The Andrew W. Mellon Foundation and the U.K.-based nonprofit Digital Preservation Coalition (DPC) in November 2016 announced the formation of a Task Force on Technical Approaches for Email Archives.
The team behind Chronicle—a new collaborative platform and community designed for photographers—has approached several libraries over the past six months to participate in the closed beta release of the platform. Users add recent photos or scanned archival prints to the platform via an app or web interface, where they are collected in chronicles focused on specific locations, events, or themes.
Librarian by day and award-winning filmmaker by night, Ashley Maynor combines the skills of both professions to create transmedia projects that offer new perspectives on librarianship and storytelling. Her 2015 web documentary The Story of the Stuff explores the fate of thousands of letters, cards, teddy bears, and other items sent to Newtown, CT, following the 2012 Sandy Hook Elementary School mass shooting. The outpouring of mail and donations can easily overwhelm local resources, says Maynor, digital humanities librarian at the University of Tennessee (UT), Knoxville. Her experience living in Blacksburg, VA, during the 2007 Virginia Tech massacre informs her work as well. “I saw how few resources exist for those who are trying to archive in the aftermath of tragedies,” she says.
The Daughters of the Republic of Texas (DRT) in September won at least a temporary victory in an ongoing battle for the control of the historical items held at the Daughters of the Republic of Texas Library—now known as the Alamo Research Center (ARC)—located in the historical Alamo complex in San Antonio. The dispute over the collection’s ownership began in July, when the Texas General Land Office (GLO) assumed ownership of the Alamo complex. On September 22 the 407th Judicial District of Bexar County granted the DRT a temporary injunction against the GLO until ownership of the 38,000 books, maps, and flags, artwork, and manuscripts collected by DRT over 70 years can be assessed.
Ryan Cordell, Northeastern University (NU), Boston, and his colleagues are studying how information went “viral” in 19th-century America, when newspapers and periodicals published short works of fiction, poetry, and other prose. Before modern copyright law, it was common for editors to reprint these texts, originally published elsewhere. The texts moved around the country through this network, resulting in a shared print culture. Cordell’s research seeks to identify these shared texts, to examine which were reprinted and why, and to map how they traveled and changed as they passed from publication to publication.
From the FCC: A record level of early financial support for broadband in schools and libraries has been approved by the E-rate program, the Federal Communications Commission’s program for supporting communications services in these institutions. Reflecting a dedicated effort by the FCC to get critical funding for broadband to schools and libraries as quickly as […]
With more than 200 breweries operating in the state, beer is big business in Oregon. But the Beaver State’s relationship with beer starts before the brewing process and reaches into the very soil. In addition to its profusion of breweries, Oregon is the breadbasket of the world’s beer industry, supplying hops—the flavorful flower that gives beer its bitter bite—to brewers around the world. Now, Oregon State University (OSU) is making a place for the state’s storied history in the brewing world at the newly minted Oregon Hops & Brewing Archive (OHBA).
A recent study commissioned by the Library of Congress found that, of the more than 11,000 silent films produced by American movie studios between 1912 and 1929, just 14 percent (1,575) survive today in their original domestic release. Another 11 percent are still technically complete, according to the study conducted by film archivist David Pierce, but only in imperfect formats. Some are repatriated foreign release versions that lack the original English subtitles and may have been edited to appeal to foreign audiences, which Pierce compares to imperfect retranslations of novels, where the story remains the same, but nuances may be lost. Others may be preserved on smaller format, 16 or 28 mm film stock, which can negatively impact image quality.