Measuring Impact of Digital Repositories

Simon Tanner will offer a sneak peek at the Balanced Value Impact Model 2.0 (BVI Model). Tanner will introduce the Digital Humanities at King’s College London, and link this to his open and collaborative research practices to tell the story of the intellectual development of the BVI Model. He will detail the BVI Model 2.0 to highlight what’s new and how it works. Tanner will relate these changes to his collaboration with Europeana to develop their Impact Playbook and look to the future of that tool.

The session will include time for questions and discussion.

—

Simon Tanner is Professor of Digital Cultural Heritage in the Department of Digital Humanities at King’s College London. He is a Digital Humanities scholar with a wide-ranging interest in cross-disciplinary thinking and collaborative approaches that reflect a fascination with interactions between memory organization collections (libraries, museum, archives, media and publishing) and the digital domain.

As an information professional, consultant, digitization expert and academic he works with major cultural institutions across the world to assist them in transforming their impact, collections and online presence. He has consulted for or managed over 500 digital projects, including digitization of the Dead Sea Scrolls, and has built strategy with a wide range of organizations. These include the US National Gallery of Art and many other museums and national libraries in Europe, Africa, America and the Middle East. Tanner has had work commissioned by UNESCO, the Danish government, the Arcadia Fund and the Andrew W. Mellon Foundation.  He founded the Digital Futures Academy that has run in the UK, Australia, South Africa and Ghana with participants from over 40 countries.

Research into image use and sales in American art museums by Simon Tanner has had a significant effect on opening up collections access and OpenGLAM in the museum sector. Tanner is a strong advocate for Open Access, open research and the digital humanities. Tanner was chair of the Web Archiving sub-committee as an independent member of the UK Government-appointed Legal Deposit Advisory Panel. He is a member of the Europeana Impact Taskforce which developed the Impact Playbook based upon his Balanced Value Impact Model. He is part of the AHRC funded Academic Book of the Future research team.

The post Measuring Impact of Digital Repositories – Simon Tanner appeared first on Maryland Institute for Technology in the Humanities.

Prior to joining MITH, T’Sey-Haye was key in making sure that the “Intentionally Digital, Intentionally Black” conference hosted by the AADHum initiative in October of this year came off so successfully. At that time, she was a member of the Marketing and Communications Office in the College of Arts and Humanities.

Check out her biography, follow her on Twitter, and look for her byline here talking about the exciting things happening on the Documenting the Now project.

Welcome T’Sey-Haye!

The post MITH welcomes T’Sey-Haye Preaster appeared first on Maryland Institute for Technology in the Humanities.

With a $1.2 Million grant from The Andrew W. Mellon Foundation, The Maryland Institute for Technology in the Humanities in the College of Arts and Humanities at the University of Maryland, Shift, and the Department of Media Studies at the University of Virginia (UVA) will collaborate to lead the ongoing work of the Documenting the Now project. Started in 2014 with a grant to Washington University in St. Louis in partnership with the University of California, Riverside and MITH, Documenting the Now is committed to developing tools and community practices that support the ethical collection, use, and preservation of social media and web archives. Continuing the important work the project has accomplished over the past four years, the second phase of Documenting the Now will be focused on three interdependent strands of activity: software development, pedagogy, and engagement with community-based archiving of social justice activism.

Leading this second phase of Documenting the Now will be Trevor Muñoz, Interim Director of MITH & Assistant Dean for Digital Humanities Research at UMD who will serve as the Principal Investigator and the Administrative Lead; Bergis Jules, Director of Equity Initiatives at Shift Design Inc who will serve as a Co-Principal Investigator and the Project Director; Dr. Meredith Clark, Assistant Professor in the Department of Media Studies at UVA who will serve as a Co-Principal Investigator and Academic Lead; and Ed Summers, Lead Software Developer at MITH who will be the project’s Technical Lead.

During this phase of the project, our technical work, led by Summers with support from Alexandra Dolan-Mescal,  Francis Kayiwa and Dr. Raffaele Viglianti, will focus on continuing to develop, test, and deploy the software utilities built during phase one. These tools include DocNow, the Tweet ID Dataset Catalog, Hydrator and Twarc. One of the main focuses for the software that the project team will develop in this phase will be human-centered design approaches that privilege interaction between content creators and users of our tools who are interested in collecting social media data as archival content.

One example of work that will exemplify the project’s goal to undertake human centered design is Social Humans. Created by Dolan-Mescal, UX and Web Designer for Documenting the Now, Social Humans is a set of data labels designed to empower content creators and inform researchers about user intent. In addition to continuing work developing software and fostering a community of practice around social media/web archiving that is grounded in an ethics of care for the histories of oppressed people, the next phase will also see the project team engage in pedagogical activities around social media and race, with the exciting addition of Dr. Meredith Clark as a Co-Principal Investigator. Dr. Clark is a former newspaper journalist whose research focuses on the intersections of race, media, and power. Her work on the project will include the development of academic courses, including a series of experiential learning tasks and assignments using DocNow tools and support. The project team is excited she agreed to join this phase of the effort.

Phase two will also include work on archiving activism history through a set of community-based archiving workshops. The goal of the program will be to build digital community-based archives in direct partnership with social justice activist organizations. Local activists are usually the people closest to the issues negatively impacting a community and they are most frequently on the front lines agitating for support and offering the most effective solutions, whether their causes are addressing police violence, inadequate educational opportunities, food scarcity, mass incarceration, or racial injustice. The Documenting the Now project is interested in exploring how we might build digital community-based archives from the perspectives of local activists and in equitable partnership with them. The archives will be built on Mukurtu CMS and we’re excited to work with that team because of their commitment to community control of local cultural heritage. Activist groups will be selected to participate in the program through an open application process. We will be sharing more information about the workshops and the application process soon, including incentives for the activist organizations, the workshop team, and the structure of the program. Stay tuned to the Documenting the Now Twitter and blog, or join our Slack for more information.

MITH, along with our partners, are extremely grateful for the support from The Andrew W. Mellon Foundation for Documenting the Now, and for the Foundation’s continued support of cultural heritage work that is intentionally community centered and grounded in an ethic of care for the lived experiences of the most vulnerable people in our society. We are particularly excited for the opportunity that continued support provides for enacting our strategic values in combination with the Foundation’s support for African American History, Culture and the Digital Humanities (AADHum).

The Maryland Institute for Technology in the Humanities (MITH) is a leading digital humanities center that pursues disciplinary innovation and institutional transformation through applied research, public programming, and educational opportunities. Jointly supported by the University of Maryland College of Arts and Humanities and the University of Maryland Libraries, MITH engages in collaborative, interdisciplinary work at the intersection of technology and humanistic inquiry.

Shift Design, Inc is a US 501(c)3 non-profit corporation that was established with a specific focus to design products for social change. Much of our work to date has focused on building an inclusive record of our shared cultural heritage, including projects like Historypin and Storybox.

The Department of Media Studies at the University of Virginia began in Fall 2000 as an interdisciplinary undergraduate major in the College of Arts and Sciences. The department is historical and critical in orientation and takes media as its object of study. The department focuses on the forms, institutions, and effects of media (radio, film, television, photography, print, digital and electronic media), with particular emphasis on the mass media of the modern and contemporary period.

The post Documenting the Now Phase 2 appeared first on Maryland Institute for Technology in the Humanities.

In February of 2018, MITH spent dedicated time talking about sustainability of digital projects with a team from the University of Pittsburgh’s Visual Media Workshop (VMW) as part of a focused user testing session for The Socio-Technical Sustainability Roadmap. The research project that produced the Roadmap was led by Alison Langmead, with Project Managers Aisling Quigley (2016-17) and Chelsea Gunn (2017-18). The final goal of that project was to create a digital sustainability roadmap for developers and curators of digital projects to follow. The work was initially based on what the project team discovered during its NEH-funded project, “Sustaining MedArt.” In this blog post, which is a late entry in MITH’s Digital Stewardship Series from 2016, I’m going to talk a bit about what I discovered during the process of using the roadmap for one of MITH’s projects, how I synthesized our discoveries in the form of a concrete tool for MITH to utilize the roadmap afterward, and how this has changed some of my conceptions about digital sustainability practices.

The process of walking a future digital project through the roadmap can be completed either in a full eight-hour day session, or two four-hour sessions. During  the process, you work through three sections, each with different modules pertaining to aspects of a project’s future sustainability prospects. We chose the latter, with each attending member focusing on a different MITH project they were developing or working on. I opted to use a project for which we were awaiting funding at the time, Unlocking the Airwaves: Revitalizing an Early Public and Educational Radio Collection. Although significant time and effort went into developing the grant proposal for Airwaves, which included a section on sustainability, the Roadmap process cemented how much more concretely we could have been thinking through these issues, and how better planning for those components from the start would lead to better management of the project. In fact, one finding that Langmead and her team had discovered as they developed and tested the roadmap, is that thinking through the project management aspects of a digital project was a necessary first component to even being able to effectively get through the remaining sections of roadmap exercises. So as they went along, they added several elements and exercises to Sections A and B which force users to pinpoint the structural elements of their project. These include elements such as access points, deliverables, workflows, intellectual goals, data flow, and anticipated digital lifespan. This kind of work is essentially an extension of a project charter, which often includes a lot of these same basic concepts. In fact, Module B1 of the roadmap encourages users to create or reference existing charters, and stresses that using the roadmap in conjunction with a charter enhances the usefulness of both tools.

The lifespan questions in Section A were eye-opening, because although the need to ask them seems obvious – How long do you want your project to last? Why have you chosen this lifespan? – I think we as stewards of digital information feel compelled to predict unrealistically long lifespans, which Langmead and her collaborators define as “BookTime:”

“BookTime” is a term we have coined to denote a project lifespan equivalent to, “As long as a paper-based codex would last in the controlled, professional conditions of a library.” It may often be assumed that this is coterminous with “Forever,” but that belief relies heavily on a number of latent expectations about the nature of libraries, the inherent affordances of paper and glue, and other infrastructural dependencies.

The module asks us to acknowledge that not every digital project can realistically span decades into the future, and that sometimes this honesty is better for both the project and your team. The module also leverages concepts such as ‘graceful degradation,’ and ‘Bloom-and-Fade,’ both of which, in moments of dark humor, felt similar to planning for a project’s  hospice care or estate. “It’s okay, everything dies, let’s just be open in talking about it and how we’ll get through it together.” Humor aside, it was a useful exercise for me to acknowledge that time, change, and entropy will stand in the way of a project achieving BookTime, and that that IS, in fact, okay.

The other two sections and exercises that I felt were the most useful and that provided the core, structural materials on which to base a sustainability plan were Sustainability Priorities (Section A4) and Technological Infrastructure (Sections B2 and B3). In the former, we were asked to list out the core structural components of a project “without which your project simply would not be your project,” and to list them in order of priority. This could include things such as, but not limited to, authority records, curated access points, facets, geo-spatial data, or digitized materials. We were also asked to define the communities that each property served. In the latter, we were asked to list out every single technological component of the project, from Google Drive, to Trello, to IIIF servers, to the university’s digital repository, define the function(s) of each, and assign project team members that are responsible for each. Then we were asked to realistically assess how long each technology was guaranteed to be funded, as well as “how the duration of the funding for members of your project team compares with the duration of the funding for technologies they maintain, keeping in mind that funding discrepancies may require special considerations and/or contingency plans to ensure uninterrupted attention.” Again, at first glance, much of this may seem very logical and obvious, but actually doing these exercises is illuminating (and sometimes sobering).

After Sections A and B force you to have a reckoning with the deep dark potential (good and bad) of your project, Section C focuses on applying the the National Digital Stewardship Alliance (NDSA)’s Levels of Preservation to your identified structural components. The Levels of Preservation are a set of recommendations that align the entire the digital preservation spectrum in six core areas: Access, Backing up Work, Permissions, Metadata, File Formats, and Data Integrity. For each of these areas, the roadmap defines four ‘levels’ of commitment to each of these areas, and what each of those levels really mean. For example, Level 1 for Data Integrity involves designating which project members have credentials for certain accounts and services, and who has read/write/move/delete authorization. Levels 2-3 requires the ability to repair data and create fixity information for stable files, and Level 4 specifies the checking of that fixity data specifically in response to specific events or activities. After defining your current and anticipated levels in each area, you’re asked to define concrete actions your team would need to undertake in order to achieve your desired level. Once again, these exercises encourage expectation management, with comments like “Please note! Reaching Level 4 sustainability practices is not the goal. Your work here is to balance what your project needs with the resources (both in terms of technology and staff) that you have.” It also notes that it is “absolutely okay” to decide that your project will choose Level 0 for any one of these areas, choosing consciously not to engage with that area, using the resources you have to focus on what your team wants to prioritize.

Module A3 in written form

After the two four-hour meetings, my brain was full and I was full of new ideas about my project that probably should have already occurred to me, but that only coalesced in any meaningful way by walking through the roadmap process. I’ve also been around long enough to know that the giddy enthusiasm that comes after a meeting like this can die on the vine if those ideas aren’t transformed into actionable items and documented somewhere. I did have the printed roadmap modules and exercises with my written answers on them, and Langmead and her team were clear that if we wanted to merely file (or scan) those written documents and stop there, that was fine. But written in the final module of the roadmap is the recommendation that after its completion, “make sure that you store the documentation for this, and all other, STSR modules in one of your reliable sites of project documentation.” So after several months of contemplation, I finally determined that MITH’s most reliable current site of project documentation is Airtable, which we’ve been using more and more to track aspects of different projects.

Airtable is an online relational database application that looks and functions like a spreadsheet in its default ‘Grid’ UI, but which also has more robust relational functions allowing you to meaningfully connect data between different tables/worksheets. As opposed to merely entering my answers to each module/exercise, I opted to begin by actually moving references and links to all the roadmap’s sections and modules into two tables in Airtable, so that the full text of each module was easily at hand for reference. I also included base, table, and

column descriptions at all levels (this would be the rough equivalent of Excel comments), which explain how information should be entered or that gave sample entries. The base description also provides an overview to this whole exercise, and gives attribution to the project in the format requested by Langmead and her team.

There are descriptions throughout with details on how to utilize each table or field. Click on the ‘i’ Info button to display them.

There were actual spreadsheets provided by the Roadmap’s project team for certain exercises, and I uploaded those as new tables in Airtable, and modified them as needed to connect/link with other tables. For example, the Technological Infrastructure table (which includes all the various technologies used by your project), the ‘Project Member Responsible’ column is linked to the Project Team table. So after you’ve entered the data for each, you can go back to the Project Team table and see all the tech components each member is responsible for, rolled up in a linked record field. There’s also a reference table listing out the definitions of Levels 1-4 for each of the six NDSA areas, so when you’re deciding what to enter in the Sustainability Levels table, you can instantly reference that table and choose an appropriate level for each area. After crafting the ‘template,’ I tested its usability by entering all the data from Unlocking the Airwaves that I’d written down. By doing that I realized where there were a few tweaks and bottlenecks that needed ironing out, and went back and modified the template. See below for a few more screenshots of the completed template.

• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 

So now we’ve got the roadmap data for Unlocking the Airwaves saved in a reliable site of project documentation. MITH team members are now encouraged (but not required) to use the template as we develop new projects, and it’s available to anyone else who’d like to request a blank duplicated copy. Dr. Langmead also provided a gentle but useful reminder that there is inherent risk in picking and using any such technology for this purpose, since platforms like Airtable may not always remain available. She suggested that we include a mention along the lines of “The inclusion of Airtable in your project’s suite of technologies should be considered carefully (in line with the work done in Modules A5 and B2)” in the intro description text for the base, which we did.

In a way this was also a sense-making exercise wherein, by taking all the roadmap data and turning it into structured data, I’d not only be able to sync up all these components in my head and turn them into actionable tasks, I’d also better retain the information. Anyone who has transformed, mapped, or structured previously unstructured data knows that by doing these tasks, you become much more intimately connected to your data. But what I think really appeals to me about the roadmap process is the mindfulness aspect. It encourages participants to think beyond the theoretical concepts of sustainability and actually apply them, write them down, look at them, consider their implications, and be honest about project expectations as aligned with available resources. In a world of overtapped resources and academic and bureaucratic hurdles, that’s an incredibly valuable skill to have.

The post Reckoning with Digital Projects: MITH Makes a Roadmap appeared first on Maryland Institute for Technology in the Humanities.

The National Endowment for the Humanities (NEH) is an independent federal agency created in 1965. It is one of the largest funders of humanities programs in the United States. The Endowment awards grants to top-rated proposals examined by panels of independent, external reviewers.These grants are highly competitive and involve a rigorous peer-review process to ensure that the projects represent the highest level of humanities quality and public engagement.

The $217,000 grant will fund the creation of a comprehensive online collection of early educational public radio content from the National Association of Educational Broadcasters (NAEB). The forerunner of CPB and its arms, NPR and PBS, the NAEB served as the primary organizer, developer, and distributor for noncommercial broadcast production and analysis between 1925 and 1981. These broadcasts, mostly stemming from university and public school-run radio stations, provide an in-depth look at the engagements and events of American history, as they were broadcast to and received by the general public in the twentieth century. According to the project’s Lead Advisor, Josh Shepperd of Catholic University and Director of the Radio Preservation Task Force,

“The National Association of Educational Broadcasters recordings provide valuable context into cultural, political, and less-studied, educational discourses going back to the New Deal, and associated documents help media scholars to trace the origin of script development, audience research, and genres that we associate with both public media and cable television – science, travel, food, history, and journalism programming.”

The NAEB systematically preserved its history across over a hundred boxes of documents and 5,000 reels of tape, but the organization split its archive, depositing its papers in Wisconsin and the recordings in Maryland. Archival audiovisual media has been collected and maintained separately from other kinds of (primarily textual) archival sources, and these ‘split’ collections mean that researchers must often discover and manually reunite audiovisual collections and their related materials if they want to understand a broadcast not just as an audiovisual object, but as a medium that relays information within a set of historical contexts (time, place, related events, etc.). Unlocking the Airwaves will reunite the split NAEB collections, develop an open and comprehensive web portal for them, and tell the story of early educational and public broadcasting.

By coordinating the expertise of archivists, humanities researchers, and digital humanists, Unlocking the Airwaves will deliver enhanced access to important, mostly hidden, archival audiovisual materials by linking split hybrid paper/audiovisual collections together, and providing a search engine for the linked collections, enabling users to simultaneously search both the documents and sounds of the NAEB. The resulting resource will finally realize the potential of the collections of the NAEB for exploration and study by educators, scholars, journalists, documentarians, genealogists, and the broader public.

The post MITH Receives NEH Grant for “Unlocking the Airwaves” appeared first on Maryland Institute for Technology in the Humanities.

The post Alison Langmead Digital Dialogue appeared first on Maryland Institute for Technology in the Humanities.

For the past two years our work with our partners on Documenting the Now has deepened MITH’s longstanding interest in how archives are assembled and studied as an integral part of digital humanities research. Much of MITH’s previous attention in this area has focused on the construction of archives in the web–or rather, using the web as a means for publishing for, and engaging with, particular audiences of humanities scholars. As part of our efforts to help document the Ferguson Protests, Baltimore Uprising, and the Black Lives Matter movement, we have been drawn into conversations about how to build archives of the web, specifically of social media content such as Twitter. This engagement has led us directly into conversations about the positionality of archival work, and how ethics and our own values get built into collections and applications.

Thanks to the efforts of Bergis Jules and Vernon Mitchell (the projects’ two co-PIs) we have had the opportunity to engage with and learn from activists in Ferguson on several occasions. These activists described how they used social media as part of their work in Ferguson, and how social media records fit into their lived experience, not just as protestors, but as citizens and people. Most importantly these activists, along with an assembled group of scholars, helped us think together about what it means to do memory work as activists, archivists and social media researchers. It is not simply good enough for our project to document the events in Ferguson without engaging with and giving back to the communities we are documenting. While methods such as participant observation and action research are helpful guides, there is still much work to be done in applying them as humanists and archivists to communities on the web.

The web has often been thought of as a shared public space, or as Lawrence Lessig described it in 1999, a commons:

The internet is a commons: the space that anyone can enter, and take what she finds without the permission of a librarian, or a promise to pay. The net is built on a commons — the code of the World Wide Web, HTML, is a computer language that lays itself open for anyone to see — to see, and to steal, and to use as one wants. If you like a web page, then all major browsers permit you to reveal its source, download it, and change it as you wish. It’s out there for the taking; and what you take leaves as much for me as there was before.

It is astonishing how much has changed in how we think about the web since Lessig wrote those words almost 20 years ago. Far from being simply a commons that we can all take from equally, the web is now an unevenly distributed sociotechnical space, and an essential part of contemporary life. Web content exists along continuums of access and privilege, instead of in a binary, public/private state. Social media platforms are perfect examples of how communities can form in pockets the web. These communities aren’t simply part of a public commons or locked up in corporate walled gardens. We identified a real concrete need for more conversation and shared practices of how to work as scholars and archivists in an ethical, participatory way, while respecting the agency of the web communities we are attempting to remember.

With this goal in mind we invite you to join us in New York City at the Ethics and Archiving the Web forum. While the program is fixed, there are some spots available during the day long workshops if you would like to share your own work or projects with us. We hope to see you there!

Please get in touch with Ed Summers at MITH with any questions about the Documenting the Now project, or MITH’s involvement in the forum.

The post Ethics and Archiving the Web appeared first on Maryland Institute for Technology in the Humanities.

Led by the Digital Library Federation, Endangered Data Week, February 26 – March 2, is an international, collaborative effort, coordinated across campuses, nonprofits, libraries, citizen science initiatives, and cultural heritage institutions, to shed light on public datasets that are in danger of being deleted, repressed, mishandled, or lost. The goals of Endangered Data Week are to promote care for endangered collections by publicizing the availability of datasets; increasing critical engagement with them, including through visualization and analysis; and by encouraging political activism for open data policies and the fostering of data skills through workshops on curation, documentation and discovery, improved access, and preservation.

2018 Endangered Data Week Events

Interdisciplinary Panel & Practitioner Lightning Talks

February 26, 1 – 4 PM
Special Events Room, McKeldin Library

This panel of diverse disciplinary representatives invites participants to discuss the definitions of data, practices of data collection, ethical considerations and threats against data. Viewed in concert with each other, these domain perspectives will aid us in understanding the complex environment of research data preservation and the numerous dangers that can threaten the long-term usability, sustainability, and discoverability of this information. This panel will include:

• Ricardo Punzalan, UMD iSchool (moderator)
• Angus Murphy, UMD Department of Plant Science & Landscape Architecture
• Joanne Archer, UMD Special Collections and University Archives
• Jennifer Serventi, National Endowment for the Humanities
• Catherine Knight Steele, UMD Department of Communication and Director of the African American History, Culture, and Digital Humanities

To supplement our expert panel, a number of practitioners from around the university and surrounding community will provide quick-fire presentations on their current data practices, describing the lived experience of professionals operating in a world of endangered data. Presenters will include:

• Matthew Miller, UMD Roshan Institute (moderator)
• Kelley O’Neal, UMD Libraries
• Maddie Clybourn, Prince George’s County Memorial Public Library System
• Jessica Lu, Post-Doc with African American History, Culture, and Digital Humanities
• Amy Wickner, UMD Special Collections and University Archives

Data Preservation Workshop

February 28, 10 AM – 12 Noon
Rm 6107, McKeldin Library

This hands-on session will seek to address a topic that has important impacts for both individual researchers and the larger endangered data landscape: personal data preservation. This workshop will feature two segments: first, an overview of data preservation topics will familiarize participants with the core practices of data stewardship in individual practices and within the University community. Second, a hands-on tool demonstration will give participants a chance to try their hand at tools that facilitate self-guided archiving practices.

This will be a tech heavy course, please bring a personal computer.

Endangered Data Week Happy Hour

March 2, 4 PM
MilkBoy ArtHouse, 7416 Baltimore Avenue, College Park

An informal closing to Endangered Data Week 2018. Continue the conversation over drinks and snacks.

An open-ended conversation on the impacts of endangered data in all its varieties and forms. From personal data to tax-funded public research data, how will uncertain futures for data impact us? As individuals? As institutions? As nations?

Curious? Have ideas? Have questions? Bring them all and join in the conversation.

The post Endangered Data Week, February 26 – March 2, 2018 appeared first on Maryland Institute for Technology in the Humanities.

Photo by brewbooks.

The fact is that nearly all printed books now begin—and for many practical purposes end—their lifecycles as digital files that are produced and managed by designers, editors, publishers, packagers, and printers. The printed book that we hold in our hands is just one of the outputs that can be derived from these digital assets, which are also used to produce ebooks and Web-ready texts. In particular, the role of Adobe InDesign and other software tools is not well understood outside of the industry. And yet, this is where the book stops being a manuscript and starts becoming a book, by way of its transformation into a prescribed set of digital assets which in addition to the text may include stylesheets, fonts, metadata, images, and other design elements.

Led by principal investigator Matthew Kirschenbaum, this project represents the first organized attempt to put ambassadors from the scholarly communities traditionally invested in safeguarding and studying the material history of bookmaking into contact and conversation with thought leaders and influencers from the contemporary publishing world. The centerpiece of the project will be a convening to bring those figures together in New York City in early 2018;  Kirschenbaum’s efforts will also be supported by site visits to observe the bookmaking process as it unfolds across different settings, and interviews with industry experts. Findings for scholars, archivists, and publishers will be presented in a white paper made publicly available in late 2018.

“Digital technologies have forever altered publishing workflows,” commented BISG executive director Brian O’Leary. “We’re looking forward to working with Professor Kirschenbaum to explore current practice and its impact on our ability to preserve content for future generations.” “This project represents an exciting extension of MITH’s long-standing interest in preserving born-digital culture,” said Trevor Muñoz, MITH interim director. “We’re delighted to partner in this effort.” Karla Nielsen, curator at Columbia University’s Rare Book and Manuscript Library, added, “For a long time publishers’ archives weren’t collected systematically, but now scholars are very grateful for the more complete records of earlier firms that we have, such as those of Cambridge University Press. Research libraries are just beginning to collect born-digital materials produced by publishers and this initiative will help us to understand how to do that so that there is a record of this moment of profound media change.”

The Maryland Institute for Technology in the Humanities is a leading digital humanities center that pursues disciplinary innovation and institutional transformation through applied research, public programming, and educational opportunities. The Book Industry Study Group is the leading book trade association for standardized best practices, research and information, and events. Matthew Kirschenbaum is Professor of English at the University of Maryland, a past Guggenheim Fellow, and author most recently of Track Changes: A Literary History of Word Processing (Harvard UP, 2016).

Inquiries about Books.Files may be sent to Matthew Kirschenbaum.

The post Books.Files: New project to help scholars assess digital components of today’s bookmaking appeared first on Maryland Institute for Technology in the Humanities.

The post Walter Forsberg Digital Dialogue appeared first on Maryland Institute for Technology in the Humanities.