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The IU Libraries provide publishing support to open access journals through the Open Journal Systems (OJS) platform. The Scholarly Communication and Digital Collections Services departments recently collaborated to migrate two open access journals that use XML publishing workflows from XTF and DSpace to OJS. In this presentation, Homenda and Pekala will discuss the history of XML journal publishing projects at the IU Libraries, detailing the recent migration of the Indiana Magazine of History and The Medieval Review to OJS.
Over the course of the 20th century, scholars took up categories of knowledge constructed through classification work done in the library and archive, but methods of analytical bibliography were never well integrated into the academy. As scholars increasingly read and work with digitized texts, however, there is renewed and critical need for bibliographical skills in order to understand how texts have changed over time, especially vis-à-vis their material form. In addition to making a case for bibliography as an essential skill for the modern humanities scholar, I will describe my recent work on creating a TEI bibliography of Isaac Newton's alchemical sources. This project, part of "The Chymistry of Isaac Newton" seeks to reconstruct a comprehensive list of the hundreds of alchemical texts that Newton read and employed from over 5000 fragmentary citations in his manuscripts. Because Newton was a lifelong and extensive alchemical reader, reconstructing a bibliography based on his annotations provides an ideal test case for how alchemical texts were studied in the seventeenth century. As such, this bibliography will be a substantial contribution to modern scholarship on Isaac Newton and the history of science more generally, underscoring the argument that bibliography has an important place in modern humanities scholarship.
Generally, when we think of a digital collection or repository, we think of digital images, ebooks, audio and video files. But some important digital collections, such a bibliographies, don't have content per se but consist of metadata describing a physical object such as a book, a digital object such as an audio recording or an event such as an opera performance. Not surprisingly, this kind of "contentless" digital object is dependent on metadata to describe it. And while we have standards for bibliographic entries in books and articles, we need more complex metadata for digital bibliographic entries. For the past several months, the Library Technology Software Development group has been working on exactly how to represent these contentless digital objects in our Fedora digital repository using the Hydra based software development environment. Using The Televised Opera and Musical Comedy Database as a sample, we will discuss the work we have done to create a general bibliographic tool for the Fedora Digital Repository.
The Center for Biological Research Collections (CBRC) at Indiana University (http://www.indiana.edu/~cbrc/) is a consortium of research collections including botany, zooarchaeology, and paleontology collections. This group is digitizing biological specimens to make them available online for teaching and research. Some of these specimens will be digitized as 2-dimensional photographic images while others, particularly bone specimens, are being digitized in 3D to allow for manipulation and visualization in a standard web browser. The Libraries are teaming up with CBRC to help store these collections in a variety of file formats, along with accompanying metadata. The CBRC uses a pre-existing metadata management system called Specify (http://specifysoftware.org/) and we are working to bring the metadata in that system together with repository software we use (Hydra/Fedora) to ensure these digitized items can be archived and managed for the long-term, as well as made discoverable and accessible online. Join us to learn about this work, see some 3D content in action, and have some fun with science!
Humbert, Joe, Colvard, Chris, Lee, Leah, Keese, Brian
Summary:
When the Libraries User Experience and Digital Media Services Group reached out to the Assistive Technology and Accessibility Centers (ATAC) for an accessibility evaluation, they did not realize this first consultation would morph into a long term collaboration. Come learn about the ATAC's accessibility consultation services, the libraries digital media development, and how our two groups collaborated to improve the user experience for people with disabilities who use the libraries digital services. The digital media developers will discuss their experience with and the process of implementing accessibility into an open source and widely adopted media content platform.
‰ÛÜLibrary publishers often straddle the line between journal publisher and journal host, which presents challenges for ensuring that journals meet certain standards for quality and transparency. At Indiana University, we conducted a self-evaluation to determine whether our library-published open access journals were following best practices for scholarly journals. This presentation will discuss the methods and criteria used, and how we developed new tools and approaches to educating journal editors based on our findings.
R is a statistical package used by many digital textual analysts to explore aspects of styelometry. Here at IU, we have an instance of the popular Rstudio running on Karst to facilitate work on large corpora. However, it is often helpful to begin work with a small test set (sometimes even a single text) and scale up. The CyberDH group has put together code packages and annotated RNotebooks that are available on GitHub to serve as a friendly introduction to how the process of scaling up might work. This talk will step through the basics of these exercises and the visualizations that result.
Folklorist Jon Kay made this short documentary for the exhibition, "Willow Work: Viki Graber, Basketmaker." The exhibit explored the work of Viki Graber a willow basketmaker from Goshen, Indiana. Viki learned willow basket weaving at the age of twelve from her father, who was recognized by the National Endowment for the Arts as a 2009 National Heritage Fellow. Where once her family plied their talents to make utilitarian workbaskets, Viki makes baskets for collectors and to sell at art shows and galleries. While using the same tools and methods as her great-grandfather, Viki's keen sense of color and innovative designs have elevated her family's craft to a new aesthetic level. Sponsored by the Indiana University College of Arts and Sciences as part of their Fall 2015 Themester @Work: The Nature of Labor on a Changing Planet, the exhibition and the video were on display at the museum from August 18 through December 20, 2015.
The genesis of Mise-en-scène is the Stravinsky/Cocteau treatment of Oedipus Rex, first performed in 1927. I have been familiar with this composition from many encounters, including performances as a member of the Aspen Festival Orchestra, and later studying it along with Stravinsky's Persephone in David Diamond’s class in twentieth-century music at Juilliard. I was struck by Stravinsky’s intended mise-en-scène in which the soloists stand immobile in a niched frieze, a two-dimensional proscenium. I also loved his choice of Latin as a means of arresting the Oedipus story in stone –– a text as much ritual and object as narrative –– and his intentional use of so many stylistic references –– a Dada collage. In Mise-en-scène my personae ––Creon, Iocasta and Oedipus –– are set immobile in a triptych, a flat, painterly proscenium. I’ve written Latin texts as one might write lines for a libretto, but I do not intend that these texts be read as narrative. Instead, I’ve treated the texts as visual objects like the partial Latin inscriptions one sees on temple ruins. In Oracula, the text flows by so rapidly that it is all but unreadable. In Timeo and Ecce, the text is glimpsed in fragments –– one can discover shards of the Oedipus narrative, and if one knows the story, one can close the rest of the drama. The panels--three sketches--serve the same function. –Michael Lasater