes with Muir at the expense of Keynes, writing how “G. Keynes will be livid with me, as he wrote saying he must collate it as he wants to write something about it for the Times Lit Supplement- which is poaching on your preserves, isn’t it?”\r\n\r\nIn 1941 Sassoon sold the edition through Elkin Mathews to Frank J. Hogan (Gilson, 100). Under the Countess of Dalhousie’s book label is the red leather label of Frank J. Hogan. Around the name in gold lettering it reads “the true university of these days is a collection of books.”\r\n\r\nIn addition to the lavender letter from Siegfried Sassoon, two additional correspondences hide between the inside cover and the title page. One letter was written to Mr. Hogan from Mr. Muir relating that the 1816 Philadelphia edition of Emma was on its way. The stationary was that of The Antiquarian Booksellers Association, shown by the stamp on the top right corner. Printed at the top is the name “Elkin Mathews LTD” followed by the director’s names: Greville Worthington, Ian L. Fleming, and P. H. Muir. Underneath the names describes the objects in which these men were interested in: “Rare Books, Manuscripts, Literary Portraits, Music.”\r\n\r\n<!--nextpage-->\r\nLetters leading to other letters seems to be a theme when following this first American edition of Emma. In the letter to Mr. Hogan from Mr. Muir, Muir writes how he feels it is important that Mr. Hogan also get, along with the copy of Emma, the letter from Mr. Sassoon (the lavender letter found in the first volume.) “I think it is only right and proper that you should have with the book the letter that Sassoon sent me when sending the book to me. My own feeling is that one cannot have too much of this kind of thing in association with books.” The truth in Muir’s statement could not be more paramount as it relates to this particular edition of Emma. Burke and Gilson’s letter lead to examining the 1816 Philadelphia edition, which hold the additional correspondences from Sassoon and Muir. Being able to handle and analyze one of the three first American editions is a privilege in itself (Gilson, 100). Yet more than just handling the two volumes, I found the circuit of corresponding materials equally intriguing and helpful to track how the book came from Philadelphia, to the Countess Dalhousie, to Siegfried Sassoon to Frank J. Hogan and finally to Alberta Burke.\r\n\r\nThe last letter found inside the first volume relating to Emma’s provenance is from Mr. Muir to Alberta Burke. Muir writes to Alberta on different stationary then when writing to Mr. Hogan, perhaps to add a more personal touch. Typed on yellow paper with the green “Elkin Mathews Ltd” insignia printed at the top, the letter is typed and dated May 22nd, 1945. Mr. Muir writes that Mr. Hogan purchased the first American 1816 Philadelphia edition for Alberta for only 300 dollars. “I congratulate you,” he writes, “on getting it so cheaply. It is exceedingly rare.”\r\n\r\nThe last letter from Alberta Burke to David Gilson is dated February 4th, 1975. After this date the Austen letters continue between Alberta’s husband Henry Burke and David Gilson. After Alberta’s death on May 22nd, 1975 Goucher’s library received her Jane Austen collection. According to Goucher’s pamphlet “Twenty-Five Years of Jane Austen,” Alberta had always intended to donate the collection to Goucher. “From the time when my Jane Austen material first began to overflow the one-shelf bounds assigned to it, I have always intended that Goucher should be the ultimate recipient, and I have hoped that, sometime in the future, others would partake of the very great pleasure which they have given me for many years.”\r\n\r\nWhen David Gilson in 1982 published A Bibliography of Jane Austen he acknowledged his gratitude to Alberta and Henry Burke. Both Alberta Burke and David Gilson benefited from their letters to one another. Alberta Burke, with her deep seeded love and interest in all things Austen, was able to help David Gilson with his mission to track down Austen texts, study and describe them.\r\n<h5>Works Cited</h5>\r\n<div class=\"footnote\">Gilson, David. <em>A Bibliography of Jane Austen</em>. first. Oxford: Clarendon Press, 1982.</div>\r\n<div class=\"footnote\">Austen, Jane. <em>Emma</em>. First. Philadelphia: M.Carey, 1816.</div>\r\n<!--nextpage-->\r\n<h5>Letters From Alberta Burke to David Gilson</h5>\r\n<ul>\r\n	<li>“Apartment Stationary” 18.8 cm tall x 25.9 cm wide, written section is 18.8cm tall x 13.1 cm wide, folded into four quarters for mailing, black ink, cream paper, red print of “Apartment 1318 116 West University Parkway Baltimore, Maryland 21210.” Gray and maroon thin stripe border.</li>\r\n	<li>“Blue Air Mail” 30.5 cm tall x 18.1cm wide, folded into a 9.7cm tall x 14.8cm wide envelope, black ink, written completely on first side and on first fourth and last fourth on other side.</li>\r\n	<li>“Gray Apartment Stationary” 18.8cm tall x 25.9cm wide, written section is 18.8 cm tall x 13.1 cm wide, folded into four quarters for mailing, black ink, cream paper, gray print of “Apartment 1318 116 West University Parkway Baltimore, Maryland 21210.” Gray thin stripe border.</li>\r\n	<li>“Small Note Card” 14cm tall x 8.4cm wide, thicker note-card type cream paper, written only on one side, addressed to “Mr. D.J Gilson, J1 Blenheim Drive Oxford OX2 8DL England” Airmail! is written above the address in red marker. “Burke 1318 Broadview Apts. 116 W. University Parkway Baltimore, Maryland 21210” is typed in upper left corner. Written in blue ink.</li>\r\n</ul>\r\n<strong>August 5, 1967\r\n</strong><em>Apartment Stationary\r\n</em>Tells Mr. Gilson that she has the Frank J. Hogan copy of the 1816 Philadelphia Emma, which formerly belonged to Siegfried Sassoon.\r\n\r\n<strong>August 15, 1967\r\n</strong><em>Apartment Stationary\r\n</em><em>Written in black fountain pen (script writing), fairly uniform line spacing\r\n</em>“You may be amused at a sentence from Siegfried Sassoon’s letter to Mr. Percy Elkin Mathews (who arranged the sale of the other 1816 Emma to Mr. Hogan in 1941. “G. Keynes will be livid with me, as he wrote saying he must collate it as he wants to write something bout it for the Times Lit Supplement—which is poaching on your preserves, isn’t it?” This is not for quotation in any article, but solely for your own pleasure.”\r\n\r\n“Since my copy of the 1816 Philadelphia Emma…her signature, but no date, is on the title page) I like to think, most romantically, but with no evidence, that she purchased it as a new work when she was in Canada with her husband who was governor-general there in 1819.”\r\n\r\n<strong>January 12, 1968\r\n</strong><em>Apartment Stationary\r\n</em>“I hope that I can answer your questions about the Philadelphia 1816 Emma satisfactorily. On inside cover of both volumes is a book place or visiting card (I don’t know which it is) bearing only the engraved words “Coweliers Dalhousie”…no device etc. In the first volume at the left and perpendicular to the lives of priutsey on the title pages is the signature “Cou C Dalhousie” (there is a bit of extra curlicue over the first letter.) However in volume two the signature…is plainly “C B Dalhousie” over the first preliminary half of volume I here is a note in pencil, not I think in Sassoon’s writing, probably in that of Percy (Mathews) who was the agent who arranged the sale from Mr. Sassoon to Mr. Hogan.”\r\n\r\n<strong>June 10, 1969\r\n</strong><em>Blue Air Mail\r\n</em>“Does Mr. C.B. Hogan’s copy of the 1st Am. E [Emma] conform to the Goodspeed, Boolm Cat. No 317, p.4, 1940 description: “Three vols. In 2…Published by M. Cary. 21 Chestnut St. ….Boston 1816.” I – not sure M. Hogan’s article so can’t collate my copy until his description of his E of my 1st edition is bound(?)”\r\n\r\n<strong>November 18, 1969\r\n</strong><em>Gray Apartment Stationary\r\n</em>“I was delighted to know of a 3rd (if imperfect copy of the Philadelphia E turning up. When I first read the description of it in Goodspeeds (I think) 1940 catalogue I thought it was some Bookshop.\r\n#16 went for $1300 to the same buyer\r\n#17 \" \" 550 \" \" \"\r\n#18 $40.00\r\n#19 $35.00\r\n#20 (The companion to the A--) was valued at $1250 00 by the estate and had a reserve price of $550 which was not reached so that the item was withdrawn.”\r\n\r\n<strong>March 11, 1973\r\n</strong><em>Small Note Card\r\n</em>“In looking for something else, I picked out a letter of Dr. R.W. Chapurace to me dated 13.10.51. In it he says “The 1816 Philadelphia Emma was the result of Scott’s Quarterly Review, I guess. One day I looked out [the word looks like “whatelup” but this is impossible!] 2 R 1826 and found that it is of a ‘New Edition’ N.A+P that lso is unrecorded.” I haven’t checked further to see if I, or any one else has these listed, and perhaps, I am first causing you unnecessary trouble or being commonly behind the fair.”\r\n\r\n<strong>December 16, 1973\r\n</strong><em>Gray Apartment Stationary\r\n</em>“The only first in boards which I have which has its labels intact (they match Keynes) is M.P. The E has had the backstrips repaired and the N.A.+P 2 packstrips have crumbled away completely + 2 are very cracked + missing the labels”\r\n\r\n<!--nextpage-->\r\n<h5>Letters from Gilson to Henry Burke (after Alberta falls ill)</h5>\r\n<ul>\r\n	<li>“Small White Paper” 17.9cm tall x 13.7cm wide, blue ink, almost transparent white paper, written on only one side.</li>\r\n	<li>“Blue Air Mail” 30.5 cm tall x 18.1cm wide, folded into a 9.7cm tall x 14.8cm wide envelope, black ink, written completely on first side and on first fourth and last fourth on other side.</li>\r\n</ul>\r\n<strong>June 14th, 1975\r\n</strong><em>Blue Air Mail\r\n</em>“I see that Sotheby’s are selling on 23rd of June “an autograph letter by Jane Austen to her publisher commenting on the review of her novel Emma by Sir Walter Scott”: presumably RWC 127, marked as ‘original not traced’. I suppose the Pierpont Morgan will be bidding for this!”\r\n\r\n<strong>August 3rd, 1975\r\n</strong><em>Small White Paper\r\n</em>“It would be very kind if you could give me the correct address of Goucher College, and also the name of the librarian whom I should contact with any query relating to Alberta’s books (there may be queries over some of the rarer items, especially the 1816 Philadelphia Emma.)”\r\n\r\n<strong>October 16th, 1976\r\n</strong><em>Small White Pape</em><em>r\r\n</em><em>Written on both sides.\r\n</em>“I spent a very interesting morning on 1st September at John Murray in Albemarte Street; they kindly allowed me to see their ledgers, giving the publication costs and other details of the first editions of Emma and Northanger Abbey and Persuasion.”\r\n\r\n<strong>December 26th, 1976\r\n</strong><em>Small White Paper.\r\n</em><em>Written on both sides.\r\n</em>“Miss Jones of Goucher College has very kindly sent me-free of charge- an excellent photograph of the title page of Vol.1 of Alberta’s copy of the 1816 Philadelphia Emma (my reproduction in the Autumn 1969 Book Collector was from a Xerox of Mr. Hogan’s copy; this photograph is much clearer).”\r\n\r\n<strong>March 20th, 1977\r\n</strong><em>Small White Paper\r\n</em><em>Written on both sides.\r\n</em>“Christie’s sold first editions of Emma and of Northanger Abbey and Persuasion on 2nd February- not particularly good copies (from the catalogue descriptions) although with the half-titles in each case; I don’t know who bought them, but they fetched 350 pounds and 230 pounds respectively. I have been given an extremely imperfect copy of the first-edition of Emma, consisting only of Vol.1 (lacking the half-title), and Vol.3 (lacking all before p.19.) It clearly has no commercial value, but still seems worth having.”\r\n\r\n<!--nextpage-->\r\n<h5>Letters Found Inside First Volume of 1816 Philadelphia <em>Emma</em></h5>\r\n<strong>Letter 1\r\n</strong><em>17.6cm tall x 13cm wide, grayish blue stationary with “Heytesbury House, Wiltshire” printed on top, dated “12a.3.41,” hand written in script, black ink.</em>\r\n“Dear Muir,\r\n‘Emma’ returns to you in a twitter of excitement about ‘going to California.’ She is sure that Mr. F. Hogan is a very nice man though she intends to be a bit sharp with him until she has got to know him.\r\nSeriously- I am greatly obliged to you and --- agree to your 15% etc, and my wish you are making a bit more out of it. (G. Keynes will be livid with me, as he would say, he ---- collate it as he wants to write something about it for the ----- which his --- on your ---, isn’t it?) ….\r\nYours, SS (written on top of each other)\r\n\r\n<span id=\"attachment_1316\" style=\"width: 250px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image3_kendall.jpg\"><img class=\"size-medium wp-image-1316\" title=\"goucher_student work image3_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image3_kendall-186x250.jpg\" alt=\"Siegfried Sassoon\'s letter to Percy Muir\" width=\"186\" height=\"250\" /></a> <span class=\"wp-caption-text\">Siegfried Sassoon\'s letter to Percy Muir, antiquarian book dealer, regarding Sassoon\'s sale of the American first edition of <em>Emma</em> (Philadelphia: M. Carey; for sale by Wells &amp; Lilly, Boston, 1816) to Frank J. Hogan (dated December 3, 1941). The letter was discovered inside the front cover of the Burke Collection copy.</span></span>\r\n\r\n<strong>Letter 2</strong>\r\n<em>“Antiquarian Booksellers Association” stamp on top left, written March 18, 1941 and received April 17, 1941 (received date written in pencil on top right corner,) stationary is of “Elkin Mathews LTD. Directors: Greville Worthington, Ian L. Fleming, and P.H. Muir,” underneath is typed “Rare Books, Manuscripts, Literary Portraits, Music.”</em>\r\n“Dear Mr. Hogan,\r\nThis is just a brief note formally to announce the fact that “Emma” left here today on her long journey to California. I think it only right and proper that you should have with the book the letter that Sassoon sent me when sending the book to me. My own feeling is that one cannot have too much of this kind of thing in association with books. I think Siegfried Sassoon a great writer and I would be glad to have this letter myself were I buying one of his books, and I have the feeling that you may think that way, too, so I enclose the letter. He was a great friend and admirer of Charlotte Mew’s, by the way, which may help to endear him to you.\r\nWith every good wish and kind regards,\r\nYours very sincerely,\r\nP. H. MuirHand\r\nwritten note (in same green ink as Muir’s signature) written below signature of “P.H Muir”:\r\n“Note the date on SS’s letter, evidently written on 131h”\r\n\r\n<strong>Letter 3</strong>\r\n<em>Yellow paper, green “Elkin Mathews Ltd,” dated May 22, 1945, typed in faded black ink.</em>\r\n“Dear Mrs. Burke,\r\nThank you very much indeed for your letter of May 6th. I congratulate you on getting the “Emma” so cheaply. It is exceedingly rare and Mr. Hogan as very glad to pay 300 dollars for it. I mention the price in dollars because at the time he bought it the 1-pound was below par and fluctuating, so that the price was actually quoted in dollars. I say that the price was set by Mr. Sassoon and not by me, but I saw no reason at the time to take exception to it.\r\nI always have you in mind for any interesting Jane Austen items, which turn up.\r\nYours very sincerely,\r\nP.H. Muir (signed in green ink)\r\n\r\n<!--nextpage-->\r\n<h5>Emma (1st Edition Philadelphia 1816)</h5>\r\n18.3cm tall x 11.1cm (cover)\r\n\r\n<em>Inside Cover</em>\r\ncut and pasted paper of: COUNTESS OF DALHOUSIE, below: maroon and gold sticker of: Ex Libris Frank J. Hogan (around name says: the true university of these days is a collection of books”\r\n\r\n<em>Next Page</em>\r\nwritten by hand in faded pencil: ”Countess of d.- wife of the 9th Earl (1770-1838). Who was Governor of Canada, Nova Scotia, etc. 1819-1828- This explains her owning this edition, which was unknown to G. Keynes when he compiled his Bibliography of Jane Austen, 1929.”\r\nunder this is the paper square for the “Alberta H. Burke”\r\n\r\n<span id=\"attachment_1314\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image1_kendall.jpg\"><img class=\"size-medium wp-image-1314\" title=\"goucher_student work image1_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image1_kendall-147x250.jpg\" alt=\"American first edition of Jane Austen\'s Emma\" width=\"147\" height=\"250\" /></a> <span class=\"wp-caption-text\">Title page of the Burke Collection copy of the American first edition of Jane Austen\'s <em>Emma</em> (Philadelphia: M. Carey; for sale by Wells &amp; Lilly, Boston, 1816).</span></span>\r\n\r\n<em>Title Page</em>\r\nEMMA:\r\nA Novel\r\nHere Volumes in Two\r\n(written on side, vertically: A.B. Dallhousie)\r\nBy the Author of “Pride and Prejudice,”\r\n&amp;c. &amp;c.\r\nVol. 1\r\nPHILADELPHIA:\r\nPublished by M.Carey, No. 121 Chesnut Street\r\nAnd for Sale by Wells &amp; Lilly, Boston\r\n1816\r\n\r\n<em>Next Page</em>\r\nTo his Royal Highness\r\nThe Prince Regent, This Work Is, By his Royal Highness’s Permission, Most Respectfully Dedicated, By His Royal Highness’s Dutiful and Obedient Humble Servant, The Author.”\r\n\r\n<em>First Page of Text</em>\r\n18cm tall x 9.8cm wide\r\nA2 at bottom of first page – 8 pages later is “B” (vol.1), 4 pages later “B2”, 8 pages later “C” (vol.1.), 4 pages later “C2”, 8 pages later “D” (vol.1)\r\naverage full page text block: 12.5cm tall x 7.4cm wide\r\n\r\n<!--nextpage-->\r\n<h5>Letters Found Inside Second Volume</h5>\r\n<strong>Letter 1</strong>\r\n<em>21.5cm tall x13.9cm wide, typed: “Charles Sessler Inc.” Established 1882, Bookseller and Printseller 1308 Walnut Street Philadelphia, PA. 19107” stationary</em>\r\n<em> dated April 24, 1967</em>\r\n“Dear Mr. Burke:\r\nIn 1945 we purchased in New York at the sale of the Frank J. Hogan Library, item No. 7, a copy of EMMA, printed in Philadelphia by Carey in 1816.\r\nDo you still have this book and would you be willing to part with it?”\r\nYours Sincerely,\r\nMabel Zahn (signed in ink)\r\nZ.T. in bottom left corner, typed (?)\r\n\r\n<strong>Letter 2</strong>\r\n<em>Typed, same stationary as letter 1</em>\r\n<em> dated May 3, 1967</em>\r\n“Dear Mr. Burke:\r\nThank you so much for your letter of May 1st.\r\nI am glad that you still have the copy of EMMA. Our inquiry was for a bibliographic purpose. Someone who is working on the bibliography has asked us about the copy we sold you and naturally we followed through for him.\r\nWith best wishes,\r\nYours Sincerely,\r\nMabel Zahn\r\n-Z.T. in bottom left corner, typed (?)','How Emma Travels: By Letters, Hands and Libraries','Behind a low glass case in Goucher’s Special Collection Room sits a humble blue book box that holds the first American edition of Jane Austen’s Emma. Valued from nineteen to seventy-five thousand dollars on ABEBooks.com, the edition is unquestionably valuable. But how did this extremely rare copy end up in Goucher’s modest library? In a letter to David Gilson on August 5th, 1967 Alberta Burke revealed that she owned a copy of the 1816 Philadelphia Emma, which formerly belonged to Siegfried Sassoon. The two corresponded from 1967 to 1975 until Alberta fell ill. Throughout this time a steady thread of conversation exists about the Philadelphia Emma.\r\n\r\nAfter seeing the interest that both Alberta Burke and David Gilson had in the first American edition of Emma, perusing the pages and studying the tome in detail was essential to discover first hand the majesty of the volumes.','inherit','open','open','','1300-revision-70','','','2012-11-29 02:28:18','2012-11-29 02:28:18','',1300,'http://www.archivejournal.net/issue/2/uncategorized/1300-revision-70/',0,'revision','',0),(3704,2,'2012-11-29 02:31:11','2012-11-29 02:31:11','Behind a low glass case in Goucher’s Special Collection Room sits a humble blue book box that holds the first American edition of Jane Austen’s <em>Emma</em>. Valued from nineteen to seventy-five thousand dollars on ABEBooks.com, the edition is unquestionably valuable. But how did this extremely rare copy end up in Goucher’s modest library? In a letter to David Gilson on August 5th, 1967 Alberta Burke revealed that she owned a copy of the 1816 Philadelphia <em>Emma</em>, which formerly belonged to Siegfried Sassoon. The two corresponded from 1967 to 1975 until Alberta fell ill. Throughout this time a steady thread of conversation exists about the Philadelphia Emma.\r\n\r\nAfter seeing the interest that both Alberta Burke and David Gilson had in the first American edition of Emma, perusing the pages and studying the tome in detail was essential to discover first hand the majesty of the volumes.\r\n\r\n<span id=\"attachment_1319\" class=\"wp-caption alignright\" style=\"width: 281px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image2_kendall.jpg\"><img class=\"size-medium wp-image-1319  \" title=\"goucher_student work image2_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image2_kendall-281x250.jpg\" alt=\"First Edition of Emma (1816)\" width=\"281\" height=\"250\" /></a> <span class=\"wp-caption-text\">Front pastedown and first flyleaf of the Burke Collection copy of the American first edition of Emma (Philadelphia: M. Carey; for sale by Wells &amp; Lilly, Boston, 1816), with the book plates of the Countess of Dalhousie, Frank J. Hogan, and Alberta H. Burke.</span></span>\r\n\r\nThe inside of the custom-made blue book box is coated with a light perimeter of oil damage. Nancy Magnuson, one of Goucher’s librarians and liaisons for the Special Collections, said that Alberta Burke felt so attached to the books and bindings in her collections that she oiled the leather twice a year, far more then necessary. The first volume’s brown leather is faded and has been repaired after cracking. On the inside cover are two pasted rectangular cutouts. The first, measuring 3.5cm tall and 8cm wide, reads “Countess of Dalhousie” in delicate black print. The mysterious figure of the Countess Dalhousie intrigued both David Gilson and Alberta Burke. In a letter dated August 15th 1967 Burke wrote, “The Countess of Dalhousie’s signature, but no date, is on the title page. I like to think, most romantically, but with no evidence that she purchased it in new york when she was in Canada with her husband who was governor-general there in 1819.”\r\n\r\nFive months later Burke and Gilson are still perplexed by the elusive Countess and her involvement with the edition. On January 12th, 1968 she writes to Gilson hoping to answer the questions he’d had about the 1816 Philadelphia Emma. She notes that over the first half of the page in volume I there is a note in pencil, “not I think in Sasoon’s writing, probably in that of Percy (Mathews) who was the agent who arranged the sale from Mr. Sasoon to Mr. Hogan.” The note, hand-written in pencil that has faded to the extent of being almost translucent, reads “Countess of D- wife to the 9th Earl (1770-1838). Who was Governor of Canada, Nova Scotia, etc 1819-1828- this explains her owning this edition, which was unknown to G. Keynes when he compiled his Bibliography of Jane Austen, 1929.”\r\n\r\n<!--nextpage-->\r\nThese pieces of evidence show that after being published by M. Carey in Philadelphia, this edition left Chesnut Street and most likely traveled into the hands of Lady Dalhousie. “This copy,” Gilson writes in his bibliography of Jane Austen, “was in the present century found in Salisbury by Siegfried Sassoon.”\r\n\r\nIn the same letter dated August 15th, 1967 in which she writes to Gilson about her romantic notion that the Countess of Dalhousie purchased Emma when visiting New York, she alludes to another letter involving Siegfried Sassoon. “You may be amused at a sentence from Siegfried Sassoon’s letter to Mr. Percy Elkin Mathews (who arranged the sale of the other 1816 Emma to Mr. Hogan in 1941. G. Keynes will be livid with me, as he wrote saying he must collate it as he wants to write something bout it for the Times Lit Supplement- which is poaching on your preserves, isn’t it?” She writes specifically to Gilson that, “ this is not for quotation in any article, but solely for your own pleasure.” Alberta Burke must have known this would tickle David Gilson’s fancy. Since Gilson first intended to write his bibliography on Jane Austen as a revised edition Geoffrey Keynes’s 1929 bibliography, he would understand Muir’s frustration with people encroaching on his research topic.\r\n\r\nBetween the letters from Burke and Gilson and the evidence left behind inside Emma, the provenance of this edition is fairly clear. Emma travels from the Philadelphia publisher to the Countess to Siegfried Sassoon. Inside the first volume of the Emma being examined lays a piece of lavender stationary, measuring 17.6cm tall x 13cm wide, folded in half. Opening it reveals that at the top of the stationary is typed “Heytesbury House, Wiltshire” and at the end of the letter is the minute script signature of Siegfried Sassoon.\r\n\r\nThe letter, addressed to Muir, dated March 12th, 1941 is written in Sassoon’s light and witty style. He starts his letter with, “Emma returns to you in a twitter of excitement about going to California. She is sure that Mr. F. Hogan is a very nice man, though she intends to be a bit sharp with him until she gets to know him.” He then jokes with Muir at the expense of Keynes, writing how “G. Keynes will be livid with me, as he wrote saying he must collate it as he wants to write something about it for the Times Lit Supplement- which is poaching on your preserves, isn’t it?”\r\n\r\nIn 1941 Sassoon sold the edition through Elkin Mathews to Frank J. Hogan (Gilson, 100). Under the Countess of Dalhousie’s book label is the red leather label of Frank J. Hogan. Around the name in gold lettering it reads “the true university of these days is a collection of books.”\r\n\r\nIn addition to the lavender letter from Siegfried Sassoon, two additional correspondences hide between the inside cover and the title page. One letter was written to Mr. Hogan from Mr. Muir relating that the 1816 Philadelphia edition of Emma was on its way. The stationary was that of The Antiquarian Booksellers Association, shown by the stamp on the top right corner. Printed at the top is the name “Elkin Mathews LTD” followed by the director’s names: Greville Worthington, Ian L. Fleming, and P. H. Muir. Underneath the names describes the objects in which these men were interested in: “Rare Books, Manuscripts, Literary Portraits, Music.”\r\n\r\n<!--nextpage-->\r\nLetters leading to other letters seems to be a theme when following this first American edition of Emma. In the letter to Mr. Hogan from Mr. Muir, Muir writes how he feels it is important that Mr. Hogan also get, along with the copy of Emma, the letter from Mr. Sassoon (the lavender letter found in the first volume.) “I think it is only right and proper that you should have with the book the letter that Sassoon sent me when sending the book to me. My own feeling is that one cannot have too much of this kind of thing in association with books.” The truth in Muir’s statement could not be more paramount as it relates to this particular edition of Emma. Burke and Gilson’s letter lead to examining the 1816 Philadelphia edition, which hold the additional correspondences from Sassoon and Muir. Being able to handle and analyze one of the three first American editions is a privilege in itself (Gilson, 100). Yet more than just handling the two volumes, I found the circuit of corresponding materials equally intriguing and helpful to track how the book came from Philadelphia, to the Countess Dalhousie, to Siegfried Sassoon to Frank J. Hogan and finally to Alberta Burke.\r\n\r\nThe last letter found inside the first volume relating to Emma’s provenance is from Mr. Muir to Alberta Burke. Muir writes to Alberta on different stationary then when writing to Mr. Hogan, perhaps to add a more personal touch. Typed on yellow paper with the green “Elkin Mathews Ltd” insignia printed at the top, the letter is typed and dated May 22nd, 1945. Mr. Muir writes that Mr. Hogan purchased the first American 1816 Philadelphia edition for Alberta for only 300 dollars. “I congratulate you,” he writes, “on getting it so cheaply. It is exceedingly rare.”\r\n\r\nThe last letter from Alberta Burke to David Gilson is dated February 4th, 1975. After this date the Austen letters continue between Alberta’s husband Henry Burke and David Gilson. After Alberta’s death on May 22nd, 1975 Goucher’s library received her Jane Austen collection. According to Goucher’s pamphlet “Twenty-Five Years of Jane Austen,” Alberta had always intended to donate the collection to Goucher. “From the time when my Jane Austen material first began to overflow the one-shelf bounds assigned to it, I have always intended that Goucher should be the ultimate recipient, and I have hoped that, sometime in the future, others would partake of the very great pleasure which they have given me for many years.”\r\n\r\nWhen David Gilson in 1982 published A Bibliography of Jane Austen he acknowledged his gratitude to Alberta and Henry Burke. Both Alberta Burke and David Gilson benefited from their letters to one another. Alberta Burke, with her deep seeded love and interest in all things Austen, was able to help David Gilson with his mission to track down Austen texts, study and describe them.\r\n<h5>Works Cited</h5>\r\n<div class=\"footnote\">Gilson, David. <em>A Bibliography of Jane Austen</em>. first. Oxford: Clarendon Press, 1982.</div>\r\n<div class=\"footnote\">Austen, Jane. <em>Emma</em>. First. Philadelphia: M.Carey, 1816.</div>\r\n<!--nextpage-->\r\n<h5>Letters From Alberta Burke to David Gilson</h5>\r\n<ul>\r\n	<li>“Apartment Stationary” 18.8 cm tall x 25.9 cm wide, written section is 18.8cm tall x 13.1 cm wide, folded into four quarters for mailing, black ink, cream paper, red print of “Apartment 1318 116 West University Parkway Baltimore, Maryland 21210.” Gray and maroon thin stripe border.</li>\r\n	<li>“Blue Air Mail” 30.5 cm tall x 18.1cm wide, folded into a 9.7cm tall x 14.8cm wide envelope, black ink, written completely on first side and on first fourth and last fourth on other side.</li>\r\n	<li>“Gray Apartment Stationary” 18.8cm tall x 25.9cm wide, written section is 18.8 cm tall x 13.1 cm wide, folded into four quarters for mailing, black ink, cream paper, gray print of “Apartment 1318 116 West University Parkway Baltimore, Maryland 21210.” Gray thin stripe border.</li>\r\n	<li>“Small Note Card” 14cm tall x 8.4cm wide, thicker note-card type cream paper, written only on one side, addressed to “Mr. D.J Gilson, J1 Blenheim Drive Oxford OX2 8DL England” Airmail! is written above the address in red marker. “Burke 1318 Broadview Apts. 116 W. University Parkway Baltimore, Maryland 21210” is typed in upper left corner. Written in blue ink.</li>\r\n</ul>\r\n<strong>August 5, 1967\r\n</strong><em>Apartment Stationary\r\n</em>Tells Mr. Gilson that she has the Frank J. Hogan copy of the 1816 Philadelphia Emma, which formerly belonged to Siegfried Sassoon.\r\n\r\n<strong>August 15, 1967\r\n</strong><em>Apartment Stationary\r\n</em><em>Written in black fountain pen (script writing), fairly uniform line spacing\r\n</em>“You may be amused at a sentence from Siegfried Sassoon’s letter to Mr. Percy Elkin Mathews (who arranged the sale of the other 1816 Emma to Mr. Hogan in 1941. “G. Keynes will be livid with me, as he wrote saying he must collate it as he wants to write something bout it for the Times Lit Supplement—which is poaching on your preserves, isn’t it?” This is not for quotation in any article, but solely for your own pleasure.”\r\n\r\n“Since my copy of the 1816 Philadelphia Emma…her signature, but no date, is on the title page) I like to think, most romantically, but with no evidence, that she purchased it as a new work when she was in Canada with her husband who was governor-general there in 1819.”\r\n\r\n<strong>January 12, 1968\r\n</strong><em>Apartment Stationary\r\n</em>“I hope that I can answer your questions about the Philadelphia 1816 Emma satisfactorily. On inside cover of both volumes is a book place or visiting card (I don’t know which it is) bearing only the engraved words “Coweliers Dalhousie”…no device etc. In the first volume at the left and perpendicular to the lives of priutsey on the title pages is the signature “Cou C Dalhousie” (there is a bit of extra curlicue over the first letter.) However in volume two the signature…is plainly “C B Dalhousie” over the first preliminary half of volume I here is a note in pencil, not I think in Sassoon’s writing, probably in that of Percy (Mathews) who was the agent who arranged the sale from Mr. Sassoon to Mr. Hogan.”\r\n\r\n<strong>June 10, 1969\r\n</strong><em>Blue Air Mail\r\n</em>“Does Mr. C.B. Hogan’s copy of the 1st Am. E [Emma] conform to the Goodspeed, Boolm Cat. No 317, p.4, 1940 description: “Three vols. In 2…Published by M. Cary. 21 Chestnut St. ….Boston 1816.” I – not sure M. Hogan’s article so can’t collate my copy until his description of his E of my 1st edition is bound(?)”\r\n\r\n<strong>November 18, 1969\r\n</strong><em>Gray Apartment Stationary\r\n</em>“I was delighted to know of a 3rd (if imperfect copy of the Philadelphia E turning up. When I first read the description of it in Goodspeeds (I think) 1940 catalogue I thought it was some Bookshop.\r\n#16 went for $1300 to the same buyer\r\n#17 \" \" 550 \" \" \"\r\n#18 $40.00\r\n#19 $35.00\r\n#20 (The companion to the A--) was valued at $1250 00 by the estate and had a reserve price of $550 which was not reached so that the item was withdrawn.”\r\n\r\n<strong>March 11, 1973\r\n</strong><em>Small Note Card\r\n</em>“In looking for something else, I picked out a letter of Dr. R.W. Chapurace to me dated 13.10.51. In it he says “The 1816 Philadelphia Emma was the result of Scott’s Quarterly Review, I guess. One day I looked out [the word looks like “whatelup” but this is impossible!] 2 R 1826 and found that it is of a ‘New Edition’ N.A+P that lso is unrecorded.” I haven’t checked further to see if I, or any one else has these listed, and perhaps, I am first causing you unnecessary trouble or being commonly behind the fair.”\r\n\r\n<strong>December 16, 1973\r\n</strong><em>Gray Apartment Stationary\r\n</em>“The only first in boards which I have which has its labels intact (they match Keynes) is M.P. The E has had the backstrips repaired and the N.A.+P 2 packstrips have crumbled away completely + 2 are very cracked + missing the labels”\r\n\r\n<!--nextpage-->\r\n<h5>Letters from Gilson to Henry Burke (after Alberta falls ill)</h5>\r\n<ul>\r\n	<li>“Small White Paper” 17.9cm tall x 13.7cm wide, blue ink, almost transparent white paper, written on only one side.</li>\r\n	<li>“Blue Air Mail” 30.5 cm tall x 18.1cm wide, folded into a 9.7cm tall x 14.8cm wide envelope, black ink, written completely on first side and on first fourth and last fourth on other side.</li>\r\n</ul>\r\n<strong>June 14th, 1975\r\n</strong><em>Blue Air Mail\r\n</em>“I see that Sotheby’s are selling on 23rd of June “an autograph letter by Jane Austen to her publisher commenting on the review of her novel Emma by Sir Walter Scott”: presumably RWC 127, marked as ‘original not traced’. I suppose the Pierpont Morgan will be bidding for this!”\r\n\r\n<strong>August 3rd, 1975\r\n</strong><em>Small White Paper\r\n</em>“It would be very kind if you could give me the correct address of Goucher College, and also the name of the librarian whom I should contact with any query relating to Alberta’s books (there may be queries over some of the rarer items, especially the 1816 Philadelphia Emma.)”\r\n\r\n<strong>October 16th, 1976\r\n</strong><em>Small White Pape</em><em>r\r\n</em><em>Written on both sides.\r\n</em>“I spent a very interesting morning on 1st September at John Murray in Albemarte Street; they kindly allowed me to see their ledgers, giving the publication costs and other details of the first editions of Emma and Northanger Abbey and Persuasion.”\r\n\r\n<strong>December 26th, 1976\r\n</strong><em>Small White Paper.\r\n</em><em>Written on both sides.\r\n</em>“Miss Jones of Goucher College has very kindly sent me-free of charge- an excellent photograph of the title page of Vol.1 of Alberta’s copy of the 1816 Philadelphia Emma (my reproduction in the Autumn 1969 Book Collector was from a Xerox of Mr. Hogan’s copy; this photograph is much clearer).”\r\n\r\n<strong>March 20th, 1977\r\n</strong><em>Small White Paper\r\n</em><em>Written on both sides.\r\n</em>“Christie’s sold first editions of Emma and of Northanger Abbey and Persuasion on 2nd February- not particularly good copies (from the catalogue descriptions) although with the half-titles in each case; I don’t know who bought them, but they fetched 350 pounds and 230 pounds respectively. I have been given an extremely imperfect copy of the first-edition of Emma, consisting only of Vol.1 (lacking the half-title), and Vol.3 (lacking all before p.19.) It clearly has no commercial value, but still seems worth having.”\r\n\r\n<!--nextpage-->\r\n<h5>Letters Found Inside First Volume of 1816 Philadelphia <em>Emma</em></h5>\r\n<strong>Letter 1\r\n</strong><em>17.6cm tall x 13cm wide, grayish blue stationary with “Heytesbury House, Wiltshire” printed on top, dated “12a.3.41,” hand written in script, black ink.</em>\r\n“Dear Muir,\r\n‘Emma’ returns to you in a twitter of excitement about ‘going to California.’ She is sure that Mr. F. Hogan is a very nice man though she intends to be a bit sharp with him until she has got to know him.\r\nSeriously- I am greatly obliged to you and --- agree to your 15% etc, and my wish you are making a bit more out of it. (G. Keynes will be livid with me, as he would say, he ---- collate it as he wants to write something about it for the ----- which his --- on your ---, isn’t it?) ….\r\nYours, SS (written on top of each other)\r\n\r\n<span id=\"attachment_1316\" style=\"width: 250px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image3_kendall.jpg\"><img class=\"size-medium wp-image-1316\" title=\"goucher_student work image3_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image3_kendall-186x250.jpg\" alt=\"Siegfried Sassoon\'s letter to Percy Muir\" width=\"186\" height=\"250\" /></a> <span class=\"wp-caption-text\">Siegfried Sassoon\'s letter to Percy Muir, antiquarian book dealer, regarding Sassoon\'s sale of the American first edition of <em>Emma</em> (Philadelphia: M. Carey; for sale by Wells &amp; Lilly, Boston, 1816) to Frank J. Hogan (dated December 3, 1941). The letter was discovered inside the front cover of the Burke Collection copy.</span></span>\r\n\r\n<strong>Letter 2</strong>\r\n<em>“Antiquarian Booksellers Association” stamp on top left, written March 18, 1941 and received April 17, 1941 (received date written in pencil on top right corner,) stationary is of “Elkin Mathews LTD. Directors: Greville Worthington, Ian L. Fleming, and P.H. Muir,” underneath is typed “Rare Books, Manuscripts, Literary Portraits, Music.”</em>\r\n“Dear Mr. Hogan,\r\nThis is just a brief note formally to announce the fact that “Emma” left here today on her long journey to California. I think it only right and proper that you should have with the book the letter that Sassoon sent me when sending the book to me. My own feeling is that one cannot have too much of this kind of thing in association with books. I think Siegfried Sassoon a great writer and I would be glad to have this letter myself were I buying one of his books, and I have the feeling that you may think that way, too, so I enclose the letter. He was a great friend and admirer of Charlotte Mew’s, by the way, which may help to endear him to you.\r\nWith every good wish and kind regards,\r\nYours very sincerely,\r\nP. H. MuirHand\r\nwritten note (in same green ink as Muir’s signature) written below signature of “P.H Muir”:\r\n“Note the date on SS’s letter, evidently written on 131h”\r\n\r\n<strong>Letter 3</strong>\r\n<em>Yellow paper, green “Elkin Mathews Ltd,” dated May 22, 1945, typed in faded black ink.</em>\r\n“Dear Mrs. Burke,\r\nThank you very much indeed for your letter of May 6th. I congratulate you on getting the “Emma” so cheaply. It is exceedingly rare and Mr. Hogan as very glad to pay 300 dollars for it. I mention the price in dollars because at the time he bought it the 1-pound was below par and fluctuating, so that the price was actually quoted in dollars. I say that the price was set by Mr. Sassoon and not by me, but I saw no reason at the time to take exception to it.\r\nI always have you in mind for any interesting Jane Austen items, which turn up.\r\nYours very sincerely,\r\nP.H. Muir (signed in green ink)\r\n\r\n<!--nextpage-->\r\n<h5>Emma (1st Edition Philadelphia 1816)</h5>\r\n18.3cm tall x 11.1cm (cover)\r\n\r\n<em>Inside Cover</em>\r\ncut and pasted paper of: COUNTESS OF DALHOUSIE, below: maroon and gold sticker of: Ex Libris Frank J. Hogan (around name says: the true university of these days is a collection of books”\r\n\r\n<em>Next Page</em>\r\nwritten by hand in faded pencil: ”Countess of d.- wife of the 9th Earl (1770-1838). Who was Governor of Canada, Nova Scotia, etc. 1819-1828- This explains her owning this edition, which was unknown to G. Keynes when he compiled his Bibliography of Jane Austen, 1929.”\r\nunder this is the paper square for the “Alberta H. Burke”\r\n\r\n<span id=\"attachment_1314\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image1_kendall.jpg\"><img class=\"size-medium wp-image-1314\" title=\"goucher_student work image1_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-work-image1_kendall-147x250.jpg\" alt=\"American first edition of Jane Austen\'s Emma\" width=\"147\" height=\"250\" /></a> <span class=\"wp-caption-text\">Title page of the Burke Collection copy of the American first edition of Jane Austen\'s <em>Emma</em> (Philadelphia: M. Carey; for sale by Wells &amp; Lilly, Boston, 1816).</span></span>\r\n\r\n<em>Title Page</em>\r\nEMMA:\r\nA Novel\r\nHere Volumes in Two\r\n(written on side, vertically: A.B. Dallhousie)\r\nBy the Author of “Pride and Prejudice,”\r\n&amp;c. &amp;c.\r\nVol. 1\r\nPHILADELPHIA:\r\nPublished by M.Carey, No. 121 Chesnut Street\r\nAnd for Sale by Wells &amp; Lilly, Boston\r\n1816\r\n\r\n<em>Next Page</em>\r\nTo his Royal Highness\r\nThe Prince Regent, This Work Is, By his Royal Highness’s Permission, Most Respectfully Dedicated, By His Royal Highness’s Dutiful and Obedient Humble Servant, The Author.”\r\n\r\n<em>First Page of Text</em>\r\n18cm tall x 9.8cm wide\r\nA2 at bottom of first page – 8 pages later is “B” (vol.1), 4 pages later “B2”, 8 pages later “C” (vol.1.), 4 pages later “C2”, 8 pages later “D” (vol.1)\r\naverage full page text block: 12.5cm tall x 7.4cm wide\r\n\r\n<!--nextpage-->\r\n<h5>Letters Found Inside Second Volume</h5>\r\n<strong>Letter 1</strong>\r\n<em>21.5cm tall x13.9cm wide, typed: “Charles Sessler Inc.” Established 1882, Bookseller and Printseller 1308 Walnut Street Philadelphia, PA. 19107” stationary</em>\r\n<em> dated April 24, 1967</em>\r\n“Dear Mr. Burke:\r\nIn 1945 we purchased in New York at the sale of the Frank J. Hogan Library, item No. 7, a copy of EMMA, printed in Philadelphia by Carey in 1816.\r\nDo you still have this book and would you be willing to part with it?”\r\nYours Sincerely,\r\nMabel Zahn (signed in ink)\r\nZ.T. in bottom left corner, typed (?)\r\n\r\n<strong>Letter 2</strong>\r\n<em>Typed, same stationary as letter 1</em>\r\n<em> dated May 3, 1967</em>\r\n“Dear Mr. Burke:\r\nThank you so much for your letter of May 1st.\r\nI am glad that you still have the copy of EMMA. Our inquiry was for a bibliographic purpose. Someone who is working on the bibliography has asked us about the copy we sold you and naturally we followed through for him.\r\nWith best wishes,\r\nYours Sincerely,\r\nMabel Zahn\r\n-Z.T. in bottom left corner, typed (?)','How Emma Travels: By Letters, Hands and Libraries','Behind a low glass case in Goucher’s Special Collection Room sits a humble blue book box that holds the first American edition of Jane Austen’s Emma. Valued from nineteen to seventy-five thousand dollars on ABEBooks.com, the edition is unquestionably valuable. But how did this extremely rare copy end up in Goucher’s modest library? In a letter to David Gilson on August 5th, 1967 Alberta Burke revealed that she owned a copy of the 1816 Philadelphia Emma, which formerly belonged to Siegfried Sassoon. The two corresponded from 1967 to 1975 until Alberta fell ill. Throughout this time a steady thread of conversation exists about the Philadelphia Emma.\r\n\r\nAfter seeing the interest that both Alberta Burke and David Gilson had in the first American edition of Emma, perusing the pages and studying the tome in detail was essential to discover first hand the majesty of the volumes.','inherit','open','open','','1300-revision-71','','','2012-11-29 02:31:11','2012-11-29 02:31:11','',1300,'http://www.archivejournal.net/issue/2/uncategorized/1300-revision-71/',0,'revision','',0),(3705,2,'2012-10-15 23:06:48','2012-10-15 23:06:48','<h4>Saunders worked on this image for the Southeast Tennessee Digital Archive (SETDA).<h4>\r\n\r\n&nbsp;\r\n\r\n<img class=\"size-full wp-image-1368\" title=\"cscc_student work_sample material\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-work_sample-material.jpg\" alt=\"Image of James A. Bible (c. 1860) from the Ramsey Family Papers (MS 81).\" width=\"386\" height=\"640\" />\r\n<span class=\"caption\">Image of James A. Bible (c. 1860) from the Ramsey Family Papers (MS 81). Used by permission of Cleveland Public Library.</span>','History Lab: Combining Service Learning, Research Methods, and Digital Archives ','This case study features the work of a student who took History Lab, an introductory history and service-learning course at Cleveland State Community College (CSCC). He researched individual items from a local cultural heritage organization that were then digitized, described, and published online in the <a href=\"http://www.clevelandstatecc.edu/setda/\" target=\"_blank\">Southeast Tennessee Digital Archive</a> (SETDA). Matthew Saunders\' work ended up in the Southeast Tennessee Digital Archive. You can find the whole archive <a href=\"http://www.clevelandstatecc.edu/setda/\" target=\"_blank\">here</a>, and the items Saunders contributed <a href=\"http://csccdigital.cdmhost.com/cdm/singleitem/collection/p4024coll8/id/216\" target=\"_blank\">here</a>.','inherit','open','open','','1018-revision-37','','','2012-10-15 23:06:48','2012-10-15 23:06:48','',1018,'http://www.archivejournal.net/issue/2/uncategorized/1018-revision-37/',0,'revision','',0),(3763,10,'2012-11-28 23:20:10','2012-11-28 23:20:10','','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-revision-63','','','2012-11-28 23:20:10','2012-11-28 23:20:10','',1121,'http://www.archivejournal.net/issue/2/uncategorized/1121-revision-63/',0,'revision','',0),(3706,2,'2012-11-02 22:35:08','2012-11-02 22:35:08','<a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-action-photo_saunders.jpg\"><img class=\"size-medium wp-image-1367 \" title=\"cscc_student action photo_saunders\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-action-photo_saunders-333x250.jpg\" alt=\"Matthew Saunders exploring the Ramsey Family Papers at the Cleveland Bradley County Library History Branch.\" width=\"333\" height=\"250\" /></a>\r\n\r\nI was one of the first students to take the History Laboratory class at Cleveland State Community College (CSCC). My previous experience during an extra-credit activity in a traditional history course initially sparked my interest. During an American history survey course, Mr. Reed, the CSCC instructor who founded the Southeast Tennessee Digital Archive (SETDA), offered students a chance to digitize historical photographs. He demonstrated how to research a photograph\'s history, starting with the limited information written on the back and clues within the picture itself. I was eager to enroll in a course that was dedicated to digitizing historical photographs.\r\n\r\nFew history majors would turn down the opportunity to go beyond lecture courses and work directly with historical documents, but I never expected a two-year college to offer me this opportunity. The History Laboratory allowed me to gain hands-on experience preserving important records of local history. Moreover, the History Lab transformed how I research. I had to learn to use a library because the most relevant research material was not accessible online. It took a while to get into the groove of picking up a book and reading through the text as opposed to using a search engine to gather information. Using physical books to research is an invaluable experience that I will take with me throughout my future courses and career.\r\n\r\nAnother new experience was the archiving section of the class, in which we digitized photographs and organized the research in a way that would be coherent on the SETDA website. As students, we are accustomed to elaborating and expanding upon our research to produce an essay. The archiving section of the course, instead, forced me to condense my findings into a few concise sentences. The term “metadata” was foreign to me before this class, so working my research into that format was not the easiest task. Entering metadata into ContentDM was a challenge. Nevertheless, this exercise has helped me to convey my thoughts more clearly in other classes.\r\n\r\nOverall, the History Laboratory was a great experience. I had wanted to add some constructive criticism, but after reflecting on my experience I cannot think of any suggestions. The instructors were terrific and the course of study was refreshing. I would recommend this course to history students or any student who is searching for an experience that goes beyond a classroom lecture.','Matthew E. Saunders - Commentary','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.','inherit','open','open','','1040-revision-21','','','2012-11-02 22:35:08','2012-11-02 22:35:08','',1040,'http://www.archivejournal.net/issue/2/uncategorized/1040-revision-21/',0,'revision','',0),(3707,2,'2012-10-15 23:06:48','2012-10-15 23:06:48','<center><strong>HIST 2802 – HISTORY LABORATORY</strong>\r\nSpring 2011\r\n1 semester-hour credit\r\nIndependent Study/Service-Learning Experience</center>&nbsp;\r\n\r\n<strong>INSTRUCTORS</strong>\r\n\r\nSarah Copeland, Records Catalog Coordinator\r\nBryan Reed, Associate Professor of History\r\n\r\n<strong>COURSE DESCRIPTION</strong>\r\n\r\nThis course allows students to be involved in a service learning experience at an area museum, archive, historical society, or other historical collection. The course is designed to expose students to the practice of researching, digitizing, and preserving historical artifacts. Students will complete 20 hours of service during the semester. (Co-requisite: HIST 2010, 2020, or 2030)\r\n\r\n<strong>LEARNING OUTCOMES</strong>\r\n<ol>\r\n	<li>demonstrate appropriate handling of unique historical materials</li>\r\n	<li>describe the public role of institutions charged with preserving historical materials</li>\r\n	<li>create digital versions of historical documents using best practices</li>\r\n	<li>describe digitized documents using the Dublin Core metadata scheme</li>\r\n	<li>publish newly digitized materials to the Southeast Tennessee Digital Archive (SETDA) using CONTENTdm, a tool for managing digital collections and publishing them on the world wide web</li>\r\n	<li>demonstrate critical thinking and reasoning</li>\r\n</ol>\r\n<strong>REFERENCED READINGS/RESOURCES</strong>\r\n<ol>\r\n	<li>“Digital Imaging Tutorial,” Cornell University Library, http://www.library.cornell.edu/preservation/tutorial/contents.html</li>\r\n	<li>“Digital Preservation Management Tutorial,” Cornell University and the National Endowment for the Humanities, http://www.icpsr.umich.edu/dpm/dpm-eng/eng_index.html</li>\r\n	<li>“Digital Best Practices,” Washington State Library, http://digitalwa.statelib.wa.gov/newsite/best.htm</li>\r\n</ol>\r\n<strong>WHAT COUNTS TOWARD MY 20 “SERVICE LEARNING” HOURS?</strong>\r\n\r\nThere are four tasks that you will undertake in this course: (1) scanning documents, (2) researching the background of those documents, (3) turning your research into “description,” and (4) uploading your documents and description to the CONTENTdm database. Tasks 1 and 2 will count toward your 20 service learning hours. Tasks 3 and 4 are your homework.\r\n\r\n<strong>ASSESSMENTS</strong>\r\n\r\nLearning outcomes will be assessed through the following tools:\r\nStudent’s notebook (journal/log) = 100 points\r\nInstructor’s evaluation of research = 100 points\r\nOn-site supervisor’s evaluation = 100 points\r\nDigital submissions to SETDA = 100 points\r\n\r\nThere are 400 points possible in this course based upon the assessment tools. The grading scale is\r\nA = 360-400 points\r\nB = 320-359 points\r\nC = 280-319 points\r\nD = 240-279 points\r\nF = below 240 points\r\n\r\n<strong>JOURNAL/LOG</strong>\r\n\r\nStudents are required to maintain a notebook where they will log their scanning and research sessions and reflect on their service-learning experience. The notebook should also be used to keep research notes. Notebooks must be brought to every service learning session; entries must be recorded for the session attended. Each entry should include the date and time of both arrival and departure, followed by a thoughtful reflection of your experience. The following questions can help guide your journaling:\r\n<ul>\r\n	<li>How does what you are doing compare to your prior expectations?</li>\r\n	<li>What is the historical significance of the artifacts processed? How are they useful in our understanding of the past?</li>\r\n	<li>How does your work contribute to the institution where you are completing your service-learning hours? How does your work impact the community?</li>\r\n</ul>\r\nNotebooks will be collected for examination periodically during the semester. Students may elect to produce a blog with approval of the instructor at the beginning of the course.\r\n\r\n<strong>ON-SITE SUPERVISOR EVALUATION</strong>\r\n\r\nYour supervisor at the institution where you complete your service learning hours will submit an evaluation at the end of the semester. This evaluation will measure your performance in the following areas: professional conduct, quality of work, and contributive effort.\r\n\r\n<strong>DIGITAL SUBMISSIONS</strong>\r\n\r\nStudents will submit digitized images and descriptive metadata for publication in the Southeast Tennessee Digital Archive. These will be evaluated by the instructors before publication online, and students will receive feedback throughout the course as they contribute digital items. Students will identify the five digital submissions that represent their best work. Ms. Copeland will assess these five submissions according to the archival standards and preservation procedures covered in this class. (The same 5 submissions will be reviewed by Professor Reed for the quality of background research, as described below.) Each digital submission is worth 20 points and will be evaluated for digitization quality, descriptive accuracy, correct application of the tools in CONTENTdm, spelling and grammar.\r\n\r\n<strong>INSTRUCTOR EVALUATION</strong>\r\n\r\nProfessor Reed will evaluate the quality of your research at the end of the semester. This evaluation will be based on the five digital submissions that represent your best work. (The same 5 submissions will be reviewed by Ms. Copeland, as described above.) Each digital submission is worth 20 points and will be evaluated for quality and integration of source material, historical interpretation, descriptive accuracy, and spelling/grammar.\r\n\r\n<strong>ATTENDANCE</strong>\r\n\r\nEach student is expected to attend and be on time for each training and service learning session. Because of the nature of this course, attendance is critical 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.','CSCC - Project Syllabus','','inherit','open','open','','1031-revision-17','','','2012-10-15 23:06:48','2012-10-15 23:06:48','',1031,'http://www.archivejournal.net/issue/2/uncategorized/1031-revision-17/',0,'revision','',0),(3708,2,'2012-11-02 22:35:34','2012-11-02 22:35:34','Cleveland State Community College (CSCC), a small two-year college in southeast Tennessee, offers freshman and sophomore students a service-learning course as an introduction to research in archives. In this course, the History Laboratory students assist local cultural heritage institutions with digitizing collections and publishing them on the web. As of spring 2012, students have completed service-learning hours at the Cleveland Bradley County Public Library History Branch, the Museum Center at 5ive Points, and the Polk County Historical and Genealogical Society Library. These local archives and museums benefit from increased access to their collections, while CSCC history students gain experience with handling and researching primary sources.\r\n\r\nSeveral developments led the Department of History and the Library to collaborate on the creation of the History Laboratory. The college’s administrators recently encouraged instructors of every discipline, including the humanities, to develop content-appropriate service-learning courses to promote student engagement. Moreover, the history curriculum at CSCC emphasizes the central role of primary sources in historical analysis, even in research projects assigned in introductory courses. A history instructor, Bryan Reed, realized that his students could access a rich learning experience if they contributed to a regional digitization project, the <a href=\" http://www.clevelandstatecc.edu/setda/\">Southeast Tennessee Digital Archive</a>. Thus, Reed and I developed a service-learning history course where students assist local archives, museums, and historical societies that lack staff to digitize their collections.\r\n\r\nAs the primary instructor, I oversee the classroom content of the course, which is informed by my training in both history and information science (MA, History; MS, Information Science). The historian’s need to understand primary sources, where they are found, and how they are curated shapes the goal of the course. Information science, including the philosophy of archives, digitization, and creating metadata, shapes the course activities. Reed serves as the local history expert, assisting students with research in obscure local publications.\r\n\r\nBecause the History Laboratory’s target audience is freshman and sophomore history majors, the course is very basic. The primary goal is to expose students to the cultural heritage institution’s role as curator of artifacts. At the archive I introduce students to the archivist, collections, finding aids, and additional tools for discovering information about a collection. After this introduction to cultural heritage institutions, we discuss the historian’s role as interpreter of artifacts. This discussion is often the students’ initiation to the “historian’s craft”: assembling a narrative, interpreting facts, and determining significance.\r\n\r\nThe learning outcomes for the History Laboratory are similarly basic. By the end of the course, we expect students to demonstrate appropriate handling of unique historical materials, to create digital surrogates of assigned primary documents, to research these primary documents using relevant resources (in paper and electronic formats), and to organize and present their findings in the Southeast Tennessee Digital Archive (SETDA) using a simple content management system (CONTENTdm). The last learning outcome, creating and entering metadata, may seem out of place in a history course. Nevertheless, we felt it was essential for students to complete this step; it gives them the opportunity to digest their research, consider their audience, and share their findings. This process empowers students to take on the role of expert.\r\n\r\nAfter two pilot semesters, the History Laboratory is now an officially sanctioned course in the history curriculum at Cleveland State Community College. Former students have indicated that the course was a valuable first introduction to archives and their importance to historical research. In the future, we look forward to requiring this service-learning experience for all CSCC history majors. Although we believe that the History Laboratory offers an unparalleled initiation to archival research, we look forward to hearing whether our graduates’ experiences remain relevant as they continue their academic careers.','Sarah Shippy Copeland - Commentary','Cleveland State Community College (CSCC), a small two-year college in southeast Tennessee, offers freshman and sophomore students a service-learning course as an introduction to research in archives. In this course, the History Laboratory students assist local cultural heritage institutions with digitizing collections and publishing them on the web. As of spring 2012, students have completed service-learning hours at the Cleveland Bradley County Public Library History Branch, the Museum Center at 5ive Points, and the Polk County Historical and Genealogical Society Library. These local archives and museums benefit from increased access to their collections, while CSCC history students gain experience with handling and researching primary sources.','inherit','open','open','','1027-revision-15','','','2012-11-02 22:35:34','2012-11-02 22:35:34','',1027,'http://www.archivejournal.net/issue/2/uncategorized/1027-revision-15/',0,'revision','',0),(3709,2,'2012-11-29 03:07:41','2012-11-29 03:07:41','Cleveland State Community College (CSCC), a small two-year college in southeast Tennessee, offers freshman and sophomore students a service-learning course as an introduction to research in archives. In this course, the History Laboratory students assist local cultural heritage institutions with digitizing collections and publishing them on the web. As of spring 2012, students have completed service-learning hours at the Cleveland Bradley County Public Library History Branch, the Museum Center at 5ive Points, and the Polk County Historical and Genealogical Society Library. These local archives and museums benefit from increased access to their collections, while CSCC history students gain experience with handling and researching primary sources.\r\n\r\nSeveral developments led the Department of History and the Library to collaborate on the creation of the History Laboratory. The college’s administrators recently encouraged instructors of every discipline, including the humanities, to develop content-appropriate service-learning courses to promote student engagement. Moreover, the history curriculum at CSCC emphasizes the central role of primary sources in historical analysis, even in research projects assigned in introductory courses. A history instructor, Bryan Reed, realized that his students could access a rich learning experience if they contributed to a regional digitization project, the <a href=\" http://www.clevelandstatecc.edu/setda/\">Southeast Tennessee Digital Archive</a>. Thus, Reed and I developed a service-learning history course where students assist local archives, museums, and historical societies that lack staff to digitize their collections.\r\n\r\nAs the primary instructor, I oversee the classroom content of the course, which is informed by my training in both history and information science (MA, History; MS, Information Science). The historian’s need to understand primary sources, where they are found and how they are curated, shapes the goal of the course. Information science, including the philosophy of archives, digitization, and creating metadata, shapes the course activities. Reed serves as the local history expert, assisting students with research in obscure local publications.\r\n\r\nBecause the History Laboratory’s target audience is freshman and sophomore history majors, the course is very basic. The primary goal is to expose students to the cultural heritage institution’s role as curator of artifacts. At the archive I introduce students to the archivist, collections, finding aids, and additional tools for discovering information about a collection. After this introduction to cultural heritage institutions, we discuss the historian’s role as interpreter of artifacts. This discussion is often the students’ initiation to the “historian’s craft”: assembling a narrative, interpreting facts, and determining significance.\r\n\r\nThe learning outcomes for the History Laboratory are similarly basic. By the end of the course, we expect students to demonstrate appropriate handling of unique historical materials, to create digital surrogates of assigned primary documents, to research these primary documents using relevant resources (in paper and electronic formats), and to organize and present their findings in the Southeast Tennessee Digital Archive (SETDA) using a simple content management system (CONTENTdm). The last learning outcome, creating and entering metadata, may seem out of place in a history course. Nevertheless, we felt it was essential for students to complete this step; it gives them the opportunity to digest their research, consider their audience, and share their findings. This process empowers students to take on the role of expert.\r\n\r\nAfter two pilot semesters, the History Laboratory is now an officially sanctioned course in the history curriculum at Cleveland State Community College. Former students have indicated that the course was a valuable first introduction to archives and their importance to historical research. In the future, we look forward to requiring this service-learning experience for all CSCC history majors. Although we believe that the History Laboratory offers an unparalleled initiation to archival research, we look forward to hearing whether our graduates’ experiences remain relevant as they continue their academic careers.','Sarah Shippy Copeland - Commentary','Cleveland State Community College (CSCC), a small two-year college in southeast Tennessee, offers freshman and sophomore students a service-learning course as an introduction to research in archives. In this course, the History Laboratory students assist local cultural heritage institutions with digitizing collections and publishing them on the web. As of spring 2012, students have completed service-learning hours at the Cleveland Bradley County Public Library History Branch, the Museum Center at 5ive Points, and the Polk County Historical and Genealogical Society Library. These local archives and museums benefit from increased access to their collections, while CSCC history students gain experience with handling and researching primary sources.','inherit','open','open','','1027-revision-16','','','2012-11-29 03:07:41','2012-11-29 03:07:41','',1027,'http://www.archivejournal.net/issue/2/uncategorized/1027-revision-16/',0,'revision','',0),(3710,2,'2012-10-15 23:06:48','2012-10-15 23:06:48','<ol>\r\n  <li><strong>How many students worked at the History Branch and Archives of the Cleveland Bradley County Library?</strong>Two students worked at the History Branch one evening a week for a set number of weeks.</li>\r\n  <li><strong>Will you work with History Lab students again?</strong><br />\r\n    Certainly. The students were polite, reliable, diligent in their work, and followed directions with little supervision.</li>\r\n  <li><strong>What did you find most productive or enjoyable about the process of working with the students?</strong><br />\r\n    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.</li>\r\n  <li><strong>How has the students’ work impacted the History Branch and its collections?</strong>\r\n    <ul>\r\n      <li>The additional research done by the students will be available to all of the library’s patrons.</li>\r\n      <li>Students have given presentations on their research to the Bradley County Historical and Genealogical Society.</li>\r\n      <li>Observing the students as they worked with the photograph collection helped me to be more aware of the type of material that captures a new researcher’s attention.</li>\r\n    </ul>\r\n  </li>\r\n</ol>\r\n','Barbara Fagen - Commentary','','inherit','open','open','','1020-revision-15','','','2012-10-15 23:06:48','2012-10-15 23:06:48','',1020,'http://www.archivejournal.net/issue/2/uncategorized/1020-revision-15/',0,'revision','',0),(3712,2,'2012-10-15 23:06:48','2012-10-15 23:06:48','<a href=\"http://projectgado.org/\"><img class=\"size-full wp-image-1258\" title=\"jhu_student project photo 1_gado\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_student-project-photo-1_gado.jpg\" alt=\"The Gado 2 Robotic Scanner scanning photos at the Afro-American Newspapers archive.\" width=\"638\" height=\"478\" /></a> <span class=\"caption\">The Gado 2 Robotic Scanner scanning photos at the <em>Afro-American Newspapers</em> archive.</span>\r\n\r\n<a href=\"http://eboh.jhu.edu/oralhistoryplayer\"><img class=\" wp-image-2451\" style=\"margin-top: 30px;\" title=\"jhu_student project photo 2_eboh\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/09/jhu_student-project-photo-2_eboh.jpg\" alt=\"The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.\" width=\"630\" /></a> <span class=\"caption\">The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.</span>','Student-Built Archival Tools','This case study focuses on 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.','inherit','open','open','','1057-revision-41','','','2012-10-15 23:06:48','2012-10-15 23:06:48','',1057,'http://www.archivejournal.net/issue/2/uncategorized/1057-revision-41/',0,'revision','',0),(3713,2,'2012-10-15 23:06:47','2012-10-15 23:06:47','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>. 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-revision-23','','','2012-10-15 23:06:47','2012-10-15 23:06:47','',1064,'http://www.archivejournal.net/issue/2/uncategorized/1064-revision-23/',0,'revision','',0),(3720,2,'2012-11-29 03:46:23','2012-11-29 03:46:23','The student work for this case study is two archival tools designed by Tom Smith:  a low-cost robotic scanner for paper-based materials and a web application for an oral history archive.  Click on the images below to learn more about these tools.\r\n\r\n<a href=\"http://projectgado.org/\"><img class=\"size-full wp-image-1258\" title=\"jhu_student project photo 1_gado\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_student-project-photo-1_gado.jpg\" alt=\"The Gado 2 Robotic Scanner scanning photos at the Afro-American Newspapers archive.\" width=\"638\" height=\"478\" /></a> <span class=\"caption\">The Gado 2 Robotic Scanner scanning photos at the <em>Afro-American Newspapers</em> archive.</span>\r\n\r\n<a href=\"http://eboh.jhu.edu/oralhistoryplayer\"><img class=\" wp-image-2451\" style=\"margin-top: 30px;\" title=\"jhu_student project photo 2_eboh\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/09/jhu_student-project-photo-2_eboh.jpg\" alt=\"The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.\" width=\"630\" /></a> <span class=\"caption\">The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.</span>','Student-Built Archival Tools','This case study focuses on 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.','inherit','open','open','','1057-revision-44','','','2012-11-29 03:46:23','2012-11-29 03:46:23','',1057,'http://www.archivejournal.net/issue/2/uncategorized/1057-revision-44/',0,'revision','',0),(3714,2,'2012-11-02 22:32:59','2012-11-02 22:32:59','<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.\r\n\r\nDuring Power of Place I helped produce several oral histories. As interviews flowed in, however, I began to see a problem. Each interview was around two hours long and included a full transcript. From my class alone, the project would amass nearly thirty hours of audio and several hundred pages of text. Making use of those materials would be tough. As a software developer, I saw a solution. I imagined a tool that could link transcripts with audio, allow people to tag important areas within interviews, and make all the EBOH materials searchable. With support from the university, I spent the next year working with Professor Shell-Weiss to make my idea into a working web application.\r\n\r\nWhile working on EBOH, I started visiting archives. I could find few digital images of East Baltimore, and I wanted to know why. On a trip to the <em>Afro-American Newspapers</em> with Moira Hinderer, I found a plethora of visual materials. Very few, however, had been digitized. The main factor was cost; resources to manually digitize the <em>Afro</em> collection simply were not available. Again, I saw a technical solution: I would build a robot. I proposed creating an automatic scanner that could lift and digitize the <em>Afro</em>’s sensitive artifacts, all for less than $500. No one at JHU thought it would happen. Luckily, Professor Shell-Weiss managed to raise some funds, and I spent a summer prototyping. The result was the Gado 1, a proof-of-concept that would later scan over 1,000 images at the <em>Afro</em>. The price tag was $496.\r\n\r\nAfter graduating from JHU in May 2011, I wanted to continue refining my technology. With support from the JHU Sheridan Libraries and the Abell Foundation (a regional grantsmaker), I secured enough funding to work on my project full time. In December 2011, I completed the Gado 2, a second-generation machine that dramatically outpaces the original. Since testing began, my machine has digitized over 3,000 artifacts at the <em>Afro</em>, at a tiny fraction of the cost of manual scanning. In February 2012, we made these images available to the general public and launched GadoImages.com to distribute them to paying licensors. I believe Gado has the potential to dramatically alter the economics of archival digitization. I would never be at this point without that first push to step outside the classroom and start thinking in broader terms.','Tom Smith - 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-revision-20','','','2012-11-02 22:32:59','2012-11-02 22:32:59','',1059,'http://www.archivejournal.net/issue/2/uncategorized/1059-revision-20/',0,'revision','',0),(3715,2,'2012-11-29 03:15:34','2012-11-29 03:15:34','<a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-action-photo_saunders.jpg\"><img class=\"size-medium wp-image-1367 \" title=\"cscc_student action photo_saunders\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-action-photo_saunders-333x250.jpg\" alt=\"Matthew Saunders exploring the Ramsey Family Papers at the Cleveland Bradley County Library History Branch.\" width=\"333\" height=\"250\" /></a>\r\n\r\nI was one of the first students to take the History Laboratory class at Cleveland State Community College (CSCC). My previous experience during an extra-credit activity in a traditional history course initially sparked my interest. During an American history survey course, Mr. Reed, the CSCC instructor who founded the Southeast Tennessee Digital Archive (SETDA), offered students a chance to digitize historical photographs. He demonstrated how to research a photograph\'s history, starting with the limited information written on the back and clues within the picture itself. I was eager to enroll in a course that was dedicated to digitizing historical photographs.\r\n\r\nFew history majors would turn down the opportunity to go beyond lecture courses and work directly with historical documents, but I never expected a two-year college to offer me this opportunity. The History Laboratory allowed me to gain hands-on experience preserving important records of local history. Moreover, the History Lab transformed how I research. I had to learn to use a library because the most relevant research material was not accessible online. It took a while to get into the groove of picking up a book and reading through the text as opposed to using a search engine to gather information. Using physical books to research is an invaluable experience that I will take with me throughout my future courses and career.\r\n\r\nAnother new experience was the archiving section of the class, in which we digitized photographs and organized the research in a way that would be coherent on the SETDA website. As students, we are accustomed to elaborating and expanding upon our research to produce an essay. The archiving section of the course, instead, forced me to condense my findings into a few concise sentences. The term “metadata” was foreign to me before this class, so working my research into that format was not the easiest task. Entering metadata into ContentDM was a challenge. Nevertheless, this exercise has helped me to convey my thoughts more clearly in other classes.\r\n\r\nOverall, the History Laboratory was a great experience. I had wanted to add some constructive criticism, but after reflecting on my experience I cannot think of any suggestions. The instructors were terrific and the course of study was refreshing. I would recommend this course to history students or any student who is searching for an experience that goes beyond a classroom lecture.','Matthew E. Saunders - Commentary','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.','inherit','open','open','','1040-revision-23','','','2012-11-29 03:15:34','2012-11-29 03:15:34','',1040,'http://www.archivejournal.net/issue/2/uncategorized/1040-revision-23/',0,'revision','',0),(3716,2,'2012-10-15 23:06:48','2012-10-15 23:06:48','<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 the project manager for the Diaspora Pathways Archival Access Project (DPAAP), a partnership between Johns Hopkins University and the <em>Afro-American Newspapers</em> 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 <em>Afro</em> 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 Oral 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: they are too removed from the life of the city, and they 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 Johns Hopkins University 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 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 of this diverse archive. 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 twenty-first-century humanities scholars.','Moira Hinderer - Commentary','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 the 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. ','inherit','open','open','','1062-revision-18','','','2012-10-15 23:06:48','2012-10-15 23:06:48','',1062,'http://www.archivejournal.net/issue/2/uncategorized/1062-revision-18/',0,'revision','',0),(3717,2,'2012-11-29 03:22:38','2012-11-29 03:22:38','<a href=\"http://projectgado.org/\"><img class=\"size-full wp-image-1258\" title=\"jhu_student project photo 1_gado\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_student-project-photo-1_gado.jpg\" alt=\"The Gado 2 Robotic Scanner scanning photos at the Afro-American Newspapers archive.\" width=\"638\" height=\"478\" /></a> <span class=\"caption\">The Gado 2 Robotic Scanner scanning photos at the <em>Afro-American Newspapers</em> archive.</span>\r\n\r\n<a href=\"http://eboh.jhu.edu/oralhistoryplayer\"><img class=\" wp-image-2451\" style=\"margin-top: 30px;\" title=\"jhu_student project photo 2_eboh\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/09/jhu_student-project-photo-2_eboh.jpg\" alt=\"The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.\" width=\"630\" /></a> <span class=\"caption\">The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.</span>','Student-Built Archival Tools','This case study focuses on 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.','inherit','open','open','','1057-revision-42','','','2012-11-29 03:22:38','2012-11-29 03:22:38','',1057,'http://www.archivejournal.net/issue/2/uncategorized/1057-revision-42/',0,'revision','',0),(3718,2,'2012-11-29 03:45:54','2012-11-29 03:45:54','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 image below to learn more about these tools.\r\n\r\n<a href=\"http://projectgado.org/\"><img class=\"size-full wp-image-1258\" title=\"jhu_student project photo 1_gado\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_student-project-photo-1_gado.jpg\" alt=\"The Gado 2 Robotic Scanner scanning photos at the Afro-American Newspapers archive.\" width=\"638\" height=\"478\" /></a> <span class=\"caption\">The Gado 2 Robotic Scanner scanning photos at the <em>Afro-American Newspapers</em> archive.</span>\r\n\r\n<a href=\"http://eboh.jhu.edu/oralhistoryplayer\"><img class=\" wp-image-2451\" style=\"margin-top: 30px;\" title=\"jhu_student project photo 2_eboh\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/09/jhu_student-project-photo-2_eboh.jpg\" alt=\"The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.\" width=\"630\" /></a> <span class=\"caption\">The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.</span>','Student-Built Archival Tools','This case study focuses on 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.','inherit','open','open','','1057-revision-43','','','2012-11-29 03:45:54','2012-11-29 03:45:54','',1057,'http://www.archivejournal.net/issue/2/uncategorized/1057-revision-43/',0,'revision','',0),(3719,2,'2012-11-29 03:27:07','2012-11-29 03:27:07','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-revision-24','','','2012-11-29 03:27:07','2012-11-29 03:27:07','',1064,'http://www.archivejournal.net/issue/2/uncategorized/1064-revision-24/',0,'revision','',0),(3743,2,'2012-11-29 04:49:56','2012-11-29 04:49:56','<h4>The student work for this case study is two archival tools designed by Tom Smith:  a low-cost robotic scanner for paper-based materials and a web application for an oral history archive.  Click on the images below to learn more about these tools.</h4>\r\n<a href=\"http://projectgado.org/\"><img class=\"size-full wp-image-1258\" title=\"jhu_student project photo 1_gado\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_student-project-photo-1_gado.jpg\" alt=\"The Gado 2 Robotic Scanner scanning photos at the Afro-American Newspapers archive.\" width=\"638\" height=\"478\" /></a> <span class=\"caption\">The Gado 2 Robotic Scanner scanning photos at the <em>Afro-American Newspapers</em> archive.</span>\r\n\r\n<a href=\"http://eboh.jhu.edu/oralhistoryplayer\"><img class=\" wp-image-2451\" style=\"margin-top: 30px;\" title=\"jhu_student project photo 2_eboh\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/09/jhu_student-project-photo-2_eboh.jpg\" alt=\"The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.\" width=\"630\" /></a> <span class=\"caption\">The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.</span>','Student-Built Archival Tools','This case study focuses on 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.','inherit','open','open','','1057-revision-46','','','2012-11-29 04:49:56','2012-11-29 04:49:56','',1057,'http://www.archivejournal.net/issue/2/uncategorized/1057-revision-46/',0,'revision','',0),(3722,2,'2012-11-28 22:58:32','2012-11-28 22:58:32','<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.','inherit','open','open','','1113-revision-16','','','2012-11-28 22:58:32','2012-11-28 22:58:32','',1113,'http://www.archivejournal.net/issue/2/uncategorized/1113-revision-16/',0,'revision','',0),(3723,2,'2012-11-29 03:59:05','2012-11-29 03:59:05','<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.','inherit','open','open','','1113-revision-17','','','2012-11-29 03:59:05','2012-11-29 03:59:05','',1113,'http://www.archivejournal.net/issue/2/uncategorized/1113-revision-17/',0,'revision','',0),(3724,2,'2012-11-29 04:00:19','2012-11-29 04:00:19','<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.','inherit','open','open','','1113-revision-18','','','2012-11-29 04:00:19','2012-11-29 04:00:19','',1113,'http://www.archivejournal.net/issue/2/uncategorized/1113-revision-18/',0,'revision','',0),(3725,2,'2012-11-29 02:07:23','2012-11-29 02:07:23','When I heard about English 241: Archeology of Text, I was immediately excited. I had been working in Special Collections and Archives at Goucher College for about a year, and I knew the class would give me a chance to learn more about books and archives in a setting that would encourage discussions with my peers. When it came time to pick a collection for my final project, I decided to work with archival materials rather than books so that I could challenge myself.\r\n\r\nWhile working in Special Collections, I had often walked by large blue boxes containing scrapbooks, but I had yet to look through them. When I began leafing through them, I found that I learned as much about Goucher College as I did about the women who put the scrapbooks together. Many of the scrapbooks had things in common, including Valentines, pressed flowers, calling cards, and photographs. But what intrigued me most were the dance cards. I had never before encountered dance cards, or even heard of them, even though I had been dancing all my life. Many of the dance cards were from the U.S. Naval Academy, a nearby all-male school in need of women with whom to dance. Goucher girls would often travel to Annapolis for the weekend dances and bring back dance cards as souvenirs.\r\n\r\n<img class=\" wp-image-1275\" title=\"goucher_student action photo_brand\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-action-photo_brand.jpg\" alt=\"Cassie Brand working in the former Rare Book Collection Seminar Room \" width=\"510\" height=\"382\" />\r\n\r\nWhen I began researching these cards, I found very little information. I went to all of the reference librarians I could find, but even they had difficulties because very few secondary sources were available. I looked through all the etiquette books I could get my hands on and even asked people to tell me what they knew about dance cards. Those who knew of them provided me with the basic information I needed to study the cards.\r\n\r\nI contacted the U.S. Naval Academy Archives, and with the help of Nancy Magnuson, Goucher College Librarian, I made an appointment to see their collection. There I found an almost complete run of dance cards from the Farewell Ball, which was held every year after graduation. Some were blank, some were filled in, some contained photographs, and some still had their tiny pencils attached. Looking through the cards, I found that they could be studied in several ways. One could examine print history, dance history, social history, or even one woman’s history of dance partners. The first and last dance cards were so drastically different that I chose to look at how the cards changed over the years. I found that the cards’ modifications reflected the changes in social dances.\r\n\r\nThough I have not yet returned to the dance card collections to study them further, they have never been far from my mind. I am still trying to convince people that dance cards are brilliant and should be reinstated for social events. Dance cards remain an interest of mine, and I would love to eventually write their complete history.','Cassie Brand - Commentary','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.','inherit','open','open','','1051-revision-21','','','2012-11-29 02:07:23','2012-11-29 02:07:23','',1051,'http://www.archivejournal.net/issue/2/uncategorized/1051-revision-21/',0,'revision','',0),(3726,2,'2012-11-29 02:10:31','2012-11-29 02:10:31','As an undergraduate English major with a concentration in creative writing, I had always regarded books as a portal into the world of fiction, a place where I could study plots and themes, setting and syntax. I had never stopped to consider books as historical objects until my first class in English 241: Archeology of Text. The assignment for the final research paper seemed simple: use what we learned during the semester to explore, analyze, and describe a document of interest from Goucher’s Special Collections.\r\n\r\nI knew from the start that I was intrigued by Goucher’s prolific collection of Jane Austen materials, but needed something specific to spark my interest. Walking around the small Special Collections room in the Julia Rogers Library, my gaze landed on a blue box behind a glass case. I soon learned that inside that box lay the first American edition of <em>Emma</em> (Philadelphia: M. Carey; for sale by Wells &amp; Lilly, Boston, 1816).  Nancy Magnuson, college librarian, told me all about Alberta Burke’s letters and thought that they might contain clues for my research. I have always been fascinated with letters (both reading and writing them), and the process of tracking a specific book through personal correspondences captivated me. I chose to study the 1816 first American edition of <em>Emma</em> and explore the letters that track how it found a home in Goucher’s library.\r\n\r\n<img class=\"size-full wp-image-1273\" title=\"goucher_student action photo_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-action-photo_kendall.jpg\" alt=\"Sarah Kendall working with the Burke copy of the American first edition of Austen\'s Emma\" width=\"320\" height=\"375\" />\r\n\r\nI remain baffled by the amount of information and detailed history I discovered while writing a descriptive bibliography. I wrote detailed accounts of the letters from Alberta Burke and David Gilson, the letters between David Gilson and Henry Burke, and the 1816 first edition of <em>Emma</em>. After seeing the interest that both Alberta Burke and David Gilson had in the first American edition of <em>Emma</em>, I knew that perusing the pages and studying the tome in detail would be essential to revealing the book’s history. Sifting through dozens of letters hoping to find mention of <em>Emma</em> thrilled me to no end. Reading different letters from various sources also illuminated how various people valued the first edition and why they wanted it in their possession. The circuit of corresponding materials proved equally intriguing and helpful for tracking down how the book traveled from Philadelphia to Goucher’s library.\r\n\r\nI learned that by latching on to a specific topic, I could follow a steady thread of conversation about <em>Emma</em>. The experience made me feel like a genuine historian instead of an undergraduate student simply researching journal articles or internet resources. It felt very special and intellectually stimulating to handle history with my own hands! I even discovered two additional letters hidden between the inside cover and the title page of the first volume. Unearthing these two letters felt very encouraging and proved that there is always the possibility of finding something new within the archives.','Sarah Kendall - Commentary','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.','inherit','open','open','','1053-revision-23','','','2012-11-29 02:10:31','2012-11-29 02:10:31','',1053,'http://www.archivejournal.net/issue/2/uncategorized/1053-revision-23/',0,'revision','',0),(3727,2,'2012-11-29 04:07:41','2012-11-29 04:07:41','TEST As an undergraduate English major with a concentration in creative writing, I had always regarded books as a portal into the world of fiction, a place where I could study plots and themes, setting and syntax. I had never stopped to consider books as historical objects until my first class in English 241: Archeology of Text. The assignment for the final research paper seemed simple: use what we learned during the semester to explore, analyze, and describe a document of interest from Goucher’s Special Collections.\r\n\r\nI knew from the start that I was intrigued by Goucher’s prolific collection of Jane Austen materials, but needed something specific to spark my interest. Walking around the small Special Collections room in the Julia Rogers Library, my gaze landed on a blue box behind a glass case. I soon learned that inside that box lay the first American edition of <em>Emma</em> (Philadelphia: M. Carey; for sale by Wells &amp; Lilly, Boston, 1816).  Nancy Magnuson, college librarian, told me all about Alberta Burke’s letters and thought that they might contain clues for my research. I have always been fascinated with letters (both reading and writing them), and the process of tracking a specific book through personal correspondences captivated me. I chose to study the 1816 first American edition of <em>Emma</em> and explore the letters that track how it found a home in Goucher’s library.\r\n\r\n<img class=\"size-full wp-image-1273\" title=\"goucher_student action photo_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-action-photo_kendall.jpg\" alt=\"Sarah Kendall working with the Burke copy of the American first edition of Austen\'s Emma\" width=\"320\" height=\"375\" />\r\n\r\nI remain baffled by the amount of information and detailed history I discovered while writing a descriptive bibliography. I wrote detailed accounts of the letters from Alberta Burke and David Gilson, the letters between David Gilson and Henry Burke, and the 1816 first edition of <em>Emma</em>. After seeing the interest that both Alberta Burke and David Gilson had in the first American edition of <em>Emma</em>, I knew that perusing the pages and studying the tome in detail would be essential to revealing the book’s history. Sifting through dozens of letters hoping to find mention of <em>Emma</em> thrilled me to no end. Reading different letters from various sources also illuminated how various people valued the first edition and why they wanted it in their possession. The circuit of corresponding materials proved equally intriguing and helpful for tracking down how the book traveled from Philadelphia to Goucher’s library.\r\n\r\nI learned that by latching on to a specific topic, I could follow a steady thread of conversation about <em>Emma</em>. The experience made me feel like a genuine historian instead of an undergraduate student simply researching journal articles or internet resources. It felt very special and intellectually stimulating to handle history with my own hands! I even discovered two additional letters hidden between the inside cover and the title page of the first volume. Unearthing these two letters felt very encouraging and proved that there is always the possibility of finding something new within the archives.','Sarah Kendall - Commentary','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.','inherit','open','open','','1053-revision-24','','','2012-11-29 04:07:41','2012-11-29 04:07:41','',1053,'http://www.archivejournal.net/issue/2/uncategorized/1053-revision-24/',0,'revision','',0),(3728,2,'2012-11-29 04:08:24','2012-11-29 04:08:24','As an undergraduate English major with a concentration in creative writing, I had always regarded books as a portal into the world of fiction, a place where I could study plots and themes, setting and syntax. I had never stopped to consider books as historical objects until my first class in English 241: Archeology of Text. The assignment for the final research paper seemed simple: use what we learned during the semester to explore, analyze, and describe a document of interest from Goucher’s Special Collections.\r\n\r\nI knew from the start that I was intrigued by Goucher’s prolific collection of Jane Austen materials, but needed something specific to spark my interest. Walking around the small Special Collections room in the Julia Rogers Library, my gaze landed on a blue box behind a glass case. I soon learned that inside that box lay the first American edition of <em>Emma</em> (Philadelphia: M. Carey; for sale by Wells &amp; Lilly, Boston, 1816).  Nancy Magnuson, college librarian, told me all about Alberta Burke’s letters and thought that they might contain clues for my research. I have always been fascinated with letters (both reading and writing them), and the process of tracking a specific book through personal correspondences captivated me. I chose to study the 1816 first American edition of <em>Emma</em> and explore the letters that track how it found a home in Goucher’s library.\r\n\r\n<img class=\"size-full wp-image-1273\" title=\"goucher_student action photo_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-action-photo_kendall.jpg\" alt=\"Sarah Kendall working with the Burke copy of the American first edition of Austen\'s Emma\" width=\"320\" height=\"375\" />\r\n\r\nI remain baffled by the amount of information and detailed history I discovered while writing a descriptive bibliography. I wrote detailed accounts of the letters from Alberta Burke and David Gilson, the letters between David Gilson and Henry Burke, and the 1816 first edition of <em>Emma</em>. After seeing the interest that both Alberta Burke and David Gilson had in the first American edition of <em>Emma</em>, I knew that perusing the pages and studying the tome in detail would be essential to revealing the book’s history. Sifting through dozens of letters hoping to find mention of <em>Emma</em> thrilled me to no end. Reading different letters from various sources also illuminated how various people valued the first edition and why they wanted it in their possession. The circuit of corresponding materials proved equally intriguing and helpful for tracking down how the book traveled from Philadelphia to Goucher’s library.\r\n\r\nI learned that by latching on to a specific topic, I could follow a steady thread of conversation about <em>Emma</em>. The experience made me feel like a genuine historian instead of an undergraduate student simply researching journal articles or internet resources. It felt very special and intellectually stimulating to handle history with my own hands! I even discovered two additional letters hidden between the inside cover and the title page of the first volume. Unearthing these two letters felt very encouraging and proved that there is always the possibility of finding something new within the archives.','Sarah Kendall - Commentary','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.','inherit','open','open','','1053-revision-25','','','2012-11-29 04:08:24','2012-11-29 04:08:24','',1053,'http://www.archivejournal.net/issue/2/uncategorized/1053-revision-25/',0,'revision','',0),(3729,2,'2012-11-29 03:32:51','2012-11-29 03:32:51','<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.\r\n\r\nDuring Power of Place I helped produce several oral histories. As interviews flowed in, however, I began to see a problem. Each interview was around two hours long and included a full transcript. From my class alone, the project would amass nearly thirty hours of audio and several hundred pages of text. Making use of those materials would be tough. As a software developer, I saw a solution. I imagined a tool that could link transcripts with audio, allow people to tag important areas within interviews, and make all the EBOH materials searchable. With support from the university, I spent the next year working with Professor Shell-Weiss to make my idea into a working web application.\r\n\r\nWhile working on EBOH, I started visiting archives. I could find few digital images of East Baltimore, and I wanted to know why. On a trip to the <em>Afro-American Newspapers</em> with Moira Hinderer, I found a plethora of visual materials. Very few, however, had been digitized. The main factor was cost; resources to manually digitize the <em>Afro</em> collection simply were not available. Again, I saw a technical solution: I would build a robot. I proposed creating an automatic scanner that could lift and digitize the <em>Afro</em>’s sensitive artifacts, all for less than $500. No one at JHU thought it would happen. Luckily, Professor Shell-Weiss managed to raise some funds, and I spent a summer prototyping. The result was the Gado 1, a proof-of-concept that would later scan over 1,000 images at the <em>Afro</em>. The price tag was $496.\r\n\r\nAfter graduating from JHU in May 2011, I wanted to continue refining my technology. With support from the JHU Sheridan Libraries and the Abell Foundation (a regional grantsmaker), I secured enough funding to work on my project full time. In December 2011, I completed the Gado 2, a second-generation machine that dramatically outpaces the original. Since testing began, my machine has digitized over 3,000 artifacts at the <em>Afro</em>, at a tiny fraction of the cost of manual scanning. In February 2012, we made these images available to the general public and launched GadoImages.com to distribute them to paying licensors. I believe Gado has the potential to dramatically alter the economics of archival digitization. I would never be at this point without that first push to step outside the classroom and start thinking in broader terms.','Tom Smith - 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-revision-21','','','2012-11-29 03:32:51','2012-11-29 03:32:51','',1059,'http://www.archivejournal.net/issue/2/uncategorized/1059-revision-21/',0,'revision','',0),(3730,2,'2012-11-29 03:34:39','2012-11-29 03:34:39','<a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-action-photo_saunders.jpg\"><img class=\"size-medium wp-image-1367 \" title=\"cscc_student action photo_saunders\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-action-photo_saunders-333x250.jpg\" alt=\"Matthew Saunders exploring the Ramsey Family Papers at the Cleveland Bradley County Library History Branch.\" width=\"333\" height=\"250\" /></a>\r\n\r\nI was one of the first students to take the History Laboratory class at Cleveland State Community College (CSCC). My previous experience during an extra-credit activity in a traditional history course initially sparked my interest. During an American history survey course, Mr. Reed, the CSCC instructor who founded the Southeast Tennessee Digital Archive (SETDA), offered students a chance to digitize historical photographs. He demonstrated how to research a photograph\'s history, starting with the limited information written on the back and clues within the picture itself. I was eager to enroll in a course that was dedicated to digitizing historical photographs.\r\n\r\nFew history majors would turn down the opportunity to go beyond lecture courses and work directly with historical documents, but I never expected a two-year college to offer me this opportunity. The History Laboratory allowed me to gain hands-on experience preserving important records of local history. Moreover, the History Lab transformed how I research. I had to learn to use a library because the most relevant research material was not accessible online. It took a while to get into the groove of picking up a book and reading through the text as opposed to using a search engine to gather information. Using physical books to research is an invaluable experience that I will take with me throughout my future courses and career.\r\n\r\nAnother new experience was the archiving section of the class, in which we digitized photographs and organized the research in a way that would be coherent on the SETDA website. As students, we are accustomed to elaborating and expanding upon our research to produce an essay. The archiving section of the course, instead, forced me to condense my findings into a few concise sentences. The term “metadata” was foreign to me before this class, so working my research into that format was not the easiest task. Entering metadata into ContentDM was a challenge. Nevertheless, this exercise has helped me to convey my thoughts more clearly in other classes.\r\n\r\nOverall, the History Laboratory was a great experience. I had wanted to add some constructive criticism, but after reflecting on my experience I cannot think of any suggestions. The instructors were terrific and the course of study was refreshing. I would recommend this course to history students or any student who is searching for an experience that goes beyond a classroom lecture.','Matthew E. Saunders - Commentary','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.','inherit','open','open','','1040-revision-24','','','2012-11-29 03:34:39','2012-11-29 03:34:39','',1040,'http://www.archivejournal.net/issue/2/uncategorized/1040-revision-24/',0,'revision','',0),(3731,2,'2012-11-28 23:37:07','2012-11-28 23:37:07','<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.\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 be creating 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.\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 Beaupre 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 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-21','','','2012-11-28 23:37:07','2012-11-28 23:37:07','',1128,'http://www.archivejournal.net/issue/2/uncategorized/1128-revision-21/',0,'revision','',0),(3732,2,'2012-11-29 04:15:42','2012-11-29 04:15:42','<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 be creating 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.\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 Beaupre 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 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-22','','','2012-11-29 04:15:42','2012-11-29 04:15:42','',1128,'http://www.archivejournal.net/issue/2/uncategorized/1128-revision-22/',0,'revision','',0),(3733,2,'2012-11-28 23:38:42','2012-11-28 23:38:42','<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 be creating 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.','inherit','open','open','','1152-revision-24','','','2012-11-28 23:38:42','2012-11-28 23:38:42','',1152,'http://www.archivejournal.net/issue/2/uncategorized/1152-revision-24/',0,'revision','',0),(3734,2,'2012-11-28 23:41:46','2012-11-28 23:41:46','<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=\"&quot;caption\">Joan Tkcas (on far right, in brown) and Casket with Scenes of Romances, ivory and bone with modern iron mounts (French, 1330-1350). </span>Photo: Will Kirk, <a href=\"http://homewoodphoto.jhu.edu\">homewoodphoto.jhu.edu</a>.\r\n\r\n<span class=\"&quot;caption\">.</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 be creating 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.','inherit','open','open','','1126-revision-14','','','2012-11-28 23:41:46','2012-11-28 23:41:46','',1126,'http://www.archivejournal.net/issue/2/uncategorized/1126-revision-14/',0,'revision','',0),(3735,2,'2012-11-28 23:23:35','2012-11-28 23:23:35','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<strong>Excerpt 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 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','','inherit','open','open','','1130-revision-20','','','2012-11-28 23:23:35','2012-11-28 23:23:35','',1130,'http://www.archivejournal.net/issue/2/uncategorized/1130-revision-20/',0,'revision','',0),(3736,2,'2012-11-29 00:03:15','2012-11-29 00:03:15','<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.','inherit','open','open','','1132-revision-29','','','2012-11-29 00:03:15','2012-11-29 00:03:15','',1132,'http://www.archivejournal.net/issue/2/uncategorized/1132-revision-29/',0,'revision','',0),(3737,2,'2012-11-29 04:31:22','2012-11-29 04:31:22','<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.','inherit','open','open','','1132-revision-30','','','2012-11-29 04:31:22','2012-11-29 04:31:22','',1132,'http://www.archivejournal.net/issue/2/uncategorized/1132-revision-30/',0,'revision','',0),(3738,2,'2012-11-29 00:56:19','2012-11-29 00:56:19','<h4>The images above are a small fraction of the materials made available through the project and Jimmy\'s work. The full range can be seen in the <a href=\"http://ufdc.ufl.edu/caha/all\" target=\"_blank\">Carrère &amp; Hastings Digital Collection</a>, part of the University of Florida Digital Collections. You can read more at the project blog: <a href=\"http://flaglerdrawings.wordpress.com/\" target=\"_blank\">flaglerdrawings.wordpress.com</a>.</h4>\r\n&nbsp;\r\n\r\n<img class=\"size-large wp-image-957\" style=\"width: 638;\" title=\"uf_student  action photo_barnett 3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-3-1024x682.jpg\" alt=\"\" />\r\n<span class=\"wp-caption-text\"> Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings’ “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890. Photo credit: Joe Kaleita, University of Florida Libraries.</span>\r\n\r\n<a href=\"http://ufdc.ufl.edu/UF00082657/00001\" target=\"_blank\"><img class=\"size-full wp-image-959\" style=\"width: 638;\" title=\"Ground Plan, Presbyterian Church\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-1.jpg\" alt=\"\" /></a>\r\n<span class=\"wp-caption-text\">An example of the results of James (Jimmy) Barnett’s work digitizing and preserving a large-scale architectural drawing. John Carrère and Thomas Hastings. “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890.</span>\r\n\r\n<a href=\"http://ufdc.ufl.edu/UF00089836/00001\" target=\"_blank\"><img class=\"size-full wp-image-958\" style=\"width: 638;\" title=\"Part Plan of Fourth Floor\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-2.jpg\" alt=\"\" /></a>\r\n<span class=\"wp-caption-text\">John Carrère and Thomas Hastings. “Part Plan of Fourth Floor. Architectural drawings of the Hotel Ponce de Leon, St. Augustine, Florida.” 96 x 40 inches.</span>','Digitizing Large-Format Architectural Plans','This case study showcases an undergraduate’s work as the lead digital scanner of architectural drawings for the Carrère & Hastings Digital Collection, a collaborative project between the University of Florida (UF) and Flagler College to conserve and digitally preserve the large and fragile drawings. For years the drawings were stored in a basement boiler room and suffered from exposure to high Florida temperatures, humidity, insects, and rodents. The collection is now under the care of a team of faculty, staff, and students from the UF’s Special Collections, Conservation Unit, and Digital Library Center.','inherit','open','open','','946-revision-51','','','2012-11-29 00:56:19','2012-11-29 00:56:19','',946,'http://www.archivejournal.net/issue/2/uncategorized/946-revision-51/',0,'revision','',0),(3739,2,'2012-11-29 04:34:58','2012-11-29 04:34:58','<h4>The images below are a small fraction of the materials made available through the project and Jimmy\'s work. The full range can be seen in the <a href=\"http://ufdc.ufl.edu/caha/all\" target=\"_blank\">Carrère &amp; Hastings Digital Collection</a>, part of the University of Florida Digital Collections. You can read more at the project blog: <a href=\"http://flaglerdrawings.wordpress.com/\" target=\"_blank\">flaglerdrawings.wordpress.com</a>.</h4>\r\n&nbsp;\r\n\r\n<img class=\"size-large wp-image-957\" style=\"width: 638;\" title=\"uf_student  action photo_barnett 3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-3-1024x682.jpg\" alt=\"\" />\r\n<span class=\"wp-caption-text\"> Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings’ “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890. Photo credit: Joe Kaleita, University of Florida Libraries.</span>\r\n\r\n<a href=\"http://ufdc.ufl.edu/UF00082657/00001\" target=\"_blank\"><img class=\"size-full wp-image-959\" style=\"width: 638;\" title=\"Ground Plan, Presbyterian Church\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-1.jpg\" alt=\"\" /></a>\r\n<span class=\"wp-caption-text\">An example of the results of James (Jimmy) Barnett’s work digitizing and preserving a large-scale architectural drawing. John Carrère and Thomas Hastings. “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890.</span>\r\n\r\n<a href=\"http://ufdc.ufl.edu/UF00089836/00001\" target=\"_blank\"><img class=\"size-full wp-image-958\" style=\"width: 638;\" title=\"Part Plan of Fourth Floor\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-2.jpg\" alt=\"\" /></a>\r\n<span class=\"wp-caption-text\">John Carrère and Thomas Hastings. “Part Plan of Fourth Floor. Architectural drawings of the Hotel Ponce de Leon, St. Augustine, Florida.” 96 x 40 inches.</span>','Digitizing Large-Format Architectural Plans','This case study showcases an undergraduate’s work as the lead digital scanner of architectural drawings for the Carrère & Hastings Digital Collection, a collaborative project between the University of Florida (UF) and Flagler College to conserve and digitally preserve the large and fragile drawings. For years the drawings were stored in a basement boiler room and suffered from exposure to high Florida temperatures, humidity, insects, and rodents. The collection is now under the care of a team of faculty, staff, and students from the UF’s Special Collections, Conservation Unit, and Digital Library Center.','inherit','open','open','','946-revision-52','','','2012-11-29 04:34:58','2012-11-29 04:34:58','',946,'http://www.archivejournal.net/issue/2/uncategorized/946-revision-52/',0,'revision','',0),(3740,2,'2012-11-29 00:51:48','2012-11-29 00:51:48','<img class=\"alignleft size-full wp-image-968\" style=\"margin-right: 20px; margin-bottom: 10px;\" title=\"James barnett\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/barnett.jpg\" alt=\"James Barnett Headshot\" width=\"120\" height=\"160\" />\r\n\r\nDigitally scanning archival objects requires not only technical know-how but also an appreciation for the subject matter. My fine-arts background gave me the knowledge and skill set to digitize architectural renderings by Carrère &amp; Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.\r\n\r\nGoing into the project, I thought my experience in printmaking would influence the way I scanned the drawings, not realizing that the reverse would happen; the scanning actually affected my art practice. In printmaking I have dealt with large paper before, but never anything quite as large as these archival renderings. My experience handling large paper for the digitization project scaled up my thinking in my own work outside of the project. Consequently, my own art work got larger. With confidence in my newly learned ability to handle paper larger than me, I started a large installation piece in which I put together staging proofs of an etching plate into a single four-by-six feet layered installation. The scale and construction would have never come to mind had I not worked with these large architectural drawings.\r\n\r\n<span class=\"alignright wp-caption\" style=\"width: 333px\"><img class=\"alignright size-medium wp-image-969\" style=\"margin-left: 20px; margin-bottom: 10px;\" title=\"uf_student  action photo_barnett 6\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-6-333x222.jpg\" alt=\"\" width=\"333\" height=\"222\" /> <span class=\"wp-caption-text\">Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings’ “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890. Photo credit: Joe Kaleita, University of Florida Libraries.</span></span>Working with the photo editing software to optimize the scanned images for online viewing has also affected my art. Most of the archival pieces were so large they had to be captured in successive scans of two or more and stitched together in a photo editing program. In the digital stitching process, layers are important in getting a seamless product. When scanning the segments, I had to figure out where the respective scans would overlap in their respective digital layers so that when I got to the stitching, they all line up correctly. This takes planning, calculating, and configuring measurements in relation to the object. This idea of smaller units constructing a whole informed my process in constructing the art installation mentioned above, and it continues to affect my work.\r\n\r\nWhile I did not realize it at the time, my artwork reflects the processes I was dealing with at work. All together, the many different renderings that are part of the Carrère &amp; Hastings project build a picture of the architects’ process. I learned to see their end result, the building itself, as not the whole story but the final step in the process that you can only see if you include the drawings. This idea influenced my own installation. I felt that my whole process had to be shown; the print proofs (the intermittent states) are just as important as the end result. I never would have come to this idea had I not worked on the Carrère &amp; Hastings project.','James Barnett - 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 Carrère & Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.','inherit','open','open','','967-revision-25','','','2012-11-29 00:51:48','2012-11-29 00:51:48','',967,'http://www.archivejournal.net/issue/2/uncategorized/967-revision-25/',0,'revision','',0),(3741,2,'2012-11-29 04:40:36','2012-11-29 04:40:36','<img class=\"alignleft size-full wp-image-968\" style=\"margin-right: 20px; margin-bottom: 10px;\" title=\"James barnett\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/barnett.jpg\" alt=\"James Barnett Headshot\" width=\"120\" height=\"160\" />\r\n\r\nDigitally scanning archival objects requires not only technical know-how but also an appreciation for the subject matter. My fine-arts background gave me the knowledge and skill set to digitize architectural renderings by Carrère &amp; Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.\r\n\r\nGoing into the project, I thought my experience in printmaking would influence the way I scanned the drawings, not realizing that the reverse would happen; the scanning actually affected my art practice. In printmaking I have dealt with large paper before, but never anything quite as large as these archival renderings. My experience handling large paper for the digitization project scaled up my thinking in my own work outside of the project. Consequently, my own art work got larger. With confidence in my newly learned ability to handle paper larger than me, I started a large installation piece in which I put together staging proofs of an etching plate into a single four-by-six feet layered installation. The scale and construction would have never come to mind had I not worked with these large architectural drawings.\r\n\r\n<span class=\"alignright wp-caption\" style=\"width: 333px;\"><img class=\"alignright size-medium wp-image-969\" style=\"margin-left: 20px; margin-bottom: 10px;\" title=\"uf_student  action photo_barnett 6\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-6-333x222.jpg\" alt=\"\" width=\"333\" height=\"222\" /> <span class=\"wp-caption-text\">Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings’ “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890. Photo credit: Joe Kaleita, University of Florida Libraries.</span></span>Working with the photo editing software to optimize the scanned images for online viewing has also affected my art. Most of the archival pieces were so large they had to be captured in successive scans of two or more and stitched together in a photo editing program. In the digital stitching process, layers are important in getting a seamless product. When scanning the segments, I had to figure out where the respective scans would overlap in their respective digital layers so that when I got to the stitching, they all line up correctly. This takes planning, calculating, and configuring measurements in relation to the object. This idea of smaller units constructing a whole informed my process in constructing the art installation mentioned above, and it continues to affect my work.\r\n\r\nWhile I did not realize it at the time, my artwork reflects the processes I was dealing with at work. All together, the many different renderings that are part of the Carrère &amp; Hastings project build a picture of the architects’ process. I learned to see their end result, the building itself, as not the whole story but the final step in the process that you can only see if you include the drawings. This idea influenced my own installation. I felt that my whole process had to be shown; the print proofs (the intermittent states) are just as important as the end result. I never would have come to this idea had I not worked on the Carrère &amp; Hastings project.','James Barnett - 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 Carrère & Hastings of historic structures in Saint Augustine, Florida. I worked on the scanning with two concerns: the drawing as an artifact and the drawing’s content, or what is being represented. The architectural renderings averaged six feet by three feet, some larger and some smaller, though all were difficult to handle. Add the paper’s age and brittleness to the immense size, and one has to have quite a bit of finesse in handling the renderings. I had to hatch a strategy to properly scan each of the uniquely sized drawings.','inherit','open','open','','967-revision-26','','','2012-11-29 04:40:36','2012-11-29 04:40:36','',967,'http://www.archivejournal.net/issue/2/uncategorized/967-revision-26/',0,'revision','',0),(3742,2,'2012-11-29 03:49:59','2012-11-29 03:49:59','<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>\r\n\r\n<a href=\"http://projectgado.org/\"><img class=\"size-full wp-image-1258\" title=\"jhu_student project photo 1_gado\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_student-project-photo-1_gado.jpg\" alt=\"The Gado 2 Robotic Scanner scanning photos at the Afro-American Newspapers archive.\" width=\"638\" height=\"478\" /></a> <span class=\"caption\">The Gado 2 Robotic Scanner scanning photos at the <em>Afro-American Newspapers</em> archive.</span>\r\n\r\n<a href=\"http://eboh.jhu.edu/oralhistoryplayer\"><img class=\" wp-image-2451\" style=\"margin-top: 30px;\" title=\"jhu_student project photo 2_eboh\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/09/jhu_student-project-photo-2_eboh.jpg\" alt=\"The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.\" width=\"630\" /></a> <span class=\"caption\">The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.</span>','Student-Built Archival Tools','This case study focuses on 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.','inherit','open','open','','1057-revision-45','','','2012-11-29 03:49:59','2012-11-29 03:49:59','',1057,'http://www.archivejournal.net/issue/2/uncategorized/1057-revision-45/',0,'revision','',0),(3744,2,'2012-11-29 03:14:29','2012-11-29 03:14:29','<ol>\r\n	<li><strong>How many students worked at the History Branch and Archives of the Cleveland Bradley County Library?</strong>Two students worked at the History Branch one evening a week for a set number of weeks.</li>\r\n	<li><strong>Will you work with History Lab students again?</strong>\r\nCertainly. The students were polite, reliable, diligent in their work, and followed directions with little supervision.</li>\r\n	<li><strong>What did you find most productive or enjoyable about the process of working with the students?</strong>\r\nIt was rewarding to see the students’ progress from novice researchers to becoming confident in their work. Along the way their project changed from a class assignment to one of discovery. They became excited and interested in their subject and <em>wanted</em> to expand the scope of their work through additional research.</li>\r\n	<li><strong>How has the students’ work impacted the History Branch and its collections?</strong>\r\n<ul>\r\n	<li>The additional research done by the students will be available to all of the library’s patrons.</li>\r\n	<li>Students have given presentations on their research to the Bradley County Historical and Genealogical Society.</li>\r\n	<li>Observing the students as they worked with the photograph collection helped me to be more aware of the type of material that captures a new researcher’s attention.</li>\r\n</ul>\r\n</li>\r\n</ol>','Barbara Fagen - Commentary','','inherit','open','open','','1020-revision-16','','','2012-11-29 03:14:29','2012-11-29 03:14:29','',1020,'http://www.archivejournal.net/issue/2/uncategorized/1020-revision-16/',0,'revision','',0),(3746,2,'2012-11-29 04:56:56','2012-11-29 04:56:56','<ol>\r\n	<li><strong>How many students worked at the History Branch and Archives of the Cleveland Bradley County Library?</strong>Two students worked at the History Branch one evening a week for a set number of weeks.</li>\r\n	<li><strong>Will you work with History Lab students again?</strong>\r\nCertainly. The students were polite, reliable, diligent in their work, and followed directions with little supervision.</li>\r\n	<li><strong>What did you find most productive or enjoyable about the process of working with the students?</strong>\r\nIt was rewarding to see the students’ progress from novice researchers to becoming confident in their work. Along the way their project changed from a class assignment to one of discovery. They became excited and interested in their subject and <em>wanted</em> to expand the scope of their work through additional research.</li>\r\n	<li><strong>How has the students’ work impacted the History Branch and its collections?</strong>\r\n<ul>\r\n	<li>The additional research done by the students will be available to all of the library’s patrons.</li>\r\n	<li>Students have given presentations on their research to the Bradley County Historical and Genealogical Society.</li>\r\n	<li>Observing the students as they worked with the photograph collection helped me to be more aware of the type of material that captures a new researcher’s attention.</li>\r\n</ul>\r\n</li>\r\n</ol>','Barbara Fagen - Commentary','','inherit','open','open','','1020-revision-18','','','2012-11-29 04:56:56','2012-11-29 04:56:56','',1020,'http://www.archivejournal.net/issue/2/uncategorized/1020-revision-18/',0,'revision','',0),(3745,2,'2012-11-29 04:55:08','2012-11-29 04:55:08','<ol>\r\n<ol>\r\n	<li><strong>How many students worked at the History Branch and Archives of the Cleveland Bradley County Library?</strong></li>\r\n</ol>\r\n</ol>\r\nTwo students worked at the History Branch one evening a week for a set number of weeks.\r\n<ol>\r\n	<li><strong>Will you work with History Lab students again?</strong>\r\nCertainly. The students were polite, reliable, diligent in their work, and followed directions with little supervision.</li>\r\n	<li><strong>What did you find most productive or enjoyable about the process of working with the students?</strong>\r\nIt was rewarding to see the students’ progress from novice researchers to becoming confident in their work. Along the way their project changed from a class assignment to one of discovery. They became excited and interested in their subject and <em>wanted</em> to expand the scope of their work through additional research.</li>\r\n	<li><strong>How has the students’ work impacted the History Branch and its collections?</strong>\r\n<ul>\r\n	<li>The additional research done by the students will be available to all of the library’s patrons.</li>\r\n	<li>Students have given presentations on their research to the Bradley County Historical and Genealogical Society.</li>\r\n	<li>Observing the students as they worked with the photograph collection helped me to be more aware of the type of material that captures a new researcher’s attention.</li>\r\n</ul>\r\n</li>\r\n</ol>','Barbara Fagen - Commentary','','inherit','open','open','','1020-revision-17','','','2012-11-29 04:55:08','2012-11-29 04:55:08','',1020,'http://www.archivejournal.net/issue/2/uncategorized/1020-revision-17/',0,'revision','',0),(3747,2,'2012-11-28 21:05:58','2012-11-28 21:05:58','<em>The Vodou Archive</em> is a collaborative partnership spearheaded by the University of Florida and Duke University that seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, interpreting what we collect, expanding the holdings through a self-submission tool, and diffusing the knowledge via an open access digital library.  You can find the current prototype here &lt;<a href=\"http://www.dloc.com/vodou\">http://www.dloc.com/vodou</a>&gt;,  hosted within the existing <a href=\"http://dloc.com/\">Digital Library of the Caribbean</a> (dLOC). In addition to the twenty-seven international partners working with the Digital Library of the Caribbean, collaborators from the University of Notre Dame, the University of Miami, the Schrijversvakschool, Florida International University, the Université des Antilles et de la Guyane, and City Lore, among others, will contribute elements to <em>The Vodou Archive</em>. This project belongs to a tradition of scholarly work stretching back to the early twentieth century that has sought to counter reductionist and racist visions of the religion through ethnography, analysis of culture and music, and an exploration of the role of Vodou in Haiti’s founding revolution. Such work has long turned to the central texts in Haitian Vodou: its Creole-language songs.\r\n\r\nBuilding on my book, <em>Vodou Songs in Haitian Creole and English</em>,<a href=\"#_ftn1\">[1]</a> <em>The Vodou Archive</em> project makes these songs available in Haitian Creole and English, along with substantial interpretative annotations and essays to contextualize the collection. The edited and curated materials in <em>The Vodou Archive</em> are of major literary, historical, cultural, and religious significance. The vast Vodou corpus stands out because it preserves a wealth of African cultural, ethnological, and historical knowledge.<a href=\"#_ftn2\">[2]</a> The oral and textual corpora of songs are comprised of the authentic and living traditions of the Vodou religion. They are primarily sung in the context of Vodou worship in public and domestic ceremonies, and they constitute the sacred literature of the religion. Vodou songs, a constant in ceremonies, address the mythologies and characteristics of the religion: Bondye (God), the Marasa (the Divine Twins), the lwa (spirits), and the dantan (ancestors), as well as their relations with humans and nature. Vodou songs are time capsules that reveal the history and origins of the Haitian people in Africa, their journey to the Americas in the French slave trade, and their lives in the French colony. Due to their sacred nature, they arewell-preserved records of African and Haitian history and culture.<a href=\"#_ftn3\">[3]</a> Ceremonies and songs preserve African historical (i.e. <em>Bosou, Achade, Legba, Danbala, Simbi, Ayizan</em>), cultural (i.e. <em>lwa, ounsi, ason, oungan, manbo</em>) and geographical (i.e.<em> Rada, Savalou, Boumba</em>) terms in a creolized or blended religious and cultural system.<a href=\"#_ftn4\">[4]</a> Likewise, there are numerous Vodou ceremonies (rites) classified by the African <em>nanchon</em> (nations/communities) where they originate, such as Rada, Petwo, Ginen, Seneka, Ibo, Danwonmen, Nago, Kongo, Kita, etc.<a href=\"#_ftn5\">[5]</a>\r\n\r\nUndergraduates played, and will play, a key role in this archive.  They contributed first drafts of transcriptions and translations of Vodou songs and interviews with Vodou practitioners for the book, <em>Vodou Songs in Haitian Creole and English</em>. The undergraduate students worked on transcribing and translating interviews that I collected from Vodou priests in Haiti and they also transcribed and translated rare pre-existing published materials.<a href=\"#_ftn6\">[6]</a>   The students, Joanne Bartley, Vanessa Brissault, Kat Warwick, Wilmide Vernet, and Musset Apollon, were either paid hourly through grant funding or they earned credit for an independent study. We worked from manuscripts that employ a range of Haitian Creole spelling systems. The official variety, the “IPN,” named after the <em>Institut Pédagogique National</em>, was adopted for the first time in 1980. Many of our manuscripts predate 1980 and thus transcription required heavy correction and consultation with lexicographical works.<a href=\"#_ftn7\">[7]</a>The students had been exposed to the official variety of Haitian Creole spelling in my intermediate Haitian Creole course. After establishing the Haitian Creole source text, the students produced the first draft of the English translation. Then I corrected the Haitian Creole and English drafts in various cycles as the materials moved towards the finished products, either the book or <em>The Vodou Archive</em>.  (See Figure 1, and for the related Vodou Archive digital library, Figures 2 &amp; 3.)<span class=\"caption\" style=\"width: 166px; margin-bottom: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1.jpg\"><img class=\"size-medium wp-image-2358\" style=\"margin-bottom: 10px; margin-right: 10px;\" title=\"hebbelthwaite_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1-166x250.jpg\" alt=\"Figure 1\" width=\"166\" height=\"250\" /></a> Figure 1: The book cover of<em> Vodou Songs in Haitian Creole and English</em>.</span>\r\n\r\n<span class=\"caption left\" style=\"margin-right: 20px; width: 266px; clear: none;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2.jpg\"><img class=\" wp-image-2359\" style=\"margin-bottom: 10px;\" title=\"hebbelthwaite_fig2\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2-333x208.jpg\" alt=\"Figure 2\" width=\"266\" height=\"166\" /></a> Figure 2: The homepage of the Vodou Archive.</span><span class=\"caption left\" style=\"margin-right: 10px; width: 266px; clear: none;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3.jpg\"><img class=\" wp-image-2360\" style=\"margin-bottom: 10px; clear: right;\" title=\"hebbelthwaite_fig3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3-333x208.jpg\" alt=\"Figure 3\" width=\"266\" height=\"166\" /></a> Figure 3: This screen shot presents the view inside of the Vodou Archive with the filter menu for narrowing results on the left hand side of the screen.</span>\r\n<div class=\"footnotes\">\r\n<div id=\"_ftn1\" class=\"footnote\">[1] Benjamin Hebblethwaite and Joanne Bartley, <em>Vodou Songs in Haitian Creole and English </em> <em>= Chante vodou an kreyòl ayisyen ak angle</em> (Philadelphia: Temple University Press, 2012).</div>\r\n<div id=\"_ftn2\" class=\"footnote\">[2] Max Beauvoir, <em>Le Grand Recueil Sacré ou Répertoire des Chansons du Vodou Haïtien </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti, 2008).</div>\r\n<div id=\"_ftn3\" class=\"footnote\">[3] Claudine Michel, “Vodou in Haiti: Way of Life and Mode of Survival,” in <em>Vodou in Haitian Life and Culture: Invisible Powers, </em>ed. Claudine Michel and Patrick Bellegarde-Smith (New York: Palgrave Macmillan, 2006), 27–37.<em></em></div>\r\n<div id=\"_ftn4\" class=\"footnote\">[4] See Roger Brand, <em>Cultes vodoun et textes oraux des Wéménou du sud Bénin </em>(Munich: Lincom Europa, 2000); Brand, <em>Ethnographie et vocabulaire religieux des cultes vodoun </em>(Munich: Lincom Europa, 2000); Marc Monsia, <em>Religions indigènes et savoir endogène au Bénin </em>(Cotonou, Benin: Les Éditions du Flamboyant, 2003); Gilbert Rouget, <em>La musique et la transe </em>(Paris: Gallimard, 1991 [1980]); and Gilbert Rouget, <em>Initiatique vôdoun, images du rituel: Chants et danses initiatiques pour le culte des vôdoun au Bénin </em>(Saint-Maur, France: Éditions Sépia, 2001), v.</div>\r\n<div id=\"_ftn5\" class=\"footnote\">[5] Max G. Beauvoir, <em>Lapriyè Ginen </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti. 2008), 109-110.</div>\r\n<div id=\"_ftn6\" class=\"footnote\">[6] Milo Marcelin, <em>Mythologie Vodou (Rite Arada)</em>,<em> </em>2 vols. (Pétionville: Éditions Canapé Vert, 1950); Laura Boulton, “Laura Boulton’s Songs” (1947), in <em>Vodou Songs in Haitian Creole and English = Chante vodou an kreyòl ayisyen ak angle</em>, eds. Benjamin Hebblethwaite and Joanne Bartley (Philadelphia: Temple University Press, 2012), 127-145;  J.L., “J.L. Songs,” in <em>Vodou Songs in Haitian Creole and English</em>,<em> </em>147-184; Harold Courlander, unpublished manuscript (1939–1940), University of Michigan Special Collections Library; Milo Rigaud, <em>La tradition voudoo et le voudoo haïtien: Son temple, ses mystères, sa magie </em>(Paris: Éditions Niclaus, 1953).</div>\r\n<div id=\"_ftn7\" class=\"footnote\">[7] Albert Valdman, Iskra Iskrova, Jacques Pierre, and Nicolas André, <em>Haitian Creole-English Bilingual Dictionary</em> (Bloomington, IN: Creole Institute, 2007); Bryant Freeman and Jowel Laguerre, <em>Haitian-English Dictionary</em>, 5th ed. (Lawrence, KS: Institute of Haitian Studies, 2004).</div>\r\n</div>','Undergraduates in the Archives - Hebblethwaite 1','The Vodou Archive is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, interpreting what we collect, expanding the holdings through a self-submission tool, and diffusing the knowledge via an open access digital library.  ','inherit','open','open','','1504-revision-40','','','2012-11-28 21:05:58','2012-11-28 21:05:58','',1504,'http://www.archivejournal.net/issue/2/uncategorized/1504-revision-40/',0,'revision','',0),(3748,2,'2012-11-29 05:19:38','2012-11-29 05:19:38','<em>The Vodou Archive</em> is a collaborative partnership spearheaded by the University of Florida and Duke University that seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, interpreting what we collect, expanding the holdings through a self-submission tool, and diffusing the knowledge via an open access digital library.  You can find the current prototype here &lt;<a href=\"http://www.dloc.com/vodou\">http://www.dloc.com/vodou</a>&gt;,  hosted within the existing <a href=\"http://dloc.com/\">Digital Library of the Caribbean</a> (dLOC). In addition to the twenty-seven international partners working with the Digital Library of the Caribbean, collaborators from the University of Notre Dame, the University of Miami, the Schrijversvakschool, Florida International University, the Université des Antilles et de la Guyane, and City Lore, among others, will contribute elements to <em>The Vodou Archive</em>. This project belongs to a tradition of scholarly work stretching back to the early twentieth century that has sought to counter reductionist and racist visions of the religion through ethnography, analysis of culture and music, and an exploration of the role of Vodou in Haiti’s founding revolution. Such work has long turned to the central texts in Haitian Vodou: its Creole-language songs.\r\n\r\nBuilding on my book, <em>Vodou Songs in Haitian Creole and English</em>,<sup><a href=\"#_ftn1\">[1]</a></sup> <em>The Vodou Archive</em> project makes these songs available in Haitian Creole and English, along with substantial interpretative annotations and essays to contextualize the collection. The edited and curated materials in <em>The Vodou Archive</em> are of major literary, historical, cultural, and religious significance. The vast Vodou corpus stands out because it preserves a wealth of African cultural, ethnological, and historical knowledge.<sup><a href=\"#_ftn2\">[2]</a></sup> The oral and textual corpora of songs are comprised of the authentic and living traditions of the Vodou religion. They are primarily sung in the context of Vodou worship in public and domestic ceremonies, and they constitute the sacred literature of the religion. Vodou songs, a constant in ceremonies, address the mythologies and characteristics of the religion: Bondye (God), the Marasa (the Divine Twins), the lwa (spirits), and the dantan (ancestors), as well as their relations with humans and nature. Vodou songs are time capsules that reveal the history and origins of the Haitian people in Africa, their journey to the Americas in the French slave trade, and their lives in the French colony. Due to their sacred nature, they arewell-preserved records of African and Haitian history and culture.<sup><a href=\"#_ftn3\">[3]</a></sup> Ceremonies and songs preserve African historical (i.e. <em>Bosou, Achade, Legba, Danbala, Simbi, Ayizan</em>), cultural (i.e. <em>lwa, ounsi, ason, oungan, manbo</em>) and geographical (i.e.<em> Rada, Savalou, Boumba</em>) terms in a creolized or blended religious and cultural system.<sup><a href=\"#_ftn4\">[4]</a></sup> Likewise, there are numerous Vodou ceremonies (rites) classified by the African <em>nanchon</em> (nations/communities) where they originate, such as Rada, Petwo, Ginen, Seneka, Ibo, Danwonmen, Nago, Kongo, Kita, etc.<sup><a href=\"#_ftn5\">[5]</a></sup>\r\n\r\nUndergraduates played, and will play, a key role in this archive.  They contributed first drafts of transcriptions and translations of Vodou songs and interviews with Vodou practitioners for the book, <em>Vodou Songs in Haitian Creole and English</em>. The undergraduate students worked on transcribing and translating interviews that I collected from Vodou priests in Haiti and they also transcribed and translated rare pre-existing published materials.<sup><a href=\"#_ftn6\">[6]</a></sup>  The students, Joanne Bartley, Vanessa Brissault, Kat Warwick, Wilmide Vernet, and Musset Apollon, were either paid hourly through grant funding or they earned credit for an independent study. We worked from manuscripts that employ a range of Haitian Creole spelling systems. The official variety, the “IPN,” named after the <em>Institut Pédagogique National</em>, was adopted for the first time in 1980. Many of our manuscripts predate 1980 and thus transcription required heavy correction and consultation with lexicographical works.</sup><a href=\"#_ftn7\">[7]</a></sup> The students had been exposed to the official variety of Haitian Creole spelling in my intermediate Haitian Creole course. After establishing the Haitian Creole source text, the students produced the first draft of the English translation. Then I corrected the Haitian Creole and English drafts in various cycles as the materials moved towards the finished products, either the book or <em>The Vodou Archive</em>.  (See Figure 1, and for the related Vodou Archive digital library, Figures 2 &amp; 3.)<span class=\"caption\" style=\"width: 166px; margin-bottom: 20px;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1.jpg\"><img class=\"size-medium wp-image-2358\" style=\"margin-bottom: 10px; margin-right: 10px;\" title=\"hebbelthwaite_fig1\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig1-166x250.jpg\" alt=\"Figure 1\" width=\"166\" height=\"250\" /></a> Figure 1: The book cover of<em> Vodou Songs in Haitian Creole and English</em>.</span>\r\n\r\n<span class=\"caption left\" style=\"margin-right: 20px; width: 266px; clear: none;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2.jpg\"><img class=\" wp-image-2359\" style=\"margin-bottom: 10px;\" title=\"hebbelthwaite_fig2\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig2-333x208.jpg\" alt=\"Figure 2\" width=\"266\" height=\"166\" /></a> Figure 2: The homepage of the Vodou Archive.</span><span class=\"caption left\" style=\"margin-right: 10px; width: 266px; clear: none;\"><a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3.jpg\"><img class=\" wp-image-2360\" style=\"margin-bottom: 10px; clear: right;\" title=\"hebbelthwaite_fig3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/hebbelthwaite_fig3-333x208.jpg\" alt=\"Figure 3\" width=\"266\" height=\"166\" /></a> Figure 3: This screen shot presents the view inside of the Vodou Archive with the filter menu for narrowing results on the left hand side of the screen.</span>\r\n<div class=\"footnotes\">\r\n<div id=\"_ftn1\" class=\"footnote\">[1] Benjamin Hebblethwaite and Joanne Bartley, <em>Vodou Songs in Haitian Creole and English </em> <em>= Chante vodou an kreyòl ayisyen ak angle</em> (Philadelphia: Temple University Press, 2012).</div>\r\n<div id=\"_ftn2\" class=\"footnote\">[2] Max Beauvoir, <em>Le Grand Recueil Sacré ou Répertoire des Chansons du Vodou Haïtien </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti, 2008).</div>\r\n<div id=\"_ftn3\" class=\"footnote\">[3] Claudine Michel, “Vodou in Haiti: Way of Life and Mode of Survival,” in <em>Vodou in Haitian Life and Culture: Invisible Powers, </em>ed. Claudine Michel and Patrick Bellegarde-Smith (New York: Palgrave Macmillan, 2006), 27–37.<em></em></div>\r\n<div id=\"_ftn4\" class=\"footnote\">[4] See Roger Brand, <em>Cultes vodoun et textes oraux des Wéménou du sud Bénin </em>(Munich: Lincom Europa, 2000); Brand, <em>Ethnographie et vocabulaire religieux des cultes vodoun </em>(Munich: Lincom Europa, 2000); Marc Monsia, <em>Religions indigènes et savoir endogène au Bénin </em>(Cotonou, Benin: Les Éditions du Flamboyant, 2003); Gilbert Rouget, <em>La musique et la transe </em>(Paris: Gallimard, 1991 [1980]); and Gilbert Rouget, <em>Initiatique vôdoun, images du rituel: Chants et danses initiatiques pour le culte des vôdoun au Bénin </em>(Saint-Maur, France: Éditions Sépia, 2001), v.</div>\r\n<div id=\"_ftn5\" class=\"footnote\">[5] Max G. Beauvoir, <em>Lapriyè Ginen </em>(Port-au-Prince: Edisyon Près Nasyonal d Ayiti. 2008), 109-110.</div>\r\n<div id=\"_ftn6\" class=\"footnote\">[6] Milo Marcelin, <em>Mythologie Vodou (Rite Arada)</em>,<em> </em>2 vols. (Pétionville: Éditions Canapé Vert, 1950); Laura Boulton, “Laura Boulton’s Songs” (1947), in <em>Vodou Songs in Haitian Creole and English = Chante vodou an kreyòl ayisyen ak angle</em>, eds. Benjamin Hebblethwaite and Joanne Bartley (Philadelphia: Temple University Press, 2012), 127-145;  J.L., “J.L. Songs,” in <em>Vodou Songs in Haitian Creole and English</em>,<em> </em>147-184; Harold Courlander, unpublished manuscript (1939–1940), University of Michigan Special Collections Library; Milo Rigaud, <em>La tradition voudoo et le voudoo haïtien: Son temple, ses mystères, sa magie </em>(Paris: Éditions Niclaus, 1953).</div>\r\n<div id=\"_ftn7\" class=\"footnote\">[7] Albert Valdman, Iskra Iskrova, Jacques Pierre, and Nicolas André, <em>Haitian Creole-English Bilingual Dictionary</em> (Bloomington, IN: Creole Institute, 2007); Bryant Freeman and Jowel Laguerre, <em>Haitian-English Dictionary</em>, 5th ed. (Lawrence, KS: Institute of Haitian Studies, 2004).</div>\r\n</div>','Undergraduates in the Archives - Hebblethwaite 1','The Vodou Archive is a collaborative partnership spearheaded by the University of Florida and Duke University which seeks to improve the understanding of a central Haitian and Haitian-American spiritual tradition by gathering the audiovisual and textual sources of Vodou communities, interpreting what we collect, expanding the holdings through a self-submission tool, and diffusing the knowledge via an open access digital library.  ','inherit','open','open','','1504-revision-41','','','2012-11-29 05:19:38','2012-11-29 05:19:38','',1504,'http://www.archivejournal.net/issue/2/uncategorized/1504-revision-41/',0,'revision','',0),(3749,2,'2012-11-28 20:55:36','2012-11-28 20:55:36','The major challenges in writing and editing <em>Vodou Songs in Haitian Creole and English</em> and <em>The Vodou Archive</em> are the profusion of variant spelling systems found in Haitian Creole until 1980. Most Haitian-Americans I work with at the University of Florida have limited exposure to written Haitian Creole prior to enrolling in my courses. After a year of intermediate Haitian Creole, it is still typical to misspell certain words. Given that the source texts they work from routinely employ spelling conventions that are no longer current, it is also common for undergraduate research assistants to reproduce the outdated spelling, especially in the cases of words that refer to concepts that are unfamiliar to them. The source text in (a) below, taken from scholar Milo Marcelin (1950), illustrates the base from which transcription (b) and translation (c) were produced:\r\n\r\n(a)\r\n<a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/figure_a.png\"><img class=\"alignnone size-full wp-image-3242\" title=\"figure_a\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/figure_a.png\" alt=\"\" width=\"252\" height=\"70\" /></a>\r\n<table width=\"70%\" border=\"0\" cellspacing=\"0\" cellpadding=\"3\">\r\n<tbody>\r\n<tr>\r\n<td>(b)</td>\r\n<td>(c)</td>\r\n</tr>\r\n<tr>\r\n<td>Danbala Wèdo se koulèv dlo!</td>\r\n<td>Danbala Wèdo is the water snake!</td>\r\n</tr>\r\n<tr>\r\n<td>Chèche Danbala, ki bò w a wè li?</td>\r\n<td>Look for Danbala, where will you see him?</td>\r\n</tr>\r\n<tr>\r\n<td>Papa Danbala se koulèv dlo,</td>\r\n<td>Papa Danbala is the water snake,</td>\r\n</tr>\r\n<tr>\r\n<td>li plonje anba dlo!</td>\r\n<td>he dives under water!</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\nIn texts like this one, it is common for research assistants to import uncorrected words like <em>Oueddo</em>, or to accidently retain the “c” or the unpronounced “e” in <em>coulève </em>instead of writing the official <em>koulèv</em>. This impacted my work, as it required me to extensively edit the students’ work and send it back for review and correction; while it was labor intensive, the feedback provided the students with the opportunity to master the transcription of Haitian Creole and the translation into English. Students will learn from their mistakes if they can see what they are and have the chance to correct them. It is also common for students to import erroneous grammatical analyses by writing “<em>wa</em>” following <em>oua</em> (in line two), a minor confusion in which separate words are conflated. The correct representation of <em>oua </em>is “<em>w a</em>” (“you will” or “will you,” when used interrogatively as in the above). As senior editor, I had the challenge of constantly encountering examples of outdated spellings that research assistants had unwittingly imported into their transcription.\r\n\r\nThe quality of the undergraduates’ work varied widely. The nuances of the mythology, the “cryptic tricksterism” of Vodou semantics, and the rich—and obscure—idioms, expressions, and conceptualizations of the Haitian Creole language meant that all the texts required years of refinement through the editorial process, which is based upon countless critical re-readings from various points of view.<a href=\"#_ftn4\">[8]</a> Thus, working with undergraduates is rewarding but requires mentoring and patience due to their limited experience.\r\n<div class=\"footnotes\">\r\n<div id=\"_ftn8\" class=\"footnote\">[8] Karen McCarthy Brown, “Plenty Confidence in Myself: The Initiation of a White Woman Scholar into Haitian Vodou,” <em>Journal of Feminist Studies in Religion</em> 3, no. 1 (Spring 1987): 67–76, 74.</div>\r\n</div>','Undergraduates in the Archives - Hebblethwaite 4','The major challenges in writing and editing <em>Vodou Songs in Haitian Creole and English</em> and <em>The Vodou Archive</em> are the profusion of variant spelling systems found in Haitian Creole until 1980. Most Haitian-Americans I work with at the University of Florida have limited exposure to written Haitian Creole prior to enrolling in my courses.','inherit','open','open','','1513-revision-23','','','2012-11-28 20:55:36','2012-11-28 20:55:36','',1513,'http://www.archivejournal.net/issue/2/uncategorized/1513-revision-23/',0,'revision','',0),(3750,2,'2012-11-28 21:23:59','2012-11-28 21:23:59','My experience in the archive directly contributed to my interest in graduate school, which is perhaps unsurprising when you think about the demands of archival work. The move from undergraduate to graduate study shares the guiding principles of archival work. You must first learn what others have said, before delving into the topics that demand further examination. Archival research, in this sense, is the never-ending game of hide-and-seek with that perfect research subject we yen for in each new project, class, and semester.\r\n\r\nAside from its importance in training future scholars, archival work is significant even for students who have less professional allegiances to the academy. Original research is a principle worth incorporating in undergraduate course design, as it signifies the marketable job-placement skills that supposedly evidence proper university training. In the 1997 <em>Harper’s Magazine</em> essay “On the Uses of a Liberal Education,” Mark Edmundson suggests undergraduate study has become “lite entertainment for bored college students.” He writes, “University culture, like American culture writ large, is, to put it crudely, ever more devoted to consumption and entertainment, to the using and using up of goods and images.”<a href=\"#_ftn1\">[1]</a> Edmundson goes on to argue that the transactional nature of undergraduate study creates an imbalance between what professors put into a syllabus and what students get out of it. But if we think about archival research as a process of skill development, it just may serve as a corrective to the literal and figurative banking of education.\r\n\r\nArchival work is often thought to be methodologically opposed to new media research techniques; thus, the theory goes, undergraduates, as “digital natives,” must learn and maintain a skill set in the archive apart from their new media literacy. How, for example, should undergraduates be expected to navigate the thick mess of a paper archive when Facebook and Twitter are their daily information grounds, where information streams are updated automatically and search boxes are never further than the top of the page? If the job market is increasingly concerned with social media, why should students spend time poring over “dead” technologies? Contrary to the notion that the archive and new media are irreconcilable, we might instead think of them as complementary educational forces. It is no coincidence, for example, that undergraduates in the archive are more likely to be keen and discerning arbiters of information.\r\n\r\n<div class=\"footnotes\">\r\n<div id=\"_ftn1\" class=\"footnote\">[1] Mark Edmundson, “On the Uses of a Liberal Education: I. As Lite Entertainment for Bored College Students,” <em>Harper’s Magazine</em>, September 1997, 40.</div>\r\n<div>','Undergraduates in the Archives - Gotkin 2','My experience in the archive directly contributed to my interest in graduate school, which is perhaps unsurprising when you think about the demands of archival work. The move from undergraduate to graduate study shares the guiding principles of archival work. ','inherit','open','open','','1527-revision-29','','','2012-11-28 21:23:59','2012-11-28 21:23:59','',1527,'http://www.archivejournal.net/issue/2/uncategorized/1527-revision-29/',0,'revision','',0),(3753,10,'2012-11-29 04:10:40','2012-11-29 04:10:40','<a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-action-photo_saunders.jpg\"><img class=\"size-medium wp-image-1367 \" title=\"cscc_student action photo_saunders\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-action-photo_saunders-333x250.jpg\" alt=\"Matthew Saunders exploring the Ramsey Family Papers at the Cleveland Bradley County Library History Branch.\" width=\"333\" height=\"250\" /></a>\r\n\r\nI was one of the first students to take the History Laboratory class at Cleveland State Community College (CSCC). My previous experience during an extra-credit activity in a traditional history course initially sparked my interest. During an American history survey course, Mr. Reed, the CSCC instructor who founded the Southeast Tennessee Digital Archive (SETDA), offered students a chance to digitize historical photographs. He demonstrated how to research a photograph\'s history, starting with the limited information written on the back and clues within the picture itself. I was eager to enroll in a course that was dedicated to digitizing historical photographs.\r\n\r\nFew history majors would turn down the opportunity to go beyond lecture courses and work directly with historical documents, but I never expected a two-year college to offer me this opportunity. The History Laboratory allowed me to gain hands-on experience preserving important records of local history. Moreover, the History Lab transformed how I research. I had to learn to use a library because the most relevant research material was not accessible online. It took a while to get into the groove of picking up a book and reading through the text as opposed to using a search engine to gather information. Using physical books to research is an invaluable experience that I will take with me throughout my future courses and career.\r\n\r\nAnother new experience was the archiving section of the class, in which we digitized photographs and organized the research in a way that would be coherent on the SETDA website. As students, we are accustomed to elaborating and expanding upon our research to produce an essay. The archiving section of the course, instead, forced me to condense my findings into a few concise sentences. The term “metadata” was foreign to me before this class, so working my research into that format was not the easiest task. Entering metadata into ContentDM was a challenge. Nevertheless, this exercise has helped me to convey my thoughts more clearly in other classes.\r\n\r\nOverall, the History Laboratory was a great experience. I had wanted to add some constructive criticism, but after reflecting on my experience I cannot think of any suggestions. The instructors were terrific and the course of study was refreshing. I would recommend this course to history students or any student who is searching for an experience that goes beyond a classroom lecture.','Matthew E. Saunders - Commentary','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.','inherit','open','open','','1040-revision-25','','','2012-11-29 04:10:40','2012-11-29 04:10:40','',1040,'http://www.archivejournal.net/issue/2/uncategorized/1040-revision-25/',0,'revision','',0),(3754,10,'2012-11-29 03:10:13','2012-11-29 03:10:13','Cleveland State Community College (CSCC), a small two-year college in southeast Tennessee, offers freshman and sophomore students a service-learning course as an introduction to research in archives. In this course, the History Laboratory students assist local cultural heritage institutions with digitizing collections and publishing them on the web. As of spring 2012, students have completed service-learning hours at the Cleveland Bradley County Public Library History Branch, the Museum Center at 5ive Points, and the Polk County Historical and Genealogical Society Library. These local archives and museums benefit from increased access to their collections, while CSCC history students gain experience with handling and researching primary sources.\r\n\r\nSeveral developments led the Department of History and the Library to collaborate on the creation of the History Laboratory. The college’s administrators recently encouraged instructors of every discipline, including the humanities, to develop content-appropriate service-learning courses to promote student engagement. Moreover, the history curriculum at CSCC emphasizes the central role of primary sources in historical analysis, even in research projects assigned in introductory courses. A history instructor, Bryan Reed, realized that his students could access a rich learning experience if they contributed to a regional digitization project, the <a href=\" http://www.clevelandstatecc.edu/setda/\">Southeast Tennessee Digital Archive</a>. Thus, Reed and I developed a service-learning history course where students assist local archives, museums, and historical societies that lack staff to digitize their collections.\r\n\r\nAs the primary instructor, I oversee the classroom content of the course, which is informed by my training in both history and information science (MA, History; MS, Information Science). The historian’s need to understand primary sources, where they are found and how they are curated, shapes the goal of the course. Information science, including the philosophy of archives, digitization, and creating metadata, shapes the course activities. Reed serves as the local history expert, assisting students with research in obscure local publications.\r\n\r\nBecause the History Laboratory’s target audience is freshman and sophomore history majors, the course is very basic. The primary goal is to expose students to the cultural heritage institution’s role as curator of artifacts. At the archive I introduce students to the archivist, collections, finding aids, and additional tools for discovering information about a collection. After this introduction to cultural heritage institutions, we discuss the historian’s role as interpreter of artifacts. This discussion is often the students’ initiation to the “historian’s craft”: assembling a narrative, interpreting facts, and determining significance.\r\n\r\nThe learning outcomes for the History Laboratory are similarly basic. By the end of the course, we expect students to demonstrate appropriate handling of unique historical materials, to create digital surrogates of assigned primary documents, to research these primary documents using relevant resources (in paper and electronic formats), and to organize and present their findings in the Southeast Tennessee Digital Archive (SETDA) using a simple content management system (CONTENTdm). The last learning outcome, creating and entering metadata, may seem out of place in a history course. Nevertheless, we felt it was essential for students to complete this step; it gives them the opportunity to digest their research, consider their audience, and share their findings. This process empowers students to take on the role of expert.\r\n\r\nAfter two pilot semesters, the History Laboratory is now an officially sanctioned course in the history curriculum at Cleveland State Community College. Former students have indicated that the course was a valuable first introduction to archives and their importance to historical research. In the future, we look forward to requiring this service-learning experience for all CSCC history majors. Although we believe that the History Laboratory offers an unparalleled initiation to archival research, we look forward to hearing whether our graduates’ experiences remain relevant as they continue their academic careers.','Sarah Shippy Copeland - Commentary','Cleveland State Community College (CSCC), a small two-year college in southeast Tennessee, offers freshman and sophomore students a service-learning course as an introduction to research in archives. In this course, the History Laboratory students assist local cultural heritage institutions with digitizing collections and publishing them on the web. As of spring 2012, students have completed service-learning hours at the Cleveland Bradley County Public Library History Branch, the Museum Center at 5ive Points, and the Polk County Historical and Genealogical Society Library. These local archives and museums benefit from increased access to their collections, while CSCC history students gain experience with handling and researching primary sources.','inherit','open','open','','1027-revision-17','','','2012-11-29 03:10:13','2012-11-29 03:10:13','',1027,'http://www.archivejournal.net/issue/2/uncategorized/1027-revision-17/',0,'revision','',0),(3755,10,'2012-11-29 04:57:26','2012-11-29 04:57:26','<ol>\r\n	<li><strong>How many students worked at the History Branch and Archives of the Cleveland Bradley County Library?</strong>\r\nTwo students worked at the History Branch one evening a week for a set number of weeks.</li>\r\n	<li><strong>Will you work with History Lab students again?</strong>\r\nCertainly. The students were polite, reliable, diligent in their work, and followed directions with little supervision.</li>\r\n	<li><strong>What did you find most productive or enjoyable about the process of working with the students?</strong>\r\nIt was rewarding to see the students’ progress from novice researchers to becoming confident in their work. Along the way their project changed from a class assignment to one of discovery. They became excited and interested in their subject and <em>wanted</em> to expand the scope of their work through additional research.</li>\r\n	<li><strong>How has the students’ work impacted the History Branch and its collections?</strong>\r\n<ul>\r\n	<li>The additional research done by the students will be available to all of the library’s patrons.</li>\r\n	<li>Students have given presentations on their research to the Bradley County Historical and Genealogical Society.</li>\r\n	<li>Observing the students as they worked with the photograph collection helped me to be more aware of the type of material that captures a new researcher’s attention.</li>\r\n</ul>\r\n</li>\r\n</ol>','Barbara Fagen - Commentary','','inherit','open','open','','1020-revision-19','','','2012-11-29 04:57:26','2012-11-29 04:57:26','',1020,'http://www.archivejournal.net/issue/2/uncategorized/1020-revision-19/',0,'revision','',0),(3756,10,'2012-11-29 04:01:03','2012-11-29 04:01:03','<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.','inherit','open','open','','1113-revision-19','','','2012-11-29 04:01:03','2012-11-29 04:01:03','',1113,'http://www.archivejournal.net/issue/2/uncategorized/1113-revision-19/',0,'revision','',0),(3757,10,'2012-11-28 23:10:56','2012-11-28 23:10:56','<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 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.','inherit','open','open','','1110-revision-28','','','2012-11-28 23:10:56','2012-11-28 23:10:56','',1110,'http://www.archivejournal.net/issue/2/uncategorized/1110-revision-28/',0,'revision','',0),(3758,10,'2012-11-29 04:20:36','2012-11-29 04:20:36','<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 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-23','','','2012-11-29 04:20:36','2012-11-29 04:20:36','',1128,'http://www.archivejournal.net/issue/2/uncategorized/1128-revision-23/',0,'revision','',0),(3759,10,'2012-11-29 04:51:52','2012-11-29 04:51:52','<h4>The student work for this case study is two archival tools designed by Tom Smith:  a low-cost robotic scanner for paper-based materials and a web application for an oral history archive.  Click on the images below to learn more about these tools.</h4>\r\n<a href=\"http://projectgado.org/\"><img class=\"size-full wp-image-1258\" title=\"jhu_student project photo 1_gado\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_student-project-photo-1_gado.jpg\" alt=\"The Gado 2 Robotic Scanner scanning photos at the Afro-American Newspapers archive.\" width=\"638\" height=\"478\" /></a> <span class=\"caption\">The Gado 2 Robotic Scanner scanning photos at the <em>Afro-American Newspapers</em> archive.</span>\r\n\r\n<a href=\"http://eboh.jhu.edu/oralhistoryplayer\"><img class=\" wp-image-2451\" style=\"margin-top: 30px;\" title=\"jhu_student project photo 2_eboh\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/09/jhu_student-project-photo-2_eboh.jpg\" alt=\"The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.\" width=\"630\" /></a> <span class=\"caption\">The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.</span>','Student-Built Archival Tools','This case study focuses on 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.','inherit','open','open','','1057-revision-47','','','2012-11-29 04:51:52','2012-11-29 04:51:52','',1057,'http://www.archivejournal.net/issue/2/uncategorized/1057-revision-47/',0,'revision','',0),(3760,10,'2012-11-29 04:40:05','2012-11-29 04:40:05','<h4>The images below are a small fraction of the materials made available through the project and James (Jimmy) Barnett\'s work. The full range can be seen in the <a href=\"http://ufdc.ufl.edu/caha/all\" target=\"_blank\">Carrère &amp; Hastings Digital Collection</a>, part of the University of Florida Digital Collections. Click on the images below to access the item in the digital collection.  You can read more at the project blog: <a href=\"http://flaglerdrawings.wordpress.com/\" target=\"_blank\">flaglerdrawings.wordpress.com</a>.</h4>\r\n&nbsp;\r\n\r\n<img class=\"size-large wp-image-957\" style=\"width: 638;\" title=\"uf_student  action photo_barnett 3\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-action-photo_barnett-3-1024x682.jpg\" alt=\"\" />\r\n<span class=\"wp-caption-text\"> Barnett using a Betterlight Super 8k-HS camera back and custom mount configuration to digitize John Carrère and Thomas Hastings’ “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890. Photo credit: Joe Kaleita, University of Florida Libraries.</span>\r\n\r\n<a href=\"http://ufdc.ufl.edu/UF00082657/00001\" target=\"_blank\"><img class=\"size-full wp-image-959\" style=\"width: 638;\" title=\"Ground Plan, Presbyterian Church\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-1.jpg\" alt=\"\" /></a>\r\n<span class=\"wp-caption-text\">An example of the results Barnett’s work digitizing and preserving a large-scale architectural drawing. John Carrère and Thomas Hastings. “Ground Plan, Presbyterian Church, St. Augustine, Fla.” c. 1889-1890.</span>\r\n\r\n<a href=\"http://ufdc.ufl.edu/UF00089836/00001\" target=\"_blank\"><img class=\"size-full wp-image-958\" style=\"width: 638;\" title=\"Part Plan of Fourth Floor\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/uf_student-work_image-2.jpg\" alt=\"\" /></a>\r\n<span class=\"wp-caption-text\">Another example of Barnett\'s work. John Carrère and Thomas Hastings. “Part Plan of Fourth Floor. Architectural drawings of the Hotel Ponce de Leon, St. Augustine, Florida.” 96 x 40 inches.</span>','Digitizing Large-Format Architectural Plans','This case study showcases an undergraduate’s work as the lead digital scanner of architectural drawings for the Carrère & Hastings Digital Collection, a collaborative project between the University of Florida (UF) and Flagler College to conserve and digitally preserve the large and fragile drawings. For years the drawings were stored in a basement boiler room and suffered from exposure to high Florida temperatures, humidity, insects, and rodents. The collection is now under the care of a team of faculty, staff, and students from the UF’s Special Collections, Conservation Unit, and Digital Library Center.','inherit','open','open','','946-revision-53','','','2012-11-29 04:40:05','2012-11-29 04:40:05','',946,'http://www.archivejournal.net/issue/2/uncategorized/946-revision-53/',0,'revision','',0),(3761,10,'2012-11-29 10:41:00','2012-11-29 10:41:00','<h4>The student work for this case study is two archival tools designed by Tom Smith:  a low-cost robotic scanner for paper-based materials and a web application for an oral history archive.  Click on the images below to learn more about these tools.</h4>\r\n<a href=\"http://projectgado.org/\"><img class=\"size-full wp-image-1258\" title=\"jhu_student project photo 1_gado\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/jhu_student-project-photo-1_gado.jpg\" alt=\"The Gado 2 Robotic Scanner scanning photos at the Afro-American Newspapers archive.\" width=\"638\" height=\"478\" /></a> <span class=\"caption\">The Gado 2 Robotic Scanner scanning photos at the <em>Afro-American Newspapers</em> archive.</span>\r\n\r\n<a href=\"http://eboh.jhu.edu/oralhistoryplayer\"><img class=\" wp-image-2451\" style=\"margin-top: 30px;\" title=\"jhu_student project photo 2_eboh\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/09/jhu_student-project-photo-2_eboh.jpg\" alt=\"The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.\" width=\"630\" /></a> <span class=\"caption\">The East Baltimore Oral History Player showing the index entry for a resident whose story Tom Smith helped to document and record.</span>','Student-Built Archival Tools','This case study focuses on a student who contributed much more than expected to digital projects by creating two archival tools: a web application for an oral history archive and a low-cost robotic scanner for paper-based materials. In a practicum course at Johns Hopkins University, Tom Smith and his peers worked on recording and organizing oral histories. Smith also developed an audio player for the digital archive. This work brought him in contact with the Diaspora Pathways Archival Access Project (DPAAP) and led Smith to invent another tool: the Gado scanner. This powerful, durable robotic scanner digitizes sensitive archival materials and can be built using simple components for less than $500.','inherit','open','open','','1057-revision-48','','','2012-11-29 10:41:00','2012-11-29 10:41:00','',1057,'http://www.archivejournal.net/issue/2/uncategorized/1057-revision-48/',0,'revision','',0),(3762,10,'2012-11-29 02:51:53','2012-11-29 02:51:53','<h4>Matthew Saunders worked on the image below.   His work on it is now part of the Southeast Tennessee Digital Archive (SETDA). You can find the whole archive <a href=\"http://www.clevelandstatecc.edu/setda/\" target=\"_blank\">here</a>, and the items Saunders contributed <a href=\"http://csccdigital.cdmhost.com/cdm/singleitem/collection/p4024coll8/id/216\" target=\"_blank\">here</a>.</h4>\r\n&nbsp;\r\n\r\n<img class=\"size-full wp-image-1368\" title=\"cscc_student work_sample material\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-work_sample-material.jpg\" alt=\"Image of James A. Bible (c. 1860) from the Ramsey Family Papers (MS 81).\" width=\"386\" height=\"640\" />\r\n<span class=\"caption\">Image of James A. Bible (c. 1860) from the Ramsey Family Papers (MS 81). Used by permission of Cleveland Public Library.</span>','History Lab: Combining Service Learning, Research Methods, and Digital Archives ','This case study features the work of a student who took History Lab, an introductory history and service-learning course at Cleveland State Community College (CSCC). He researched individual items from a local cultural heritage organization that were then digitized, described, and published online in the <a href=\"http://www.clevelandstatecc.edu/setda/\" target=\"_blank\">Southeast Tennessee Digital Archive</a> (SETDA). Matthew Saunders\' work ended up in the Southeast Tennessee Digital Archive. You can find the whole archive <a href=\"http://www.clevelandstatecc.edu/setda/\" target=\"_blank\">here</a>, and the items Saunders contributed <a href=\"http://csccdigital.cdmhost.com/cdm/singleitem/collection/p4024coll8/id/216\" target=\"_blank\">here</a>.','inherit','open','open','','1018-revision-38','','','2012-11-29 02:51:53','2012-11-29 02:51:53','',1018,'http://www.archivejournal.net/issue/2/uncategorized/1018-revision-38/',0,'revision','',0),(3765,10,'2012-11-29 10:51:15','2012-11-29 10:51:15','When I heard about English 241: Archeology of Text, I was immediately excited. I had been working in Special Collections and Archives at Goucher College for about a year, and I knew the class would give me a chance to learn more about books and archives in a setting that would encourage discussions with my peers. When it came time to pick a collection for my final project, I decided to work with archival materials rather than books so that I could challenge myself.\r\n\r\nWhile working in Special Collections, I had often walked by large blue boxes containing scrapbooks, but I had yet to look through them. When I began leafing through them, I found that I learned as much about Goucher College as I did about the women who put the scrapbooks together. Many of the scrapbooks had things in common, including Valentines, pressed flowers, calling cards, and photographs. But what intrigued me most were the dance cards. I had never before encountered dance cards, or even heard of them, even though I had been dancing all my life. Many of the dance cards were from the U.S. Naval Academy, a nearby all-male school in need of women with whom to dance. Goucher girls would often travel to Annapolis for the weekend dances and bring back dance cards as souvenirs.\r\n\r\n<img class=\" wp-image-1275\" title=\"goucher_student action photo_brand\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-action-photo_brand.jpg\" alt=\"Cassie Brand working in the former Rare Book Collection Seminar Room \" width=\"510\" height=\"382\" />\r\n<span class=\"caption\">Cassie Brand working in the former Rare Book Collection Seminar Room (December 2007) with an early Chaucer edition from Special Collections (Ed. John Urry, London: Printed for Bernard Lintot, 1721).</a> \r\n\r\nWhen I began researching these cards, I found very little information. I went to all of the reference librarians I could find, but even they had difficulties because very few secondary sources were available. I looked through all the etiquette books I could get my hands on and even asked people to tell me what they knew about dance cards. Those who knew of them provided me with the basic information I needed to study the cards.\r\n\r\nI contacted the U.S. Naval Academy Archives, and with the help of Nancy Magnuson, Goucher College Librarian, I made an appointment to see their collection. There I found an almost complete run of dance cards from the Farewell Ball, which was held every year after graduation. Some were blank, some were filled in, some contained photographs, and some still had their tiny pencils attached. Looking through the cards, I found that they could be studied in several ways. One could examine print history, dance history, social history, or even one woman’s history of dance partners. The first and last dance cards were so drastically different that I chose to look at how the cards changed over the years. I found that the cards’ modifications reflected the changes in social dances.\r\n\r\nThough I have not yet returned to the dance card collections to study them further, they have never been far from my mind. I am still trying to convince people that dance cards are brilliant and should be reinstated for social events. Dance cards remain an interest of mine, and I would love to eventually write their complete history.','Cassie Brand - Commentary','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.','inherit','open','open','','1051-revision-24','','','2012-11-29 10:51:15','2012-11-29 10:51:15','',1051,'http://www.archivejournal.net/issue/2/uncategorized/1051-revision-24/',0,'revision','',0),(3766,10,'2012-11-29 10:22:24','2012-11-29 10:22:24','As an undergraduate English major with a concentration in creative writing, I had always regarded books as a portal into the world of fiction, a place where I could study plots and themes, setting and syntax. I had never stopped to consider books as historical objects until my first class in English 241: Archeology of Text. The assignment for the final research paper seemed simple: use what we learned during the semester to explore, analyze, and describe a document of interest from Goucher’s Special Collections.\r\n\r\nI knew from the start that I was intrigued by Goucher’s prolific collection of Jane Austen materials, but needed something specific to spark my interest. Walking around the small Special Collections room in the Julia Rogers Library, my gaze landed on a blue box behind a glass case. I soon learned that inside that box lay the first American edition of <em>Emma</em> (Philadelphia: M. Carey; for sale by Wells &amp; Lilly, Boston, 1816).  Nancy Magnuson, college librarian, told me all about Alberta Burke’s letters and thought that they might contain clues for my research. I have always been fascinated with letters (both reading and writing them), and the process of tracking a specific book through personal correspondences captivated me. I chose to study the 1816 first American edition of <em>Emma</em> and explore the letters that track how it found a home in Goucher’s library.\r\n\r\n<img class=\"size-full wp-image-1273\" title=\"goucher_student action photo_kendall\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/goucher_student-action-photo_kendall.jpg\" alt=\"Sarah Kendall working with the Burke copy of the American first edition of Austen\'s Emma\" width=\"320\" height=\"375\" />\r\n\r\nI remain baffled by the amount of information and detailed history I discovered while writing a descriptive bibliography. I wrote detailed accounts of the letters from Alberta Burke and David Gilson, the letters between David Gilson and Henry Burke, and the 1816 first edition of <em>Emma</em>. After seeing the interest that both Alberta Burke and David Gilson had in the first American edition of <em>Emma</em>, I knew that perusing the pages and studying the tome in detail would be essential to revealing the book’s history. Sifting through dozens of letters hoping to find mention of <em>Emma</em> thrilled me to no end. Reading different letters from various sources also illuminated how various people valued the first edition and why they wanted it in their possession. The circuit of corresponding materials proved equally intriguing and helpful for tracking down how the book traveled from Philadelphia to Goucher’s library.\r\n\r\nI learned that by latching on to a specific topic, I could follow a steady thread of conversation about <em>Emma</em>. The experience made me feel like a genuine historian instead of an undergraduate student simply researching journal articles or internet resources. It felt very special and intellectually stimulating to handle history with my own hands! I even discovered two additional letters hidden between the inside cover and the title page of the first volume. Unearthing these two letters felt very encouraging and proved that there is always the possibility of finding something new within the archives.','Sarah Kendall - Commentary','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.','inherit','open','open','','1053-revision-27','','','2012-11-29 10:22:24','2012-11-29 10:22:24','',1053,'http://www.archivejournal.net/issue/2/uncategorized/1053-revision-27/',0,'revision','',0),(3767,10,'2012-11-29 10:28:29','2012-11-29 10:28:29','<a href=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-action-photo_saunders.jpg\"><img class=\"size-medium wp-image-1367 \" title=\"cscc_student action photo_saunders\" src=\"http://stage.archivejournal.net/wp-content/uploads/2012/02/cscc_student-action-photo_saunders-333x250.jpg\" alt=\"Matthew Saunders exploring the Ramsey Family Papers at the Cleveland Bradley County Library History Branch.\" width=\"333\" height=\"250\" /></a>\r\n\r\nI was one of the first students to take the History Laboratory class at Cleveland State Community College (CSCC). My previous experience during an extra-credit activity in a traditional history course initially sparked my interest. During an American history survey course, Mr. Reed, the CSCC instructor who founded the Southeast Tennessee Digital Archive (SETDA), offered students a chance to digitize historical photographs. He demonstrated how to research a photograph\'s history, starting with the limited information written on the back and clues within the picture itself. I was eager to enroll in a course that was dedicated to digitizing historical photographs.\r\n\r\nFew history majors would turn down the opportunity to go beyond lecture courses and work directly with historical documents, but I never expected a two-year college to offer me this opportunity. The History Laboratory allowed me to gain hands-on experience preserving important records of local history. Moreover, the History Lab transformed how I research. I had to learn to use a library because the most relevant research material was not accessible online. It took a while to get into the groove of picking up a book and reading through the text as opposed to using a search engine to gather information. Using physical books to research is an invaluable experience that I will take with me throughout my future courses and career.\r\n\r\nAnother new experience was the archiving section of the class, in which we digitized photographs and organized the research in a way that would be coherent on the SETDA website. As students, we are accustomed to elaborating and expanding upon our research to produce an essay. The archiving section of the course, instead, forced me to condense my findings into a few concise sentences. The term “metadata” was foreign to me before this class, so working my research into that format was not the easiest task. Entering metadata into ContentDM was a challenge. Nevertheless, this exercise has helped me to convey my thoughts more clearly in other classes.\r\n\r\nOverall, the History Laboratory was a great experience. I had wanted to add some constructive criticism, but after reflecting on my experience I cannot think of any suggestions. The instructors were terrific and the course of study was refreshing. I would recommend this course to history students or any student who is searching for an experience that goes beyond a classroom lecture.','Matthew E. Saunders - Commentary','I was one of the first students to take the History Laboratory class at Cleveland State Community College (CSCC). My previous experience during an extra-credit activity in a traditional history course initially sparked my interest. During an American history survey course, Mr. Reed, the CSCC instructor who founded the Southeast Tennessee Digital Archive (SETDA), offered students a chance to digitize historical photographs. He demonstrated how to research a photograph\'s history, starting with the limited information written on the back and clues within the picture itself. I was eager to enroll in a course that was dedicated to digitizing historical photographs.','inherit','open','open','','1040-revision-26','','','2012-11-29 10:28:29','2012-11-29 10:28:29','',1040,'http://www.archivejournal.net/issue/2/uncategorized/1040-revision-26/',0,'revision','',0),(3768,10,'2012-11-29 04:26:11','2012-11-29 04:26:11','<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=\"&quot;caption\">Joan Tkcas (on far right, in brown) and Casket with Scenes of Romances, ivory and bone with modern iron mounts (French, 1330-1350). </span>Photo: Will Kirk, <a href=\"http://homewoodphoto.jhu.edu\">homewoodphoto.jhu.edu</a>.\r\n\r\n<span class=\"&quot;caption\">\r\n</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.','inherit','open','open','','1126-revision-15','','','2012-11-29 04:26:11','2012-11-29 04:26:11','',1126,'http://www.archivejournal.net/issue/2/uncategorized/1126-revision-15/',0,'revision','',0),(3769,10,'2012-11-30 04:48:54','2012-11-30 04:48:54','<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). </span>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.','inherit','open','open','','1126-revision-16','','','2012-11-30 04:48:54','2012-11-30 04:48:54','',1126,'http://www.archivejournal.net/issue/2/uncategorized/1126-revision-16/',0,'revision','',0),(3772,10,'2012-11-28 22:03:03','2012-11-28 22:03:03','I am fortunate to hold positions at three major cultural institutions in Philadelphia. I teach in the Religious Studies Department at the University of Pennsylvania, work as a Contributing Scholar at the Penn Museum, and, as Director of Native American Projects at the American Philosophical Society (APS), I oversee one of the finest collections of Native American archival materials in the country. I have directed three large grant projects at the APS to digitize images and audio recordings related to Native American culture. Once in digital form, the material becomes much more accessible to students. I am, therefore, in a unique position to provide my students with access to a wide variety of archival materials, many of which are linked in surprising ways.\r\n\r\nFor most of the twentieth century, Penn was home to some of the greatest anthropologists working on Native American cultures: Frank Speck, A. Irving Hallowell, Anthony F.C. Wallace, and Dell Hymes. All of these scholars gave their papers to the APS, while Speck and Hallowell also donated artifacts to the Penn Museum. The collections fit together very nicely, even though the institutions do not have a formal collaborative relationship. My Penn students thus have many opportunities to connect the two collections in a variety of interesting ways that are beneficial to the APS, the Penn Museum, and Native American communities.\r\n\r\nMuch of my own research involves how digital technology can strengthen outreach to Native American communities. I have overseen six grant projects that share the aim of returning digital surrogates of archival materials to their communities of origin. In 2005, I started a website entitled <em><a href=\"http://gibagadinamaagoom.info/\">Gibagadinamaagoom: An Ojibwe Digital Archive</a></em> that houses digital materials and is used by Ojibwe high school and tribal college students throughout the state of Minnesota. Several years later I started a sister site, <em>Digital Partnerships with Indian Communities</em> <em><a href=\"http://gibagadinamaagoom.info/\">Digital Partnerships with Indian Communities</a></em>, which allows the students to “publish” their work. When their work is polished enough, which usually entails some substantive editing, it is then made available to Native communities via the <em>Digital Partnerships</em> website. Both sites are designed with the Drupal content management system and are maintained by the School of Arts and Sciences Computing at Penn. This provides long-term sustainability. Because Drupal is so flexible, students can learn how to design digital exhibits that incorporate highlights of the archival materials and make them more accessible to Native communities. This requires training and outstanding students, many of whom receive grant support from Penn or other sources to work with me on these projects.','Undergraduates in the Archives - Powell 1','I am fortunate to hold positions at three major cultural institutions in Philadelphia. I teach in the Religious Studies Department at the University of Pennsylvania, work as a Contributing Scholar at the Penn Museum, and, as Director of Native American Projects at the American Philosophical Society (APS), I oversee one of the finest collections of Native American archival materials in the country.','inherit','open','open','','1577-revision-22','','','2012-11-28 22:03:03','2012-11-28 22:03:03','',1577,'http://www.archivejournal.net/issue/2/uncategorized/1577-revision-22/',0,'revision','',0),(3808,2,'2013-01-21 18:57:13','2013-01-21 18:57:13','<h3><a href=\"#welcome\">Welcome</a> | <a href=\"#mission\">Mission</a> | <a href=\"#content\">Journal Content</a> | <a href=\"#editors\">Editorial Team &amp; Editorial Board</a> | <a href=\"#submissions\">Submissions</a>\r\n<a href=\"#review\">Peer Review</a> | <a href=\"#copyright\">Copyright &amp; Licenses</a> | <a href=\"#publication\">Publication</a> | <a href=\"#design\">Web Design</a> | <a href=\"#support\"> Support</a></h3>\r\n&nbsp;\r\n<h3><a name=\"welcome\"></a>Welcome</h3>\r\n<p class=\"textblock\">What you see on this site is Issue 2 (Fall 2012).  Work is underway on Issue 3,  a special issue focused on data curation.</p>\r\n\r\n<h3><a name=\"mission\"></a>Mission</h3>\r\n<em>Archive</em> focuses on the use and theory of archives and special collections in higher education.\r\n<p class=\"textblock\">The academic community has invested deeply in the preservation, use, and digitization of materials in special collections, and <em>Archive</em> provides the space to reflect on this investment. The objects and texts in special collections and archives are the focus of this journal, just as they are the focus of the many projects from and in archives that have been executed and continue with great success. Digitization efforts large and small have freed archives from the bounds of brick and mortar by bringing a wealth of texts and objects into virtual circulation. Teachers and librarians have increasingly emphasized work with original materials for students at all levels as a way to enrich student experience and position students as researchers. The use of materials in special collections as the objects of scholarly study continues to be a key methodology of humanities disciplines even as new technologies, from data mining to visualizations, open up possibilities for what scholars learn from these objects. Recent archival projects have involved multiple institutions (universities and colleges, independent libraries and archives, and non-profit organizations) and multiple constituencies (including librarians, archivists, undergraduate and graduate students, faculty, university press directors, and information technologists). In this moment when archival projects, both virtual and real, have become the norm rather than the exception, <em>Archive</em> offers a way to forge connections among the projects and the communities producing them.</p>\r\n\r\n<h3><a name=\"content\"></a>Journal Content</h3>\r\n<p class=\"textblock\">The journal consists of three content areas:</p>\r\n\r\n<ul>\r\n	<li><em>360°: Analysis and Discussion in the Round</em> features an asynchronous “discussion” among contributors from various backgrounds — in the form of several individual, linked essays — on a single archive or archival topic.</li>\r\n	<li><em>Archives, Remixed: Critical Perspectives and Pathways</em> invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to both traditional research or theoretical essays, as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication.</li>\r\n	<li>Notes + Queriesserves as a community space for people to share best practices, archival finds, reports from the field, and thoughts on current work in the field.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"editors\"></a>Editorial Team</h3>\r\n<table>\r\n<thead>\r\n<tr>\r\n<td width=\"160px\"></td>\r\n<td></td>\r\n<td></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Lauren Coats</td>\r\n<td>.......</td>\r\n<td>Assistant Professor of English (LSU)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Managing Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Gabrielle Dean</td>\r\n<td>.......</td>\r\n<td>Curator of Modern Literary Rare Books and Manuscripts, Librarian for English and the Writing Seminars (Johns Hopkins University)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Technical Editor</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Daniel Chamberlain</td>\r\n<td>.......</td>\r\n<td>Director, Center for Digital Learning and Research (Occidental College)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Contributing Editors</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Cecily Marcus</td>\r\n<td>.......</td>\r\n<td>Curator in Archives and Special Collections (University of Minnesota)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Laurie N. Taylor</td>\r\n<td>.......</td>\r\n<td>Digital Humanities Librarian, Digital Library Center (University of Florida)</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\">\r\n<h2>Editorial Board</h2>\r\n</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Wendy Hui Kyong Chun</td>\r\n<td>.......</td>\r\n<td>Professor of Modern Culture and Media (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Dan Cohen</td>\r\n<td>.......</td>\r\n<td>Associate Professor, Department of History and Art History; Director, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Sharon Farb</td>\r\n<td>.......</td>\r\n<td>Associate University Librarian (UCLA)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kathleen Fitzpatrick</td>\r\n<td>.......</td>\r\n<td>Director of Scholarly Communications (MLA) and Professor of Media Studies (Pomona College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Julia Flanders</td>\r\n<td>.......</td>\r\n<td>Director, Women Writers Project; Associate Director for Textbase Development, Center for Digital Scholarship (Brown University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Amanda French</td>\r\n<td>.......</td>\r\n<td>THATCamp Coordinator, Center for History and New Media (George Mason University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Chuck Henry</td>\r\n<td>.......</td>\r\n<td>President, Council on Library and Information Resources (CLIR)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Patricia Hswe</td>\r\n<td>.......</td>\r\n<td>Digital Collections Curator (Penn State University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Tara McPherson</td>\r\n<td>.......</td>\r\n<td>Associate Professor of Critical Studies, School of Cinematic Arts (University of Southern California)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Kenneth M. Price</td>\r\n<td>.......</td>\r\n<td>University Professor and Hillegass Chair of American Literature; Co-Director, Center for Digital Research in the Humanities (University of Nebraska-Lincoln)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Elliott Shore</td>\r\n<td>.......</td>\r\n<td>CIO, Director of Libraries, and Professor of History (Bryn Mawr College)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Richard Szary</td>\r\n<td>.......</td>\r\n<td>Director, Louis Round Wilson Library; Associate University Librarian for Special Collections (UNC-Chapel Hill)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">Ed Whitley</td>\r\n<td>.......</td>\r\n<td>Associate Professor of English (Lehigh University)</td>\r\n</tr>\r\n<tr>\r\n<td class=\"name\">John Willinsky</td>\r\n<td>.......</td>\r\n<td>Khosla Family Professor of Education (Stanford University)</td>\r\n</tr>\r\n</thead>\r\n</table>\r\n&nbsp;\r\n<h3><a name=\"submissions\"></a>Submissions</h3>\r\nPlease review our <a href=\"http://archivejournal.net/journal/home/submit-to-archive-journal/\">submit page</a>, if you are interested in submitting to the journal, or have any suggestions for or comments about the journal.\r\n\r\n&nbsp;\r\n<h3><a name=\"review\"></a>Peer Review</h3>\r\nAll materials in <em>Archive Journal</em> are peer-reviewed.\r\n\r\nPeer review is central to scholarly communication by providing feedback for improvement, ensuring the quality of published materials, and validating the scholarly merit and proper credentialing of published materials. <em>Archive Journal</em>’s peer review policy is designed to achieve these goals, while also using emerging forms of peer review. Because <em>Archive Journal</em> focuses on the use and theory of archives and special collections in higher education, offering a way to forge connections among diverse projects and the communities producing them, the review process is structured to support building connections while retaining the scholarly rigor inherent in peer review.\r\n\r\nOur review process consists of editorial and open review in the following stages:\r\n<ul>\r\n	<li>Every submission is read by the Editorial Team to determine suitability for publication. The Editorial Team declines materials that are not appropriate at this stage; gives detailed feedback and the opportunity to resubmit for appropriate materials that need substantial revision; and gives feedback and facilitates the process towards publication for appropriate materials that need minor or no revisions. Because <em>Archive Journal</em> is an interdisciplinary space to forge connections and because the online format continues to evolve, this stage may include a series of back and forth feedback from the Editorial Team in order to ensure scholarly rigor, communicability across scholarly fields, and appropriateness of online display.</li>\r\n	<li>If deemed necessary by the Editorial Team, submissions within specialized subject areas that the Editorial Team cannot assess will be sent to reviewers with the appropriate expertise. Reviewers are encouraged to provide guidance to the Editorial Team and constructive feedback for the authors.</li>\r\n	<li>Revised submissions are reviewed after revision for final approval by the Editorial Team before publication. <em>Archive Journal</em> reserves the right to reject revised materials that are deemed not suitable for publication.</li>\r\n	<li>Following peer review and before publication, all accepted materials are copyedited for style and consistency.</li>\r\n	<li>All submissions will be subject to open review via reader comments. After an appropriate open review period has passed, the author(s) will have the opportunity to revise the submission. The final version will be posted and marked as such, with a clear link to the original version and associated open review comments.</li>\r\n</ul>\r\n&nbsp;\r\n<h3><a name=\"copyright\"></a>Copyright &amp; Licenses</h3>\r\nAuthors published in <em>Archive Journal</em> retain permanent ownership of their work via an open-access license. In order to facilitate access and preservation, <em>Archive Journal</em> retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.\r\n\r\nThe <em>Archive Journal</em> site is made available under the terms of a <a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\">Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License</a>. The license grants permission for non-commercial, attributed re-use of content that is produced by <em>Archive Journal</em>.\r\n<a href=\"http://creativecommons.org/licenses/by-nc-sa/3.0/us/\" rel=\"license\"><img style=\"border-width: 0;\" src=\"http://i.creativecommons.org/l/by-nc-sa/3.0/us/88x31.png\" alt=\"Creative Commons License\" /></a>\r\n<em>Archive</em> has made every effort to ensure that third-party materials used in this journal and on this site follows all copyright and other restrictions. If you have any more information about an item you\'ve seen on our website or if you are the copyright owner and believe our website has not properly attributed your work to you or has used it without permission, we want to hear from you. Please email us at <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a> with your contact information and a link to the relevant content.\r\n\r\n&nbsp;\r\n<h3><a name=\"publication\"></a>Publication</h3>\r\nPermanent access and preservation for citation and reproducible research are core components of scholarly communication. <em>Archive Journal</em> provides permanent open, online access for all journal issues.\r\n\r\nISSN 2166-1189\r\n\r\n&nbsp;\r\n<h3><a name=\"design\"></a>Web Design</h3>\r\n<a href=\"http://lamppostcreative.com/\">Lamppost Creative</a> serves as the current developer and designer.\r\n<a href=\"http://infernalcontraption.com/\">Infernal Contraption</a> provided the original design and layout.\r\n\r\n&nbsp;\r\n<h3><a name=\"support\"></a>Support</h3>\r\nThe project has been generously supported with grant funds from the Andrew W. Mellon Foundation.','About','','inherit','open','open','','2-revision-34','','','2013-01-21 18:57:13','2013-01-21 18:57:13','',2,'http://www.archivejournal.net/issue/2/uncategorized/2-revision-34/',0,'revision','',0),(3778,10,'2012-10-17 01:16:37','2012-10-17 01:16:37','[contact]','Contact Us','','inherit','open','open','','30-revision-8','','','2012-10-17 01:16:37','2012-10-17 01:16:37','',30,'http://www.archivejournal.net/issue/2/uncategorized/30-revision-8/',0,'revision','',0),(3786,2,'2012-11-18 04:13:43','2012-11-18 04:13:43','Please contact the editor Lauren Coats if you have materials for or questions about submitting to <em>Archive Journal</em>: <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a>.\r\n\r\n&nbsp;\r\n\r\nThe submission window has closed for Issue 3, a special issue on data curation.   We will soon be accepting proposals for Issue 4; check back for more details. <strong></strong>\r\n\r\n&nbsp;\r\n\r\n<span style=\"text-decoration: underline;\"><strong>Call for Proposals for Archive Journal Special Issue on Data Curation</strong></span>\r\n\r\nThe editorial board of <em>Archive Journal</em> is pleased to announce an upcoming issue, “Curating the Digital, Curating the Analog,” which will explore how data curation shapes and informs library, archival, scholarly, and pedagogical practices.\r\n<blockquote>Understood as the “active and ongoing management of data through its life cycle of interest and usefulness to scholarly and educational activities” (<a href=\"http://cirss.lis.illinois.edu/CollMeta/dcep.html\">Data Curation Education Program</a>), data curation encompasses a range of activities: selection and appraisal, description and representation, preservation, and the work of making a resource usable and repurposable. How we store, represent, and provide access to data affects not only those in the world of libraries, archives, and museums, but also scholars, faculty, students, and artists across the disciplines. What role does data play in fields such as the digital humanities, or media studies? How does data curation involve or affect scholarly production, or approaches to pedagogy?\r\n\r\nGuest editors, Patricia Hswe and Erin O’Meara, invite submissions on data curation that address new practitioner roles, new types of scholarship, new storage needs, and new stories that are fast emerging. Possible topics for contributions include - but are not limited to - the following:\r\n<blockquote>\r\n<ul>\r\n	<li>Data and archives</li>\r\n	<li>Data curation practices and challenges</li>\r\n	<li>Curation of born-digital materials</li>\r\n	<li>Humanities data curation issues and practices (including management of data for humanities projects)</li>\r\n	<li>Data curation program development</li>\r\n	<li>Legacy data</li>\r\n	<li>Digital forensics</li>\r\n	<li>Curating a mixed media collection (e.g., print and digital)</li>\r\n	<li>Donors and digital donations</li>\r\n	<li>Ethnographic methods and data curation</li>\r\n	<li>Creator attitudes toward, or perceptions of, data curation</li>\r\n	<li>New roles for librarians, archivists, curators, and researchers</li>\r\n	<li>Description methods and data models (e.g., metadata, finding aids, ontologies, etc.)</li>\r\n	<li>Tools, applications, platforms</li>\r\n</ul>\r\n</blockquote>\r\n</blockquote>\r\nWe invite proposals for contributions of 5000-7000 words; shorter essays (2000-4000 words) about new tools or services are also welcome. We encourage proposals that include multimedia components (video, image, or sounds in standard formats), as well as multi-modal or experimental formats; please email the editors with any questions about submissions in alternative formats. An <a href=\"http://archivejournal.net/journal/home/about/#review\">open access, peer-reviewed journal</a>, <em>Archive Journal</em> seeks content that speaks to its diverse audience of librarians, scholars, archivists, and technologists.\r\n\r\nAuthors interested in submitting to this special issue of <em>Archive Journal</em> should send a 250-word abstract about their contribution and a 1-page CV to Patricia Hswe (Digital Collections Curator, Penn State University Libraries) at <a href=\"mailto:patricia.hswe@gmail.com\">patricia.hswe@gmail.com</a> and to Erin O’Meara (Archivist, Gates Archive) at <a href=\"mailto:omeara.erin@gmail.com\">omeara.erin@gmail.com</a> by Monday, July 30.\r\n\r\nThe deadline for completed submissions (developed from accepted proposals) is Wednesday, October 10.','Submit to Archive','','inherit','open','open','','27-revision-12','','','2012-11-18 04:13:43','2012-11-18 04:13:43','',27,'http://www.archivejournal.net/issue/2/uncategorized/27-revision-12/',0,'revision','',0),(3787,2,'2013-04-07 13:51:10','2013-04-07 13:51:10','Please contact the editor Lauren Coats if you have materials for or questions about submitting to <em>Archive Journal</em>: <a href=\"mailto:contact@archivejournal.net\">contact@archivejournal.net</a>.\r\n\r\n&nbsp;\r\n\r\nThe submission window has closed for Issue 3, a special issue on data curation.   We will soon be accepting proposals for Issues 4 and 5; check back for more details. <strong></strong>\r\n&nbsp;\r\n\r\n<p dir=\"ltr\"></p>\r\n<p dir=\"ltr\"></p>\r\n<p dir=\"ltr\"><span style=\"text-decoration: underline;\">Submission Specifications</span>\r\nWe welcome submissions in a variety of formats.   If you have a project that is in an experimental of unusual format, please contact the editor to discuss.  For more traditional textual and/or multimedia submissions, please follow these guidelines:</p>\r\n\r\n<ul>\r\n	<li>Text should be submitted as a Microsoft Word document or .rtf file</li>\r\n	<li>Should use Chicago style for citation (Chicago Manual of Style 16e)</li>\r\n	<li>Multimedia components should be submitted as separate files:</li>\r\n	<li>Images: sent as .jpg (480 x 640).</li>\r\n	<li>Video: we prefer a link to a hosted video at Vimeo.  Please contact the editors if you’d like to send a video file instead.</li>\r\n	<li>Sound files: .wav</li>\r\n	<li>Maps: .kml</li>\r\n	<li>Material in other formats: please discuss with the editor</li>\r\n	<li>If the files are too large to send by email, please contact the editor to discuss an alternate method for submission.</li>\r\n</ul>\r\n&nbsp;\r\n\r\n<span style=\"text-decoration: underline;\"><strong>Call for Proposals for Archive Journal Special Issue on Data Curation</strong></span>\r\n\r\nThe editorial board of <em>Archive Journal</em> is pleased to announce an upcoming issue, “Curating the Digital, Curating the Analog,” which will explore how data curation shapes and informs library, archival, scholarly, and pedagogical practices.\r\n<blockquote>Understood as the “active and ongoing management of data through its life cycle of interest and usefulness to scholarly and educational activities” (<a href=\"http://cirss.lis.illinois.edu/CollMeta/dcep.html\">Data Curation Education Program</a>), data curation encompasses a range of activities: selection and appraisal, description and representation, preservation, and the work of making a resource usable and repurposable. How we store, represent, and provide access to data affects not only those in the world of libraries, archives, and museums, but also scholars, faculty, students, and artists across the disciplines. What role does data play in fields such as the digital humanities, or media studies? How does data curation involve or affect scholarly production, or approaches to pedagogy?\r\n\r\nGuest editors, Patricia Hswe and Erin O’Meara, invite submissions on data curation that address new practitioner roles, new types of scholarship, new storage needs, and new stories that are fast emerging. Possible topics for contributions include - but are not limited to - the following:\r\n<blockquote>\r\n<ul>\r\n	<li>Data and archives</li>\r\n	<li>Data curation practices and challenges</li>\r\n	<li>Curation of born-digital materials</li>\r\n	<li>Humanities data curation issues and practices (including management of data for humanities projects)</li>\r\n	<li>Data curation program development</li>\r\n	<li>Legacy data</li>\r\n	<li>Digital forensics</li>\r\n	<li>Curating a mixed media collection (e.g., print and digital)</li>\r\n	<li>Donors and digital donations</li>\r\n	<li>Ethnographic methods and data curation</li>\r\n	<li>Creator attitudes toward, or perceptions of, data curation</li>\r\n	<li>New roles for librarians, archivists, curators, and researchers</li>\r\n	<li>Description methods and data models (e.g., metadata, finding aids, ontologies, etc.)</li>\r\n	<li>Tools, applications, platforms</li>\r\n</ul>\r\n</blockquote>\r\n</blockquote>\r\nWe invite proposals for contributions of 5000-7000 words; shorter essays (2000-4000 words) about new tools or services are also welcome. We encourage proposals that include multimedia components (video, image, or sounds in standard formats), as well as multi-modal or experimental formats; please email the editors with any questions about submissions in alternative formats. An <a href=\"http://archivejournal.net/journal/home/about/#review\">open access, peer-reviewed journal</a>, <em>Archive Journal</em> seeks content that speaks to its diverse audience of librarians, scholars, archivists, and technologists.\r\n\r\nAuthors interested in submitting to this special issue of <em>Archive Journal</em> should send a 250-word abstract about their contribution and a 1-page CV to Patricia Hswe (Digital Collections Curator, Penn State University Libraries) at <a href=\"mailto:patricia.hswe@gmail.com\">patricia.hswe@gmail.com</a> and to Erin O’Meara (Archivist, Gates Archive) at <a href=\"mailto:omeara.erin@gmail.com\">omeara.erin@gmail.com</a> by Monday, July 30.\r\n\r\nThe deadline for completed submissions (developed from accepted proposals) is Wednesday, October 10.','Submit to Archive','','inherit','open','open','','27-revision-13','','','2013-04-07 13:51:10','2013-04-07 13:51:10','',27,'http://www.archivejournal.net/issue/2/uncategorized/27-revision-13/',0,'revision','',0),(3799,10,'2013-04-18 01:25:12','2013-04-18 01:25:12','This summer, I found myself in an archive. I went to the American Antiquarian Society to participate in its 2012 Summer Seminar in the History of the Book, “Early African American Cultures of Print,” led by Jordan Stein and Lara Langer Cohen. I sat and broke bread with a group of scholars that came together to speak of history and the stories it tells or refuses to tell. We later went in search of stories—to be remembered, recovered, pieced together and then told by us. By way of our discussions on the meaning of print, ownership (bodies and copyright) and the book, I learned manners of thinking that questioned the very meaning of authorship and examined the varied ways of authenticity, racial or otherwise. Our collective discussions tested the rigid boundaries of African American identity and print culture(s) and offered instead a radically inclusive view of the intersection of printmaking, storytelling, and race.\r\n\r\nOne afternoon, I had a conversion experience. What follows remembers me on the threshing floor (or maybe, the AAS seminar room). While standing on this floor, I took up a conversation with the object (or the archival holy spirit of 18<sup>th</sup> century poet and former slave, Phillis Wheatley) that helped make me anew.\r\n\r\nTo the first edition of Phillis Wheatley’s <em>Poems on Various Subjects, Religious and Moral</em> (1773):\r\n\r\nPhillis, I have a confession. I don’t like archives. They creep me out. I’m scared of the stories living in the bound tomes that await the curious because there’s something terrifying about the very fact of what’s past. If it’s past, it was at some point real. If it’s still here, is it the past or simply passing on—to us? I fear that history really does live (just watch reruns of <em>The Ghost Whisperer</em>). And, the stories speak despite the varied ways in which we seek to silence them—whether in the space of our memories or in boxes at our institutions. Stories find storytellers even as we bury them in the lies. Despite my fears, something happened as I looked over the extant stuff of your life (handwritten poems to the Earl of Dartmouth and the students at Cambridge, the first edition of your poems, an almanac with your likeness reprinted).\r\n\r\nI touched the past. My fingers touched the materiality of what’s right here, passed on to me by a team of archivists in climate-controlled rooms. “This is real,” I heard myself say, “Phillis, you are real.”\r\n\r\nThe old pages didn’t give me the creeps. Instead, each asked me into something beyond the spooky ephemeral quality of the past. “It’s supposed to be passed, dead, not here, right?” I held the paper (albeit through a plastic sheath) that you touched and saw the penmanship that you must have practiced. I sat with the drafted poems that did not make it into the first edition sitting to next me. I wanted more not less stuff. I didn’t want to stare at a digitized version. I wanted to sit right there. I didn’t want to run away from the story in front of me.\r\n\r\nYes, I had a conversion experience. I can hear the song now, “Was once a hater of the archive but now I’m found in it.” Admittedly, I wasn’t struck to the ground like my buddy, the itinerant minister and chaplain to the African Lodge No. 459, John Marrant and countless other Christian converts, but I did come upon a “saving change.” I said yes to it and the archive. I embarked upon a week of treasure-troving through a past that I was once taught did not exist.\r\n\r\nI can see the concerned faces of those who’ve said, “18th century African American literature, huh? Who could you possibly work on, … Zora Neale Hurston?” I laughed then as I do now. But my laughs are for me. I giggle at the fears that kept me away from the material quality of the past I study. And look forward to another time when I can frolic among the stories waiting for us to see and to hear them. So with eyes that can see and ears that can I hear, I journey on. Thank you.\r\n\r\nGeared up for the archive,\r\n\r\nTara Bynum','On the Threshing Floor; Or, Just Another Day at the Archive','This summer, I found myself in an archive. I went to the American Antiquarian Society to participate in its 2012 Summer Seminar in the History of the Book, “Early African American Cultures of Print,” led by Jordan Stein and Lara Langer Cohen. I sat and broke bread with a group of scholars that came together to speak of history and the stories it tells or refuses to tell. We later went in search of stories—to be remembered, recovered, pieced together and then told by us. By way of our discussions on the meaning of print, ownership (bodies and copyright) and the book, I learned manners of thinking that questioned the very meaning of authorship and examined the varied ways of authenticity, racial or otherwise. Our collective discussions tested the rigid boundaries of African American identity and print culture(s) and offered instead a radically inclusive view of the intersection of printmaking, storytelling, and race.','inherit','open','open','','3796-revision-3','','','2013-04-18 01:25:12','2013-04-18 01:25:12','',3796,'http://www.archivejournal.net/issue/2/uncategorized/3796-revision-3/',0,'revision','',0),(3815,7,'2013-07-08 17:18:57','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2013-07-08 17:18:57','0000-00-00 00:00:00','',0,'http://www.archivejournal.net/?p=3815',0,'post','',0),(3796,25,'2013-04-18 01:22:41','2013-04-18 01:22:41','This summer, I found myself in an archive. I went to the American Antiquarian Society to participate in its 2012 Summer Seminar in the History of the Book, “Early African American Cultures of Print,” led by Jordan Stein and Lara Langer Cohen. I sat and broke bread with a group of scholars that came together to speak of history and the stories it tells or refuses to tell. We later went in search of stories—to be remembered, recovered, pieced together and then told by us. By way of our discussions on the meaning of print, ownership (bodies and copyright) and the book, I learned manners of thinking that questioned the very meaning of authorship and examined the varied ways of authenticity, racial or otherwise. Our collective discussions tested the rigid boundaries of African American identity and print culture(s) and offered instead a radically inclusive view of the intersection of printmaking, storytelling, and race.\r\n\r\nOne afternoon, I had a conversion experience. What follows remembers me on the threshing floor (or maybe, the AAS seminar room). While standing on this floor, I took up a conversation with the object (or the archival holy spirit of 18<sup>th</sup> century poet and former slave, Phillis Wheatley) that helped make me anew.\r\n\r\nTo the first edition of Phillis Wheatley’s <em>Poems on Various Subjects, Religious and Moral</em> (1773):\r\n\r\nPhillis, I have a confession. I don’t like archives. They creep me out. I’m scared of the stories living in the bound tomes that await the curious because there’s something terrifying about the very fact of what’s past. If it’s past, it was at some point real. If it’s still here, is it the past or simply passing on—to us? I fear that history really does live (just watch reruns of <em>The Ghost Whisperer</em>). And, the stories speak despite the varied ways in which we seek to silence them—whether in the space of our memories or in boxes at our institutions. Stories find storytellers even as we bury them in the lies. Despite my fears, something happened as I looked over the extant stuff of your life (handwritten poems to the Earl of Dartmouth and the students at Cambridge, the first edition of your poems, an almanac with your likeness reprinted).\r\n\r\nI touched the past. My fingers touched the materiality of what’s right here, passed on to me by a team of archivists in climate-controlled rooms. “This is real,” I heard myself say, “Phillis, you are real.”\r\n\r\nThe old pages didn’t give me the creeps. Instead, each asked me into something beyond the spooky ephemeral quality of the past. “It’s supposed to be passed, dead, not here, right?” I held the paper (albeit through a plastic sheath) that you touched and saw the penmanship that you must have practiced. I sat with the drafted poems that did not make it into the first edition sitting to next me. I wanted more not less stuff. I didn’t want to stare at a digitized version. I wanted to sit right there. I didn’t want to run away from the story in front of me.\r\n\r\nYes, I had a conversion experience. I can hear the song now, “Was once a hater of the archive but now I’m found in it.” Admittedly, I wasn’t struck to the ground like my buddy, the itinerant minister and chaplain to the African Lodge No. 459, John Marrant and countless other Christian converts, but I did come upon a “saving change.” I said yes to it and the archive. I embarked upon a week of treasure-troving through a past that I was once taught did not exist.\r\n\r\nI can see the concerned faces of those who’ve said, “18th century African American literature, huh? Who could you possibly work on, … Zora Neale Hurston?” I laughed then as I do now. But my laughs are for me. I giggle at the fears that kept me away from the material quality of the past I study. And look forward to another time when I can frolic among the stories waiting for us to see and to hear them. So with eyes that can see and ears that can I hear, I journey on. Thank you.\r\n\r\nGeared up for the archive,\r\n\r\nTara Bynum','On the Threshing Floor; Or, Just Another Day at the Archive','This summer, I found myself in an archive. I went to the American Antiquarian Society to participate in its 2012 Summer Seminar in the History of the Book, “Early African American Cultures of Print,” led by Jordan Stein and Lara Langer Cohen. I sat and broke bread with a group of scholars that came together to speak of history and the stories it tells or refuses to tell. We later went in search of stories—to be remembered, recovered, pieced together and then told by us. By way of our discussions on the meaning of print, ownership (bodies and copyright) and the book, I learned manners of thinking that questioned the very meaning of authorship and examined the varied ways of authenticity, racial or otherwise. Our collective discussions tested the rigid boundaries of African American identity and print culture(s) and offered instead a radically inclusive view of the intersection of printmaking, storytelling, and race.','publish','open','open','','on-the-threshing-floor-or-just-another-day-at-the-archive','','','2013-04-19 04:56:12','2013-04-19 04:56:12','',0,'http://www.archivejournal.net/?p=3796',0,'post','',0),(3797,25,'2013-04-18 01:22:36','2013-04-18 01:22:36','This summer, I found myself in an archive. I went to the American Antiquarian Society to participate in its 2012 Summer Seminar in the History of the Book, “Early African American Cultures of Print,” led by Jordan Stein and Lara Langer Cohen. I sat and broke bread with a group of scholars that came together to speak of history and the stories it tells or refuses to tell. We later went in search of stories—to be remembered, recovered, pieced together and then told by us. By way of our discussions on the meaning of print, ownership (bodies and copyright) and the book, I learned manners of thinking that questioned the very meaning of authorship and examined the varied ways of authenticity, racial or otherwise. Our collective discussions tested the rigid boundaries of African American identity and print culture(s) and offered instead a radically inclusive view of the intersection of printmaking, storytelling, and race.\n\nOne afternoon, I had a conversion experience. What follows remembers me on the threshing floor (or maybe, the AAS seminar room). While standing on this floor, I took up a conversation with the object (or the archival holy spirit of 18<sup>th</sup> century poet and former slave, Phillis Wheatley) that helped make me anew.\n\nTo the first edition of Phillis Wheatley’s <em>Poems on Various Subjects, Religious and Moral</em> (1773):\n\nPhillis, I have a confession. I don’t like archives. They creep me out. I’m scared of the stories living in the bound tomes that await the curious because there’s something terrifying about the very fact of what’s past. If it’s past, it was at some point real. If it’s still here, is it the past or simply passing on—to us? I fear that history really does live (just watch reruns of <em>The Ghost Whisperer</em>). And, the stories speak despite the varied ways in which we seek to silence them—whether in the space of our memories or in boxes at our institutions. Stories find storytellers even as we bury them in the lies. Despite my fears, something happened as I looked over the extant stuff of your life (handwritten poems to the Earl of Dartmouth and the students at Cambridge, the first edition of your poems, an almanac with your likeness reprinted).\n\nI touched the past. My fingers touched the materiality of what’s right here, passed on to me by a team of archivists in climate-controlled rooms. “This is real,” I heard myself say, “Phillis, you are real.”\n\nThe old pages didn’t give me the creeps. Instead, each asked me into something beyond the spooky ephemeral quality of the past. “It’s supposed to be passed, dead, not here, right?” I held the paper (albeit through a plastic sheath) that you touched and saw the penmanship that you must have practiced. I sat with the drafted poems that did not make it into the first edition sitting to next me. I wanted more not less stuff. I didn’t want to stare at a digitized version. I wanted to sit right there. I didn’t want to run away from the story in front of me.\n\nYes, I had a conversion experience. I can hear the song now, “Was once a hater of the archive but now I’m found in it.” Admittedly, I wasn’t struck to the ground like my buddy, the itinerant minister and chaplain to the African Lodge No. 459, John Marrant and countless other Christian converts, but I did come upon a “saving change.” I said yes to it and the archive. I embarked upon a week of treasure-troving through a past that I was once taught did not exist.\n\nI can see the concerned faces of those who’ve said, “18th century African American literature, huh? Who could you possibly work on, … Zora Neale Hurston?” I laughed then as I do now. But my laughs are for me. I giggle at the fears that kept me away from the material quality of the past I study. And look forward to another time when I can frolic among the stories waiting for us to see and to hear them. So with eyes that can see and ears that can I hear, I journey on. Thank you.\n\nGeared up for the archive,\n\nTara Bynum','On the Threshing Floor; Or, Just Another Day at the Archive','','inherit','open','open','','3796-revision','','','2013-04-18 01:22:36','2013-04-18 01:22:36','',3796,'http://www.archivejournal.net/issue/2/uncategorized/3796-revision/',0,'revision','',0),(3798,10,'2013-04-18 01:22:41','2013-04-18 01:22:41','This summer, I found myself in an archive. I went to the American Antiquarian Society to participate in its 2012 Summer Seminar in the History of the Book, “Early African American Cultures of Print,” led by Jordan Stein and Lara Langer Cohen. I sat and broke bread with a group of scholars that came together to speak of history and the stories it tells or refuses to tell. We later went in search of stories—to be remembered, recovered, pieced together and then told by us. By way of our discussions on the meaning of print, ownership (bodies and copyright) and the book, I learned manners of thinking that questioned the very meaning of authorship and examined the varied ways of authenticity, racial or otherwise. Our collective discussions tested the rigid boundaries of African American identity and print culture(s) and offered instead a radically inclusive view of the intersection of printmaking, storytelling, and race.\r\n\r\nOne afternoon, I had a conversion experience. What follows remembers me on the threshing floor (or maybe, the AAS seminar room). While standing on this floor, I took up a conversation with the object (or the archival holy spirit of 18<sup>th</sup> century poet and former slave, Phillis Wheatley) that helped make me anew.\r\n\r\nTo the first edition of Phillis Wheatley’s <em>Poems on Various Subjects, Religious and Moral</em> (1773):\r\n\r\nPhillis, I have a confession. I don’t like archives. They creep me out. I’m scared of the stories living in the bound tomes that await the curious because there’s something terrifying about the very fact of what’s past. If it’s past, it was at some point real. If it’s still here, is it the past or simply passing on—to us? I fear that history really does live (just watch reruns of <em>The Ghost Whisperer</em>). And, the stories speak despite the varied ways in which we seek to silence them—whether in the space of our memories or in boxes at our institutions. Stories find storytellers even as we bury them in the lies. Despite my fears, something happened as I looked over the extant stuff of your life (handwritten poems to the Earl of Dartmouth and the students at Cambridge, the first edition of your poems, an almanac with your likeness reprinted).\r\n\r\nI touched the past. My fingers touched the materiality of what’s right here, passed on to me by a team of archivists in climate-controlled rooms. “This is real,” I heard myself say, “Phillis, you are real.”\r\n\r\nThe old pages didn’t give me the creeps. Instead, each asked me into something beyond the spooky ephemeral quality of the past. “It’s supposed to be passed, dead, not here, right?” I held the paper (albeit through a plastic sheath) that you touched and saw the penmanship that you must have practiced. I sat with the drafted poems that did not make it into the first edition sitting to next me. I wanted more not less stuff. I didn’t want to stare at a digitized version. I wanted to sit right there. I didn’t want to run away from the story in front of me.\r\n\r\nYes, I had a conversion experience. I can hear the song now, “Was once a hater of the archive but now I’m found in it.” Admittedly, I wasn’t struck to the ground like my buddy, the itinerant minister and chaplain to the African Lodge No. 459, John Marrant and countless other Christian converts, but I did come upon a “saving change.” I said yes to it and the archive. I embarked upon a week of treasure-troving through a past that I was once taught did not exist.\r\n\r\nI can see the concerned faces of those who’ve said, “18th century African American literature, huh? Who could you possibly work on, … Zora Neale Hurston?” I laughed then as I do now. But my laughs are for me. I giggle at the fears that kept me away from the material quality of the past I study. And look forward to another time when I can frolic among the stories waiting for us to see and to hear them. So with eyes that can see and ears that can I hear, I journey on. Thank you.\r\n\r\nGeared up for the archive,\r\n\r\nTara Bynum','On the Threshing Floor; Or, Just Another Day at the Archive','','inherit','open','open','','3796-revision-2','','','2013-04-18 01:22:41','2013-04-18 01:22:41','',3796,'http://www.archivejournal.net/issue/2/uncategorized/3796-revision-2/',0,'revision','',0),