Books from Cita.

Creating Space in the Public Domain for Feminist Literature

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 Yellow Wall-PaperThe 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.

Learn more about Cita Press.

BACKGROUND

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.

WHAT’S NEXT?

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.

Please follow, join, contribute and share: citapress.org

Juliana Castro is a Colombian graphic designer and editor, and  a graduate student in the School of Design & Creative Technologies at The University of Texas at Austin.

Whit Williams playing guitar

Whit’s Picks: Take 1 — Gems from the HMRC

Resident poet and rock and roll star Harold Whit Williams has recently taken on a project to catalog the KUT Collection, obtained a few years ago and inhabiting a sizable portion of the Historical Music Recordings Collection (HMRC).

Being that he has a refined sense of both words and music, Whit seems like a good candidate for exploring and discovering some overlooked gems in the trove, and so on occasion, he’ll be presenting some of his finds here on the blog.

Recently added (and highly-recommended) Music from the KUT Collection at the HMRC

Angela Faye Martin / Pictures From Home

North Carolina singer/songwriter turns Appalachian music on its head with odd synth and fuzz burbling background. Quietly brooding and beautiful. Produced by Sparklehorse’s Mark Linkous.

 

Ruxpin / Where Do We Float From Here?

IDM electronic musician Jónas Thor Guðmundsson hails from Iceland and creates blips and bleeps as Ruxpin. Less frenetic than Autechre, not as dark as Aphex Twin, Where Do We Float From Here shines with bright and melodic northern lights.

   

Olivier Messiaen / Visions de l’Amen

French avant garde composer’s challenging suite of seven pieces for two pianos. Marilyn Nonken (piano I) and Sarah Rothenberg (piano II) in a brilliant performance captured at Stude Hall, Shepherd School of Music, Rice University.  

Jews and Catholics / Who Are? We Think We Are!

 Following in that grand Southeastern tradition of rock duos (House of Freaks, Flat Duo Jets), Winston-Salem’s Jews and Catholics bring their amped-up indie pop to spike the punch at your summer backyard party. Audacious, nervy, overdriven. Produced by the legendary Mitch Easter of Let’s Active.

 

Georgia Anne Muldrow (as Jyoti) / Ocotea

 Muldrow takes a break from her breathtaking vocals and rhymes on Ocotea, as she deftly experiments with avant jazz swirled around inside chill electronica.

Harold Whit Williams is a Library Specialist in Music & Multimedia Resources Cataloging for Content Management. He also writes poetry, is guitarist for Cotton Mather, and records ambient electronic music under the solo name The French Riot.

 

Robotics campers.

What Summer Break?

Summer on the Forty Acres is in contrast with the rest of the academic calendar in some pretty noticeable ways: herds of parentless campers crisscrossing campus in a clockwork dance; roving bands of noisy Boys State gangs meandering about on a break from their future leadership training opportunity at the Capitol; summer school denizens either rushing to finish out their college careers or putting in the extra work to secure enrollment for the fall semester; facilities workers renewing spaces around campus to extend the life of buildings after another semester of age and wear by an active community; and there’s way less traffic.

We’ve mentioned it before and this year is no different — the summer is when the Libraries work hard through three months of relative calm to push through projects and initiatives that are too disrupting for the long semester, or need to be ready when the full body returns to campus.

A robust semester of discussion about the Fine Arts Library generated approval in late spring for a renovation project to improve the fifth floor of the library to support the needs of students, faculty and researchers in the College of Fine Arts. The project is in its early stages, but will result in, among other things, enhanced and expanded shelving, improved technology support and updated furnishings and carpet. The refresh should be completed by the beginning of the fall semester. Keep up with the changes throughout the project at the Future of the Fine Arts Library page on our website.

Moving from the newest of the library locations to one of the most historic, we received some exciting news about the Life Science Library, too. The Hall of Texas — the west side twin to the east side Hall of Noble Words reading room — has been returned to the care of the Libraries, and work has begun to return it to its former glory. Empty shelves that were partitioned off to provide a home for the Herbarium will soon be repopulated, and the room will provide a companion reflective space for student study and community in one of UT’s most iconic buildings.

The habitants of PCL’s fifth floor will be happy to return in the fall to a development of the Collaborative Commons that exists on the north end of that level. A pilot refresh occurred several years ago to upgrade the aging furniture carpets and technology support, and additional improvements will expand the enhancement of the study and collaborative space into a section on the opposite side of the area.

More information on these projects to come throughout the summer.

 

Graduates

Graduated? Don’t Forget Your Libraries

You did it! (Or your graduate did.) Congratulations. After four years (more or less) of hard work and long nights in PCL, you’ve earned your degree and are looking toward the next phase of life as you head out into the world.

And though your time at UT has officially come to a close, you’ll still have some access to library resources on which you’ve come to rely through the summer.

Spring Graduates

Hold on to your student ID card, as you’ll retain privileges through the following summer. These privileges include:

  • regular student check-out privileges
  • access to interlibrary loan services
  • access to most UT Libraries electronic resources
  • use of study rooms, carrels. or lockers under the same guidelines that apply to enrolled students
  • online renewal

Your privileges will remain active until the 12th day of classes in the fall semester.

Courtesy Borrower Privileges

There are several options for getting a Courtesy Borrower card:

Join the Texas Exes

There are several alumni membership levels available–sign up quick, recent grads get special deals! After you’ve joined, bring a photo ID to Courtesy Borrower Services to apply for your card. You’ll also get remote access to three article databases, Academic Search Alumni Edition, Business Source Alumni Edition, and JSTOR Alumni Edition.

Get a TexShare card

The TexShare Library Card Program is a reciprocal borrowing program, coordinated by the Texas State Library, which provides access to materials from many Texas libraries. If you’re a patron in good standing at a participating public library, you can get a TexShare card from that library and bring it to Courtesy Borrower Services to apply for your UT Libraries courtesy card. While the card is free, each participating library has its own qualifications for eligibility. For example, Austin Public Library requires their patrons to be in good standing for a period of six months before qualifying for a TexShare card. Check with your local library for details.

Are you a Texas resident?

If you are a Texas resident, but you don’t qualify for a TexShare card, just bring proof of address, a photo ID, and $100 to Courtesy Borrower Services to apply for borrowing privileges at UT Libraries.

Courtesy borrowers can:

  • check out print and media materials from all UT library branches
  • access most electronic databases from onsite library workstations
  • access online renewal and recall services

Courtesy borrowers cannot:

  • access databases remotely
  • check out equipment
  • use interlibrary loan services
  • access Jamail Center for Legal Research, the Harry Ransom Research Center, or the Center for American History

For additional resources, bookmark the “Access the Library After Graduation” LibGuide.

 

 

Alicia Niwagaba Wins TDL Graduate Student Excellence Award

Alicia Niwagaba, photo: Kira Matica
Alicia Niwagaba, photo: Kira Matica

Alicia Niwagaba, graduate research assistant at the Archive of the Indigenous Languages of Latin America (AILLA), was awarded the Graduate Student Excellence Award by the Texas Digital Library (TDL). She accepted the award during the Texas Conference on Digital Libraries on May 17. Niwagaba is a recent graduate of the Master of Science in Information Systems (MSIS) program at the UT School of Information.

During her time at AILLA, Niwagaba has worked on developing an open educational curriculum designed to teach language documentation researchers how to organize and arrange their materials and metadata to facilitate their ingestion into a digital language archive like AILLA. This work is supported by the National Science Foundation under grant BCS-1653380, Transforming Access and Archiving for Endangered Language Data through Exploratory Methodologies of Curation.

Alicia Niwagaba, photo: Susan Kung
Alicia Niwagaba, photo: Susan Kung

Niwagaba is a key member of the project team, which additionally consists of AILLA manager Susan Kung and AILLA language curator J. Ryan Sullivant. “Niwagaba contributes valuable insight gained from her training in libraries and digital archives to improve the quality of the curriculum content and to incorporate literature and viewpoints that would not have been considered otherwise,” says Kung. The curriculum she is helping to develop will be taught as a weeklong course at the Institute on Collaborative Language Research (CoLang) at the University of Florida, June 18-22, 2018. Thereafter, the curriculum will be available as an open-access educational resource on AILLA’s website.

During her time at AILLA, Niwagaba developed a series of educational video tutorials about language archiving. These are designed to supplement the written curriculum or to stand alone as individual, shareable resources. Some of these engaging videos have already been widely shared throughout the language documentation community. This includes two that are available on YouTube: Language Metadata in AILLA and Filenaming.

Filenaming video created by Niwagaba (YouTube)
Filenaming video created by Niwagaba (YouTube)

AILLA manager Kung is grateful for Niwagaba’s contribution to the archive’s work, calling her “a critical member of AILLA’s curriculum development team.” Kung adds that Niwagaba “brings unique insight and perspective to the work that AILLA does. In fact, her efforts on this project have improved the level and convenience of service that AILLA is able to provide to our important stakeholders, the language documenters who entrust their precious, irreplaceable language materials to this repository. We are delighted that Alicia Niwagaba has won this award.”

View the Texas Digital Library awards announcement.

Jennifer Isasi

Jennifer Isasi to Join LLILAS Benson as CLIR Fellow for Data Curation

LLILAS Benson Latin American Studies and Collections is pleased to announce that Jennifer Isasi, PhD, will join the staff as CLIR Fellow for Data Curation in Latin American and Latina/o Studies. Isasi will work with Digital Scholarship Coordinator Albert A. Palacios to contribute to “collections as data” efforts, educational resources, and digital scholarship initiatives at LLILAS Benson. She will hold her position from July 29 through June 2020.

In her role as CLIR fellow, Isasi will have the opportunity to alter the way in which students, researchers, and affiliated communities access and engage with the digitized historical record.

According to CLIR (the Council on Library and Information Resources) the CLIR postdoctoral position “offers recent PhD graduates the chance to develop research tools, resources, and services while exploring new career opportunities. . . . Fellows work on projects that forge and strengthen connections among library collections, educational technologies, and current research.”

Jennifer Isasi
Jennifer Isasi

In addition to her work with Palacios, Isasi will work closely with the current CLIR fellow Hannah Alpert-Abrams as well as University of Texas Libraries academic engagement staff and LLILAS affiliated faculty to develop curated data sets, curricula, and workshops centered on digital assets and tools, and open-access resources that support scholarly and public engagement with digital materials.

Isasi will also work closely with the post-custodial archival team and partners in the United States and Latin America to inform the development of forthcoming digital collections and facilitate their use in digital research and pedagogy. As such, she will have the opportunity to alter the way in which students, researchers, and affiliated communities access and engage with the digitized historical record.

Jennifer Isasi holds a PhD in Hispanic Studies with a specialization in Digital Humanities from the University of Nebraska-Lincoln. Her dissertation, “Data Mining Possibilities for the Analysis of the Literary Character in the Spanish Novel: The Case of Galdós and the ‘Episodios nacionales’” (written in Spanish) establishes a computational reading methodology to extract, analyze, and visualize literary character-systems or social networks, noting how they reflect novel genres and degrees of historicity that replicate close readings of the novels. Currently, she is a lecturer of Spanish at the University of Nebraska at Kearney, where she teaches Spanish, Commercial Spanish, and Foundations of Literacy.

Student in the 5th floor stacks at the Fine Arts Library.

The Fine Arts Library Lives On

Over the past several months, our Fine Arts Library has been the subject of debate as the College of Fine Arts considered space to serve as a home to the new School for Design and Creative Technologies (SDCT).

Interested faculty and students joined together last fall to protest any further changes to the library after the opening of the Foundry and the conversion of the 4th floor into classrooms for the SDCT, and in response the dean of the college, Douglas Dempster, called for the formation of two working groups to explore and address the future of spaces in the Fine Arts Library in Doty Fine Arts Building (DFA).

The first, under the leadership of the UT Libraries — the Fine Arts Library Task Force — was asked to explore and evaluate the alternatives to having the Fine Arts collection on the fifth floor of DFA — in part or whole — and explore the drawbacks and advantages of those alternatives.

The second — the School of Design and Creative Technologies Space Planning Task Force — considered a) what facilities our new programs need and b) what spaces in the College of Fine Arts, throughout all our buildings and facilities in every department and school, could accommodate these expanding programs.

The Fine Arts Library Task Force completed its work at the beginning of April and submitted its findings outlining a range of feasible scenarios for ensuring continued, ready access to the collections at the library to Dean Dempster and Vice Provost Lorraine Haricombe. Dempster and Haricombe reviewed the documents and formed a set of recommendations which were conveyed to UT Provost Maurie McInnis for consideration. On April 6, McInnis accepted the recommendations to maintain and enhance the 5th floor of the Fine Arts Library to serve the stakeholders in the College of Fine Arts and the larger university community.

“The decision by the provost to accept the recommendations for the future of the Fine Arts Library will provide the best possible outcomes for all concerned members of the UT community,” says Haricombe. “The positive conclusions are the result of many months of productive, collaborative dialogue with stakeholders and a discovery process that examined the multiplicity of considerations for how best the library can serve its users. We look forward to continuing our work serving the needs of the College of Fine Arts and the entire campus at The University of Texas at Austin.”

All relevant documents related to the decision-making process for the Fine Arts Library can be found at the Future of the Fine Arts Library webpage.

For a thorough overview of the FAL matter, check out the following articles which appeared in the Austin Chronicle:

Changes at UT’s Fine Arts Library Cause a Rift in the College of Fine Arts

Update: Fate of UT’s Fine Arts Library

 

 

 

Book preservationist Joey Marez repairing a volume.

To Protect and Preserve

As we’re wrapping up Preservation Week 2018, it’s instructive to remember that at the core of the library mission, the act of preserving the vast collections of the University of Texas Libraries is one of the most important things we do. A lot of times this reality gets lost in issues of actual collection management or access issues, but this annual recognition established by the American Library Association provides an opportunity to highlight the exhausting and often overlooked work of preservation staff at libraries.

You may have seen an earlier story about the efforts of our intrepid staff’s foray into a storm disaster zone to recover items from the heavily damaged Marine Science Institute’s Marine Science Library at Port Arthur. It’s a great example of a dramatic response in service of emergency protection and preservation of important library resources. Almost every year, though, there are examples of less sensational acts of professional heroism that test the buoyancy of our incredible preservation staff. One such example occurred in the fall of 2017 — a short time after the Harvey rescue effort — when a  shortcoming in a renovation project at the Jackson School of Geology resulted in a construction failure that would’ve represented a loss of hundreds of volumes were it not for the expertise and dexterity of our preservationists and onsite staff.

Flood abatement at the Geology Library.

Over the summer of 2017, a lab renovation on the 5th floor of the Jackson Geology Building above the library took place. After hours on a Monday evening the following fall, a water line in the lab failed and water began to enter the ceiling over the stacks of the library, eventually leading to a collapse of ceiling tiles and what was described as water “gushing and pouring” onto the volumes below. Library staff followed protocols to involve emergency response staff and managed to get the water shut off, but by the time this had happened, almost 400 books had been directly damaged by the flow.

For many libraries across the country, this would represent a loss of resources, but the university is fortunate to have a library system that features a robust capacity for ensuring the long-term protection of the knowledge resources that have been built over its 130-plus year history.

Books drying.

Staff response included immediate assessment of the materials and fanning out the most heavily-affected items on tables and staging industrial dehumidifiers and air circulators to address the water damage as quickly as possible, and some of these needed to be interleaved with additional blotter paper to absorb the appreciable moisture. Of the 394 items that were directly impacted by the flood, 35 required additional preservation attention, including repair and rehousing, and an additional 1200 items were removed from the shelves as a precaution, a not insignificant number that would need sorting, ordering and re-shelving after the cleanup.

Staff treating materials in the preservation lab.

In the course of the emergency, staff spent 24 hours on the initial response, 40 hours on recovery efforts (including transport and triage), and 10 hours of additional effort on coping with the additional preservation work needed to save the most heavily damaged books. And this doesn’t even take into account the work needed to return the library and its collections to the previous state that was undertaken by the onsite staff and facilities crew.

Preservation Week was established by ALA to highlight the need to think about supporting a function of the library that often goes unnoticed or underappreciated. Some 630 million items in collecting institutions across the United States require immediate attention and care. 80% of these institutions have no paid staff assigned responsibility for collections care, and 22% have no collections care personnel at all, leaving some 2.6 billion items unprotected by an emergency plan.

We’re lucky to have a university that provides for the expertise necessary to protect an investment in knowledge built over its long history, that can, as a result, serve this generation and many to come.

The staff that protect and preserve library collections.
Some of the staff that protect and preserve library collections.

 

 

Collections Highlight: Gravitation

"Gravitation" by Charles W. Misner, Kip S. Thorne, and John Archibald Wheeler. San Francisco: W.H. Freeman, 1973.

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.

Inscriptions by the authors on the frontispiece of "Gravitation."

Transcription of Mixtec, with Spanish translation. Raúl Alvarez (transcriber and translator). 1981. Rabbit story, with additional translation by Benjamín García Santiago. This will be part of the AILLA archive.

NEH Grant Will Fund Transcription of Indigenous Language Collection

BY J. RYAN SULLIVANT

The Archive of Indigenous Languages of Latin America (AILLA) has received a pilot grant from the Humanities Collections and Reference Resources program of the National Endowment for the Humanities. This grant will improve access to some of the archive’s thousands of audio recordings in indigenous languages by supporting pilot efforts to crowdsource the creation of digital texts for manuscript transcriptions and translations that accompany recordings already in AILLA’s collections. Specifically, the grant will support the transcription of materials in the Mixtec languages of Mexico that are included in the MesoAmerican Languages Collection of Kathryn Josserand. These materials include a very broad survey of the grammar and vocabulary of the Mixtec languages spoken in over 100 towns and villages of southern Mexico.

Transcription of Tehuelche, from the AILLA archive of Jorge Suárez
Transcription of Tehuelche, from the AILLA archive of Jorge Suárez

Digital transcriptions will improve users’ access to these materials and will also facilitate their reuse for humanistic and especially linguistic research studying the dialectology of the Mixtec languages, which, decades after these materials were collected, is still not completely understood. They will also contribute to research on the prehistory of the Mixtec-speaking people, who today number almost a half-million in Mexico. One component of the project will be the development of educational modules that will use the transcription task to teach lessons on linguistic transcription, language description, and historical linguistics. This pilot project will also allow AILLA to develop transcription workflows that can be applied to other significant collections of handwritten documents in the archive’s collections.

Pilot project will improve access to a collection of Mixtec audio recordings.

The project’s principal investigator is Professor Virginia Garrard, director of LLILAS Benson Latin American Studies and Collections. The project manager is Ryan Sullivant, AILLA language data curator.

Survey in Chalcatongo Mixtec (with Spanish above), from the AILLA collection of J. Kathryn Josserand
Survey in Chalcatongo Mixtec (with Spanish above), from the AILLA collection of J. Kathryn Josserand

The National Endowment for the Humanities, created in 1965 as an independent federal agency, supports research and learning in history, literature, philosophy, and other areas of the humanities by funding selected, peer-reviewed proposals from around the nation. Additional information about the National Endowment for the Humanities and its grant programs is available at www.neh.gov.

For more information on the AILLA transcription project, contact Ryan Sullivant.