White, heterosexual men have long dominated archival records. However, the Nettie Lee Benson Latin American Collection has a new archival exhibition that indicates the times are changing.
The Benson Collection is pleased to commemorate the acquisition of the Alicia Gaspar de Alba Papers in the Rare Books and Manuscripts Reading Room on Thursday, May 2, at 4 p.m., with a visit from the author herself. During the presentation, Gaspar de Alba will read from her published creative writings as well as participate in a discussion with Mexican American and Latina/o Studies faculty member and community activist Lilia Rosas. Additionally, a selection of the Alicia Gaspar de Alba papers will be on view in an exhibition titled “This is about resistance”: The Feminist Revisions of Alicia Gaspar de Alba. The Benson acquired these papers in fall of 2017 through a generous donation from the notable Chicana feminist scholar, professor, and author.
The exhibit highlights the intersections of Gaspar de Alba’s scholarly and creative endeavors. Early poetry, essays on identity as a queer Chicana feminist, journal entries, research notes for novels and scholarly work like Desert Blood (2005) and Making a Killing (2010), correspondence with UT Press, novel manuscripts, and photographs will all be on display for visitors.
Gaspar de Alba is a native of El Paso/Ciudad Juárez, but has lived for over twenty-five years in Los Angeles, where she is a founding faculty member and former chair of the UCLA César E. Chávez Department of Chicana/o Studies. She is currently the Chair of the LGBT Studies Program and has affiliate status with the English Department. A celebrated writer and scholar, she has won various awards, including the Lambda Literary Award for Best Lesbian Mystery Novel (Desert Blood) and the American Association of Higher Education Book Award for [Un]framing the “Bad Woman” (2015).
This event is co-hosted by the University of Texas Libraries and LLILAS Benson Latin American Studies and Collections, who gratefully acknowledge the following co-sponsors: the Center for Mexican American Studies and the Center for Women’s and Gender Studies.
About the Benson Latin American Collection
The Nettie Lee Benson Latin American Collection is one of the foremost collections of library materials on Latin America worldwide. Established in 1921 as the Latin American Library, the Benson is approaching its centennial. Through its partnership established with the Teresa Lozano Long Institute of Latin American Studies in 2011, the Benson continues to be at the forefront of Latin American and U.S. Latina/o librarianship through its collections and digital initiatives.
A packed house at the Benson Latin American Collection was treated to a stunning set of music for the 17th annual ¡A Viva Voz! Celebration of Latina/o Arts and Culture, held April 4.
To be in the audience for “Cantos y Cuentos,” with singer-songwriters Tish Hinojosa and Lourdes Pérez, was to be drawn into an intimate conversation, an evening of poetry and song and sentiment that was poignant and personal, and at times delightfully humorous.
“Embodied in you is the history of thousands and thousands of years and hours of work and activism and human rights and cultural work, so I want to give you a round of applause for being here with us tonight,” said Pérez, before opening the concert with her song “Remolinos.”
In a set that was arranged song-swap style, Hinojosa followed with “Amanecer,” a love song written for her mother.
The emotional range of the concert was among the details that made it remarkable. One of the most touching songs of the evening was Hinojosa’s “The West Side of Town,” the tale of her parents, Felipe and María, which she wrote for her children so that they would learn about their grandparents, both of whom died before Hinojosa’s children could know them. Following that number, Pérez turned to her friend and said, “Tish, that’s a beautiful song, and I just wanted to tell you … I admire you, your beautiful voice, your songwriting—your beautiful songwriting—and I look up to you. Thank you for everything you’ve done in your life and your career.” These words, and this moment of one performer responding to the other, capture the authenticity of the evening.
Pérez’s wonderful sense of humor was on display with the songs “Héroe” (about a messenger dog, written in the poetic form known as décimas) and “A tu amor renuncio” (I Resign from Your Love—a breakup song for the digital age). In introducing the lovely “Roses Around My Feet,” Hinojosa claimed it was as close as she could come to a breakup song; the lyrics were inspired by the saying “No me estés hechando flores”— don’t be a flatterer—taught to her by her mother.
“Carrusel,” by Pérez, stood out as a stirring commentary on our time: “Diez mentiras repetidas son igual a una verdad” (“A lie, repeated ten times, equals the truth,” she translated.) In the haunting refrain, Pérez sings, “¿Qué veo? Nada. ¿Qué oigo? Nada. Y, ¿qué hago? Nada.” (What do I see? Nothing. What do I hear? Nothing. And what do I do? Nothing.)
The artists closed the concert with two duets, Hinojosa’s tender and enduring “Manos, Huesos, y Sangre,” written for Mexican artist Frida Kahlo, and Pérez’s anthem-like “Tengo la vida en las manos” (I Have Life in My Hands).
Before teaching the chorus of “Tengo la Vida” to the audience, Pérez spoke: “We still have the opportunity of creating spaces of freedom of speech. Who would have known that it was so threatened?” And she acknowledged the importance of places like LLILAS Benson, and of “this opportunity to celebrate life, to go into institutions of higher learning to tell our stories, and to straighten up the story that is being told” about us. (Adding another dimension to this statement, Hinojosa’s archive is housed at the Benson Latin American Collection.)
I have life, I have life,
I have life in my hands.
It is a consequence of being a woman.
It is a consequence of being human.
And then we all sang,
Tengo la vida, tengo la vida, tengo la vida en las manos.
Es consecuencia de ser mujer, es consecuencia de ser humano!
Small children running around the PCL’s UFCU Room is not a normal sight on a Tuesday morning. Neither is a drag queen dressed up in a gown and full make-up. But on November 27, the Perry-Castañeda Library brought them together for a special story time event. Tatiana Cholula read picture books to a crowd of about 20 small children and their parents. UT faculty, staff, and students joined in and took a seat on the floor to hear Miss Tatiana’s stories.
Drag Queen Story Time is a national phenomenon, and it is exactly as the name suggests – drag performers read picture books aloud to groups of small children, their parents, and adult drag fans. It has been a huge hit at public libraries across the country, and when our friends at Austin Public Library hosted their own Drag Queen Story Time event, they had to turn folks away because their room was at capacity!
While Drag Queen Story Time is not a typical event hosted by an academic library, we thought it sounded like so much fun that we had to give it a try. The PCL has an extensive Youth Collection, including a lovely selection of new and notable picture books. Faculty and students use the Youth Collection for research in education, cultural history, and art, and many faculty and staff with children check out these books for leisure reading. Because November is National Picture Book Month, it was the perfect time to hold this event.
We partnered with UT’s Gender & Sexuality Center to find a drag performer, and they directed us to Tatiana Cholula, a former UT student, who is popular in the local Austin drag scene. Miss Tatiana immediately was enthusiastic about the event, and she picked out three picture books from the PCL’s Youth Collection that featured LGBTQ+ characters and characters of color.
We are proud to have brought visibility to gender diversity and the joy and fun of drag performance to the library. The event also encouraged young children to be themselves, no matter their gender, and showed them a glamorous, queer role model. We received enthusiastic feedback from parents and students who asked us to host the event again, and Miss Tatiana said, “Showing my art to a much younger audience made my heart so full.”
Maybe it’s the shorter days, but the fall semester seemed to fly by. Despite the fact that an entire term goes by in a blink, progress doesn’t stall here at the Libraries.
The start of the semester was heavily influenced by milestones related to the Benson Latin American Collection. The Benson got its own book in early August (published by UT Press) documenting the institution’s storied collections and history, and ended the month with “An Evening of Discovery,” an event to launch a fundraising campaign for the Benson’s 100th anniversary (in 2021) featuring noted journalist Enrique Acevedo (Univision, Fusion) speaking on the currency of Latin American culture, with additional remarks by former UT President Larry Faulkner and Dr. Adriana Pacheco Roldán. The event generated almost $100,000 for the Dr. Fernando Macías and Dr. Adriana Pacheco Benson Centennial Endowment.
The Libraries hosted its annual tailgate in early September for the Longhorn victory over Tulsa with a family-friendly recharge space that hosted over 300 visitors. Special thanks to partners at the Blanton Museum of Art, Center for Mexican American Studies and LLILAS Benson, and supporters Austin’s Pizza, Austin Eastciders, Dripping Springs Vodka, KIND, Republic Tequila and Tito’s Handmade Vodka.
The Benson welcomed Edmund W. Gordon, the renowned psychologist, professor, researcher and expert in education access for historically disadvantaged populations, for the opening of his archive and an exhibit on his career and contributions. The event — “Life, Leadership, and Learning: From the Archive of Edmund W. Gordon” — was hosted by Black Diaspora Archivist Rachel Winston with friends, family and students present for testimonials of Gordon’s impact and a moving speech by Gordon himself.
A couple of open house events later in the month served to launch space enhancements promised to our patrons in the previous year. The first, at the Fine Arts Library, made good on a commitment to improve the research experience for users in the College of Fine Arts with an array of changes to the location’s fifth floor. A collections area was cleared to make room for additional stacks space to accommodate additional books, and along with furniture and aesthetic upgrades, the underperforming wifi was brought up to standards. Provost Maurie McInnis joined appreciative members of the CoFA community and representatives from the Libraries to christen the space in early October.
A second opening — also presented with the help of Provost McInnis — highlighted the expansion of the PCL’s most popular community study area. The Collaborative Commons on the library’s 5th floor doubled in size to provide students with a vast improvement over the anachronism they’d been thus subjected to: new modular furniture, carpet and color schemes from this century and enough outlets to accommodate backpacks full of personal devices.
In mid-October, Provost McInnis announced the Task Force on the Future of the UT Libraries, a strategic outcome of campus dialogue which had been in development since last spring. The task force will collect input and hold ongoing conversations with stakeholders in order to develop a shared vision for the future of libraries on the Forty Acres. The launch of the task force was followed shortly by a town hall featuring the co-chairs Dean Michelle Addington of the School of Architecture and Vice Provost and Director of UT Libraries Lorraine J. Haricombe, along with guests James Hilton, University Librarian and Dean of Libraries at the University of Michigan, and Anne Kenney, former University Librarian at Cornell University and consultant to the task force.
And in November, the Libraries paid tribute to the legacy of former director Harold Billings in the form of an exhibit detailing his career work in bringing the institution into the digital age. An intimate reception was hosted for family and friends, and graduate research assistants Virginia Barnes and Rachael Zipperer (School of Information) discussed their experience in developing the exhibit and it’s accompanying online timeline, “The Tomorrow Librarian: Harold Billings’s Legacy, 1978-2003.”
Now we take a much-deserved break to recuperate for the next semester of work, and hope you’ll do the same. Best wishes for your holidays from the University of Texas Libraries!
Earlier this year, the UT Libraries hosted a panel discussion called, Can I Use That?: Remix and Creativity. The event was the brainchild of Juliana Castro, a graduate student in the School of Design & Creative Technologies. She worked with librarians Becca Pad, Gina Bastone and Colleen Lyon to plan a panel event that dove into issues around rules of copyright and reuse as they relate to creative fields of inquiry.
The panelists for the event included: Dr. Carma Gorman, Design; Dr. Philip Doty, School of Information; Dr. Carol MacKay, English; and Gina Bastone, UT Libraries. The question and answer session of the panel was particularly lively as participants engaged with our experienced panel on a variety of reuse issues.
The capstone of the event was an opportunity to bind a Cita Press public domain book, The Yellow Wall-Paper, by Charlotte Perkins Gilman. UT Libraries is pleased to work with scholars like Juliana Castro who are interested in exploring new ways to freely share information, and is excited to help her introduce Cita Press.
Public domain is a legal term used to refer to visual or written works without intellectual property rights. Works enter the public domain for different reasons, including expiration of the rights, forfeiture, waiver, or inapplicability, as in the case of pieces created before an existing legal framework. At the end of the eighteenth century, copyrights lasted only 14 years in the USA, with an option of renewing for another 14 years. However, copyright terms have expanded dramatically over the course of the twentieth century in the USA.
Since the passage of the Sonny Bono Copyright Extension Act of 1998, most copyrighted works do not re-enter the public domain until 70 years after the death of the author. These extensions are created to benefit creators’ interests, but not only do they oftentimes fail to do so, but can stifle creativity, free speech, and the democratic exchange of ideas.
In the last three centuries, women have gradually made their way into the publishing industry as active writers, often exploring topics considered inappropriate or even immoral for women to address. The printing press was developed by Johannes Gutenberg c.1439. By 1500, printing presses were operating all throughout Europe; by 1539 Spanish colonists were printing in Mexico; and by 1638 English colonists were printing in New England. However, until the early nineteenth century, writing was still a suspect occupation for women. Because often times writing was viewed as unfeminine, the few women who had the educational background to write works of public interest would often publish anonymously, using masculine pseudonyms to avoid jeopardizing their social status.
Art and literature have been sexist arenas, and as Joanna Russ points, for centuries women have had to fight outright prohibitions, social disapproval, lack of role models, isolation, and other forms of suppression in order to get their work published and recognized. Most of the nineteenth century’s feminist literature is now in the public domain, but many of these writings are not being republished by commercial publishers. When publishers do reprint public-domain texts, they rarely do so in open-access book formats. Because commercial publishers invest in curating and marketing well-designed collections of reprints, they frequently commission original annotations or introductions from scholars, which in turn enables them to copyright and profit from their new editions.
In contrast, Internet-based archives such as Google Books, HathiTrust, and Archive.org make an enormous corpus of public-domain books available for free online, but do so as scans or in poorly designed digital formats. Moreover, internet archives usually do not make their collections particularly navigable or appealing to non-scholarly audiences, nor do they make it properly designed and easy to print.
Cita’s purpose is to celebrate and make accessible the work of female authors, and inspire people to explore open publishing formats. In the future, I plan to extend Cita’s reach as an active open-source editing platform that is committed to intersectionality and that welcomes diverse voices and backgrounds by republishing new works, especially in Spanish, including those of living authors who are willing to open-license their works.
As is the case with most successful open-source projects, Cita needs user-contributor engagement in order to grow. The existing collaborative community is likely to extend their work towards creating new material, and potential new contributors will be encouraged to join in at different levels of the book-creating process, including cleaning texts, reformatting HTML, designing covers, laying out texts, marketing the site, etc. I plan to apply for small grants that can cover certain parts of the book making process, such as formatting and free distribution of printed copies. But Cita’s success will ultimately rely on the efforts of those who are interested in celebrating and making women’s art and literature more accessible.
Most people think of SXSW as a giant party. But a for a group of us from the UT Libraries this year, SXSW presented an opportunity to make Wikipedia a more welcoming and representative place for LGBTQ+-identified people.
It started with an idea from some great folks at WNYC Studios, a public radio station in New York, to host an LGBTQ+ Wikipedia Edit-A-Thon during SXSW. WNYC produces the acclaimed podcast Nancy that covers modern queer identity. Hosts Kathy Tu and Tobin Low were at the festival to present on diversity in podcasting and wanted to do more in their off-time while in Austin. They noticed that many queer and trans topics don’t have robust Wikipedia pages, if they had pages at all, so they decided to tackle these significant information gaps.
I linked up with them in January, when they had the wisdom to reach out to librarians in Austin to assist with this event, Keep Wikipedia Queer. Event planning is more than one-person job, and I was able to partner with some graduate students from iSchool Pride, a group from the School of Information.
As we began planning, we realized that many people from UT might not be in town during SXSW. To encourage as much UT participation as possible, we decided to host Queering the Record, a pre edit-a-thon research event at the PCL during the week before Spring Break. Queering the Record provided structured time, space, and snacks for librarians, students, faculty, and staff to use library resources to identify topics that need Wikipedia pages and collect a list of sources that could be used and cited by edit-a-thon participants. More than 35 people attended Queering the Record, and by the end, we created a 23-page Google doc that we were able to share and work from at Nancy’s Edit-A-Thon.
Speaking of Nancy’s event – it was a lot of fun! During the 4-hour event held downtown, we met people from around Austin and around the country, all of whom are passionate about LGBTQ+ representation. Seven folks from UT attended, including some PCL Graduate Research Assistants, and we connected with a librarian from the City University of New York system. As a group, we edited more than 70 Wikipedia pages on topics as wide-ranging as comedian/blogger Samantha Irby, LGBTQ+ rights in Syria, Austin’s QueerBomb celebration, and the children’s book series Frog and Toad.
The response to both of these events from students and staff was so positive that we hope to hold more LGBTQ+ Wikipedia edit-a-thons in the future!
Special thanks to iSchool student and PCL GRA Elle Covington for her contributions to these events!
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.
Sunny June weather welcomed a lively group of 126 faculty, graduate students, and information professionals to the University of Texas Austin campus for HILT – Humanities Intensive Learning + Teaching. HILT is an annual week-long Digital Humanities (DH) training institute for researchers, students, early career scholars, and cultural heritage professionals. “HILT is awesome! It’s like nerdy summer camp for adults, and you actually learn things that are useful for your professional life,” one HILT participant in the course Introduction to the Text Encoding Initiative (TEI) for Historical Documentsstates.
In its 5th edition, HILT 2017 offeredeight immersive Digital Humanities training courses on tools and methodologies including Scalar, Python, text analysis, Text Encoding Initiative (TEI), audio machine learning, and crowdsourcing. Courses were led by 11 expert guest instructors, hailing from institutions across the United States, such as University of Delaware, Emory University and the University of Southern California Libraries. Participants each enrolled in one course of their choice and dove in for four intensive days of learning. The PCL Learning Commons and the College of Liberal Arts’ Glickman Conference Center served as classroom space.
“I really like the format of an intensive class,” a participant in HILT’s Text Analysis course reported. “It is different than other conferences I’ve attended where you go to hour-long sessions and someone presents on a project they did. I also found the instructors and participants to be extremely knowledgeable.”
UT Libraries staff partnered with School of Information and Department of English faculty to plan the 2017 institute in collaboration with HILT Co-Directors, Trevor Muñoz and Jennifer Guiliano. Combined with the expert DH knowledge of the course instructors, the team successfully executed the largest HILT institute yet, and participants shared an enthusiastic response.
“HILT helped me learn real skills, make real connections, and plant seeds for a new path in research and teaching,” said one attendee. “It was the most valuable professional development work I’ve done since I filed my dissertation a decade ago, hands down.”
Daily coursework was balanced with additional learning opportunities. Day one of HILT was activated by a keynote address from UT Austin Provost Maurie McInnis. Provost McInnis shared insights on the importance of digital humanities work through her own research experience. Mid-week, HILT participants shared their research insights with each other through lively 5-minute Ignite Talks. To facilitate networking platforms for this diverse group of participants, UT Libraries staff organized evening dine arounds at favorite local restaurants, and the UT Libraries and the Dolph Briscoe Center hosted social receptions. Participants were also invited to engage in UT Austin’s Cultural Campus through organized activities, including sunset viewing of James Turrell’s The Color Inside: A Skyspace, and specialized tours at the Blanton Museum of Art, Harry Ransom Center, and LBJ Presidential Library.
UT Libraries was pleased to sponsor nine staff to attend HILT. Following the institute, a summer series, coordinated by the UT Libraries Digital Scholarship department, provided a venue for staff participants to share insightful overviews of what they learned in their courses.
One summer series session featured UT Libraries staff Beth Dodd, Christina Bleyer, and Susan Kung presenting on their Collaboration for Complex Research: Crowdsourcing in the Humanities HILT course experience. New insights will be applied to projects such as “Digitizing and Crowdsourcing the oversize Garcia Metadata” in the Benson Special Collections. Another session featured Dale Correa, who described TEI challenges with non-English, non-Roman languages as discussed in the Introduction to the Text Encoding Initiative (TEI) for Historical Documents course. The well-attended summer series informed a broader understanding of DH techniques among Libraries staff, fueled momentum for HILT-inspired projects, and generated a desire for additional training.
Among all 2017 HILT participants, 98% say they will recommend HILT to a friend or colleague. With new and similar courses offered each year, many participants plan to return in 2018 and beyond. Next summer HILT will be hosted at the University of Pennsylvania from June 4-8, 2018. For updates on future learning opportunities, follow the HILT Twitter:@HILT_DH.
HILT Participants traveled across the continent to attend the institute. See a Carto map of participant locations here: HILT Participant Map.
More photos from HILT:
Article contributed by Jenifer Flaxbart and Hannah Packard.
About the Conference conferences.lib.utexas.edu/rethinkit2018/ January 8-10, 2018, the UT Libraries, Austin Public Library, and Austin Community College Libraries will co-host Re-think it: Libraries for a New Age, inaugurated at Grand Valley State University in 2015. The conference will be held at the University of Texas and other locations in Austin and Central Texas.
Re-think it: Libraries for a New Age will bring together academic and public librarians, administrators, technologists, architects, designers, furniture manufacturers, library users, and educators from across the country to discuss, share, learn and collectively re-think the increasingly important role libraries play in the communities that they serve.
In recognition of the 40th anniversary of the Perry-Castañeda Library, the Libraries will be hosting a series of events welcoming members of the Perry and Castañeda families back to the Forty Acres.
Wednesday, August 30, 2017 PCL 40 Cake Celebration
Perry-Castañeda Library Lobby
Noon – 1 p.m. Open to the public.
Thursday, September 7, 2017 Castañeda and Perry Family Welcome
Gabriel’s at the AT&T Executive Education and Conference Center
RSVP to Jason Mendiola at 512-495-4363 or email@example.com
Friday, September 8, 2017 Castañeda Family Welcome Breakfast
Sid Richardson Hall, Unit 1
8:30-10:30 a.m. RSVP here
Parking: Manor Garage