Gravitation is a seminal work familiar to all advanced physics students, but the Kuehne Physics Mathematics Astronomy Library (PMA) has an uncommon copy of the book.
Co-author John Wheeler presented this copy with his inscription to a former engineering professor at UT, who donated the book to the PMA Library.
A time later, co-author Kip Thorne gave a lecture at UT and a Physics undergrad asked if he would add his inscription. Finally, co-author Charles Misner visited campus for a lecture and he, too, added his inscription to the volume, completing the trio.
The Nettie Lee Benson Latin American Collection, cited by many as the collection of record for Latin America in this hemisphere, is home to some of the most unique and rare collections on the Forty Acres and beyond.
Make no mistake, the Benson is more than just a special collection.
The groundbreaking LLILAS Benson partnership—a collaboration with the world-renowned Teresa Lozano Long Institute of Latin American Studies—is emblematic of the future of libraries. It embeds librarians in the research cycle and curriculum and produces access to unique digital resources that are available globally, further cementing UT Austin as a research destination physically and digitally.
Over the last century, librarians and archivists associated with the Benson have pushed the boundaries of collecting, preserving, and providing access to information. Most notable among these are Carlos Castañeda, Nettie Lee Benson herself, Laura Gutiérrez-Witt, Ann Hartness, David Block, Julianne Gilland and most recently, Melissa Guy.
The legacies of these great leaders lives on today as this generation of librarians continues to travel to places like Argentina, Brazil, Colombia, Mexico, Nicaragua, Cuba, and more, returning to Austin with resources of all types: books, magazines, and journals discovered in tiny, hidden bookshops, cluttered train station bookstalls, or through miraculous acts of exploration at international book festivals. Many materials, like maps, political pamphlets, and children’s books, would never find their way to the Benson otherwise. These gems provide researchers with unique snapshots of Latin America.
The year 2021 marks the Benson’s centennial, yet the future is anything but certain. With the rising cost of resources, endowments supply much-needed annual support for the Benson. We need your help to take the Benson into the next century. Former head librarian Laura Gutiérrez-Witt has graciously pledged to match the first $20,000 donated to the endowment she generously created, The Robert Charles Witt and Laura Gutiérrez-Witt Library Fund for Latin America.
The University of Texas Libraries is pleased to announce the creation of a new pilot residency program to encourage participation in library professions by historically underrepresented populations.
The Consuelo Artaza and Dr. Carlos Castañeda Diversity Alliance Residency Program will align with efforts of the Association of College & Research Libraries (ACRL) Diversity Alliance to increase the hiring pipeline of qualified and talented individuals from underrepresented racial and ethnic groups. By working together and thinking more broadly, ACRL Diversity Alliance institutions will help diversify and enrich the profession.
A recent membership survey of ACRL members revealed that 83 percent of respondents identified as white. The ACRL Diversity Alliance was established to collaborate with institutions in the creation of programs that could combat the diversity disparity in library professions.
The Diversity Residency Program will be designed to help tackle this challenge. University of Texas at Austin alumnus and Libraries Advisory Council Member Gustavo Artaza has generously contributed the $100,000 toward the establishment of the program in honor of his mother, Consuelo Artaza, and his grandfather, Dr. Carlos Castañeda, who was the original librarian of the university’s Latin American Collection and namesake of the Perry-Castañeda Library.
Artaza’s contribution will go toward the overall challenge to raise $133,000 in order to obtain a matching grant from the university. The Libraries will focus on raising the remaining $33,000 this year’s 40 Hours for the Forty Acres fundraising campaign, taking place April 4-5.
“Art is long, life short, judgment difficult, opportunity transient. To act is easy, to think is hard; to act according to our thought is troublesome. Every beginning is cheerful: the threshold is the place of expectation.”
from Wilhelm Meister’s Apprenticeship by J.W. von Goethe, 1795-96
Goethe’s sentiment borrowed from Hippocrates and distilled in his novel of personal discovery as a charge to the protagonist Wilhelm Meister could equally represent a characterization of the experience of visiting a library — equal parts joy and labor, with the promise of new knowledge as a provocation to learn.
It’s also appropriate, then, that the passage comes from the first ever volume borrowed from a library at The University of Texas at Austin, which occurred just over 134 years ago on March 7, 1884 — a small act of history committed by a person who created a notable history of his own.
John H. Cobb was a member of the inaugural class at this university back in 1883, when the Forty Acres was composed of the original Main Building in its Victorian Gothic splendor and more open land than is imaginable by a modern-day visitor to campus. He studied law, but even beyond the serendipity of being the first library borrower, seems to have had some predisposition toward pioneering. Cobb used his legal training to help draft the constitution for the Ex-Students’ Association, placing him as one of the co-founders to the Texas Exes.
Much like Goethe’s Meister, Cobb wasn’t content, either, to remain comfortably in the confines of his home state of Texas after earning his degree. He traveled to the relative wilds of what was then the District of Alaska in 1897 and by 1899 he had formed a law partnership with John F. Malony in Juneau.
He was active in the formative political and governmental structures in the fledgling District, and when the region was reorganized and renamed the Territory of Alaska in 1912, Cobb was appointed the first Territorial Counsel by the Governor John Franklin Alexander Strong in 1913. He served in that role until 1915 when the 2nd Alaska Territorial Legislature created the Office of the Attorney General, and a successor was appointed.
Cobb argued and won one of his most high-profile cases, Tuppela v. Chichagoff Mining Co., before the Ninth Circuit Court of Appeals in 1920, reversing a fraudulent land grab by the mining company and returning several valuable gold mines to private citizen and rightful owner John Tuppela.
Shortly after settlement of the suit, Cobb and his family resettled in Santa Barbara, California, where he died on December 23, 1925.
The details of that tome first borrowed by Cobb is in question, though it could be a volume flagged as “missing” in 2013 and now superseded by a digital version in the Libraries’ catalog. The title’s long history on the Forty Acres, however — both in the hands of the first borrower, and with subsequent generations of Longhorns — attests to the idea that the Libraries, too, play an integral part in the belief that “What starts here changes the world.”
Meet the Talents is an occasional series dedicated to introducing experts from around the UT Libraries. This month’s focus is Porcia Vaughn, Liaison Librarian for Biosciences, who joined the Libraries in late 2016. Porcia earned her MS at the University of North Texas and previously worked at the University of Houston Libraries and the Fondren at SMU.
How did you get here, and what do you do?
Porcia Vaugh: I’ve wanted to be a librarian since middle school and have always had a love of science. It was in 9th grade that I found out that I could blend my love of libraries with my science passion to become a science librarian. So, I made the plan to get a degree in biological sciences with a minor in health studies to then proceed to graduate school to obtain a MS in Information Sciences focusing on Health Informatics. And here I am today with the ability to connect faculty, students and staff at a major R01 research institution to library services… I’m definitely living my dream!
I’ve made my way to UT to support the biological sciences programs, including Integrative Biology, Molecular Biosciences, Neurology, Biomedical Engineering and other bioscience related programs. I provide research, publication, curriculum and instruction support to the biosciences programs and disciplines here on the UT Austin campus.
Services I provide for UT researchers include, but are not limited to, locating grants, assisting with formal literature review searches, identifying data sets, identifying best practices for publishing and making one’s work discoverable, and assistance with data management principles and practices for compliance in the biological and life science disciplines. The success to UT’s research enterprise is important to me and the role of the library to be involved with identifying specialized needs and seeking innovative solutions to those needs is always a priority of mine when serving our researchers.
In addition to researcher support, I offer strategic library services to the biosciences undergraduate curriculum by providing hands-on training for students regarding Information Literacy — the proper ways to find and use biological and life science information tools and resources appropriately to be successful as a student and future biological researcher. I assist instructor or teaching assistants with instructional design around course assignments and program learning outcomes using library resources or other open educational resources.
Where do you think the love of science comes from? Genetic, organic or other?
PV: My love of science has always been focused on biological and life sciences. Growing up in an area with a culture, Hispanic & Native American in New Mexico, I grew to love and respect the environment and the living organisms within the environment. The love was then fostered by fantastic middle school science teachers and librarians who supplied the great natural sciences books to feed my interest.
I do really love every aspect of trying to understand living organisms — physical structure, chemical composition, function, and development of living organisms. My undergraduate research focused on parasitology and I loved studying those little and sometimes gross organisms but they are so important to how we evolve in our environment.
I know from talk around the watercooler that you have a bit of a competitive streak (esp. sports). Where do you think that comes from, and do you see those aspects of yourself in your work?
PV: Yeah, I do have a little bit of a competitive streak. I’ve played sports all my life, my dad is an athletic coach who coached my varsity soccer team and my entire family plays sports. I still am very active in sports playing softball and tennis a couple nights a week. I feel that my competitiveness drives me in my daily work, knowing that I can always do better and provide more adaptive services to build others up.
Is there some aspect of UT’s particular research in the sciences that drew you here? Or have you discovered some interesting research that you weren’t aware of?
PV: I was drawn to UT because it is a Tier 1 research institution and the library is in the top 15 on the ARL Library Index Ranking. There are many exciting research opportunities that are occurring here and I can name a few:
But, there are so many more research opportunities to call attention to that excite me!
What sort of impact do you think librarians should have on research — what role do you want to play in the research life cycle?
PV: I think librarians have a huge role to play in research and any part of the campus enterprise, including teaching and learning the practices of the research life cycle. I assist and am always looking to collaborate with researchers at any stage of the research life cycle. I find it an important part of the biosciences services and tools for researchers for the librarian to participate in project scoping, identifying and tracking grant and funding opportunities, assist with building research data management practices, following through to disseminating, archiving and preserving researchers scholarship and communicating their research to the general public.
And how do you see your role in collection development and management? How does that aspect of your work differ from a librarian in a discipline like the humanities?
PV: I see collection development and management in two categories, course and curriculum needs and the gathering of faculty and graduate research and instructional resources. I identify materials that will enhance instruction and give students fundamental knowledge to enhance their own research priorities as they move forward in their education; this includes identifying Open Educational Resources for faculty and teaching assistants to use in course instruction. Bioscience collections can include textbooks or traditional print books, but also include a wide variety of software (i.e. Mapping and GIS) or electronic resources (i.e. lab protocols and journals) to improve understanding of research methodologies. It is important to work closely with faculty and students to make sure that we are providing resources that make them successful while they are here at UT Austin.
The Digital Humanities questions is a different story unrelated to collection development in my subject areas. DH is the adoption of computational methodologies and digital technologies for humanities research; whereas, in the STEM disciplines have been using data-driven approaches and technology for centuries. Differences between approaches include the types and quantity of data that is collected along with differing approaches to dissemination and preservation of research and scholarship.
You seem to have a pretty full plate in the present. What do you think your job will look like in ten years, and where would you like to be professionally?
PV: Looking toward the future, librarians will likely be further embedded in a role that supports and enhances research across the university and globally. Libraries will continue to look for ways to benchmark library successes within the research enterprise while strengthening our connections to curriculum and instruction. Academic libraries will also play a large role in community engagement and translation of scholarly research to those beyond the university bubble.
Professionally, I’m aiming to be in a management role that will advance the philosophy and methodologies of library programing and services that directly connect to the academic mission and success stories.
What gives you the greatest sense of accomplishment in life?
PV: Doing what I love gives me a sense of accomplishment. Every morning I get to wake up and have the privilege of working with amazing people and if I can help anyone of them advance their personal or professional goals by providing support makes me happy.
Excessive Noise is an occasional concert series hosted by the Fine Arts Library. Organized by Russell Podgorsek — who earned his doctorate at the Butler School of Music and is an employee of the Fine Arts Library — the series provides students with an opportunity to perform chamber and solo works beyond those required by their degree programs. It also provides an opportunity for the premier of original works beyond the classroom. While generally in the classical vein, Excessive Noise features work from a variety of traditions and perspectives.
The newest installment of “Excessive Noise: Not Just the Notes” takes place this Friday, March 8 in the Fine Arts Library, just in time to warm up for SXSW. The show is free and starts at 6 p.m.
Podgorsek and his co-curator for the concert, Jessy Eubanks, took a moment to answer a few questions about the series and Not Just the Notes.
So, how did you come up with the concept for Excessive Noise, and what were your goals for the program?
Russell Podgorsek: I started Excessive Noise back when I was a doctoral student in music and a GRA at the Fine Arts Library (FAL). Recently retired music librarian David Hunter mentioned that they’d previously had a concert series there and strongly suggested I start it up again. At first, it was just a nice vehicle to have some other performance opportunities for student performers and composers, and capitalize on the surprisingly good acoustic in the FAL, but as the semesters went on we had more alumni, Austin music community members, and even a few guests from out of town perform. We’ve had programs with speakers from Asian Studies, a feature with the Maps Collection, and more recently featured ensembles like invoke and Hear No Evil, allowing them to program the entire event. In other words, I think it’s come to be more a celebration of the library as a community hub, as a place where you come to share and explore ideas. I should add that UT Libraries has been consistently supportive of the series and not only do we appreciate it, but patrons also tell me after every concert what a nice tradition it’s become for them.
You’ve really engaged the community with the series by presenting programming that might otherwise be familiar almost exclusively to people associated with the Butler School or the College of Fine Arts. Can you explain how you settle on themes for the individual events? Is that your own conceptualization, or are you co-curating with the performers?
RP: At first there were no themes really; I was just asking whoever was around and interested in playing to play, and of course I programmed one of my own pieces on each concert. But once the series was had been around for a year or two and the old reference stacks were replaced with shorter, newer ones, the place attracted more interested performers. In some cases, like with the collaboration with the Maps Collection back in 2014, the materials we wanted to showcase dictated the “theme”. For that concert we even had five pieces newly written based on maps of Chicago from the collection. The Orient-Occident performance was a more generalized “East meets West” theme that came out of my own interaction with Japanese culture. We had a DMA composer at that point from China and several grad students from Pakistan at BSOM so the pieces just fell into place. More recently, I’ve had ensembles provide their own programs, although the last concert was a joint programming venture with Hear No Evil (we did two of my pieces with them and they supplied the rest). So, I guess the short answer is we’ve done it almost every way one could. This time around I’ve handed the programming off to the not just the notes collective. The director is one of my students and the co-directors former students of mine, so I’m more of an advisor for the time being.
What’s the story with Not Just the Notes? This seems like an extension of the ensemble programming, but perhaps in a new way.
Jessy Eubanks: Not Just The Notes is more of a concert series than an ensemble. We program new music written by UT composers, and focus on non-musical themes and collaboration. For example, this concert program consists of pieces about how humans interact with the environment, and current environmental issues. We needed a venue for our first concert, and Russell was very kind in letting us use the Excessive Noise series as a host.
One of the great things about the Excessive Noise series is that it gives campus composers the chance to share new material and to experiment in a performance space. Not Just the Notes seems to be a great fit for the series because of that. Can you talk a little about the nature of collaboration in the program, and maybe offer a peak into what folks can expect from the performances?
JE: Our first collaboration will include the Campus Environmental Center. We’ve worked with by inviting them to our event, and they’ll have a table set up at the concert to answer questions and share some about the work they do around UT. It’s been really cool to make that connection. As for the performances themselves, each piece deals with a different aspect of how people are interacting with nature and the environment, things like that, and some send very strong messages about current issues such as deforestation or over-consumption.
The program is titled “Green Paw.” Can you talk about that and who will be performing?
JE: All of the performers are UT students, but a number of pieces have no performers at all- they are solely electronic or fixed media. Other pieces are a combination and feature live players with electronics.
The title Green Paw is a reference to the environmental theme of the concert, we thought it sounded cool and wanted a way to differentiate between this concert and (hopefully) future concerts.
What are you planning for the future programming of Not Just the Notes? And what can we expect in the future from the Excessive Noise series?
JE: For Not Just the Notes, one area we’re hoping to explore is working with other students in the arts, such as dance or visual arts. There’s already so much potential in the College of Fine Arts alone, but we don’t want to limit ourselves. For example, there are also many music students involved in computer science, and it’d be very interesting to work creatively with them. There’s tons of options, and we’re also open to anyone coming to us with ideas for collaboration!
RP: I’ve got a couple of potential programs in mind for the future of Excessive Noise: a revival of a really successful project called “Sehr Flash” that we mounted back in 2016 at BSOM and the Texas Book Festival in conjunction with lit-mag NANOFiction, and a “new common practice” concert for which we’ll have several new pieces written all with the same stylistic constraints (the OULIPO groups does this kind of thing in the world of literature). Also, depending on how things shape up in terms of scheduling soloists, we may have a steel drum feature sometime soon.
In this important world map, the extent of North America and the distance across the Pacific Ocean are hardly understood while the outline of South America is better represented.
The cartography is attributed to a collaboration between celebrated German mapmaker Sebastian Munster, and a renowned Northern Renaissance artist Hans Holbein, contributed the rich ornamentation at the map’s border.
Holbein’s additional embellishments — including realistic renderings of flora and fauna, as well as fantastic and frightening sea beasts — makes this a superlative example of cartography from the period.
The Alexander Architectural Archives at the Architecture and Planning Library has acquired source materials for a publication that provides a comprehensive survey of architecture in the Lone Star State.
“The Buildings of Texas” (University of Virginia Press) — part of the Society of Architectural Historians’ “Buildings of the United States” series — is a two-volume publication by Gerald Moorhead (with James W. Steely, W. Dwayne Jones, Anna Mod, John C. Ferguson, Cheryl Caldwell Ferguson, Mario L. Sánchez and Stephen Fox), that catalogs the state’s built environment with architectural profiles of its major cities and the landmark structures that pepper the landscape.
The collection features the archives of editor Moorhead (FAIA) and contributor Mario L. Sanchez (UT, 1982), including documentation with research material, administrative records and over 12,000 photos. Only a small portion of buildings are represented in the final publication, providing incredible opportunities for further research.
The first volume was published in 2013, and the donation of these materials marks the project’s completion, with the second volume slated for publication later this year.
Processing of the collection will begin this spring.
Moorhead is an architectural lecturer at the Rice School of Architecture and an award-winning Houston architect with over 40 years of experience. He is a former contributing editor to “Architectural Record” and “Texas Architect” and the architect laureate of Kazakhstan.
On November 3, friends and family gathered in the Main Building to honor a storied figure in the Libraries recent history.
Marking her 95th birthday, the Libraries recognized the contributions of retired librarian and administrator Virginia Phillips, who served the General Libraries from 1975 -1998 in various capacities throughout the organization, most notably as assistant director for Branch Services.
During the event Phillips’s impact was cataloged by a series of former colleagues, all of whom noted her direct influence within their own professional experiences.
To honor her legacy with the Libraries, associates recognized Phillips with a permanent naming in her honor of a bookcase in the Hall of Noble Words in the Life Science Library, housed within one of the university’s most distinguishing landmarks and symbols of academic excellence.
The indelible mark Phillips left on the University of Texas Libraries is extraordinary. Her oversight of branch libraries, recruitment of talent and philanthropic support through endowments forged a path for building strong and meaningful relationships that extend far into the future.
Lanina’s deeply personal work spans the universe of media — painting, sculpture, video, animatronics, performance — and resides in a space where whimsical imagery dances in a veil of melancholic undercurrents like children’s tales if viewed a lens of Heironymous Bosch.
Lanina spent the better part of her time at the Foundry working on a collection of animatronic projects, from doll to human-size in stature, that are intended to interact with the viewer, with sensors that activate motion and audio when a viewer is in proximity.
Lanina focused most of her time in the Foundry on one project — “Herstory” — a human-sized animatronic doll with a face cast (3D printed) from the artist’s own, which intends to explore gender and cultural identity through the sharing of awkward anecdotes and stories that challenge the way that gender is perceived. Lanina presented a public talk focused on the project, but covering her other works, as well, as part of the residency.
Lanina’s art has been exhibited in such museums and institutions as the Seoul Art Museum, Moscow Museum of Modern Art, Ludwig Museum (Cologne), the Cleveland Institute of Art, and Galapagos Art Center in Brooklyn. She’s received honors that include fellowships and scholarships from Headlands Art Center (California), Yadoo (New York), CORE Cultural Funding Program (Austin, TX), BluePrint/COJECO (New York City), TEMPO (TX) and an honorable citation from New York State Assembly.
She holds MFA in Combined Media from Hunter College, CUNY, New York and a BFA in Painting and Drawing from Purchase College, SUNY.
Funded by donor Kirby Attwell and COFA, the artist-in-resident series brings notable multi-media artists to Austin for a week at a time for workshops with students, lectures for the public and a chance to pursue their own art on the advanced equipment in the Foundry. The previous artist-in-residence at the Foundry was Israeli American contemporary media artist Yael Kanarek.