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“He put me in the nursing home, and I didn’t like that very much,” explains Ruth Ann. When Ruth Ann’s grandmother passed away, her father was unable to care for Ruth Ann and placed her in a nursing home. Ruth Ann found it depressing. While attending the New Hope workshop, Ruth Ann started questioning a friend about what it was like to live in a group home. Ruth Ann decided to tell her caseworker she wanted to move to a group home, and her father agreed to the move. After living in the group home for a while, Ruth Ann was ready to try supported living. When she was told no because she needed too many supports, she contacted a lawyer to help her move out. Eventually, Ruth Ann moved into a home with two other roommates, with staffing 24 hours a day. She was interviewed in 2017.
In addition to his interest in the lyric poem, which he has now been exploring for fifty years, Paul Muldoon is drawn to the shadowy domain of the song lyric. His reading tonight focuses on new poems and songs, as well as work included in the recently published Selected Poems 1968-2014 (Farrar, Straus and Giroux) and Sadie and the Sadists (Eyewear).
Immediately after graduating from Indiana University, Sandra Eisert began making history.
Eisert earned her degree in journalism in 1973 and took a job at the nationally ranked Courier-Journal and Louisville Times, becoming the first woman newspaper picture editor.
In 1974 she became the first-ever White House picture editor during the Gerald Ford administration. As Ford’s picture editor, Eisert sought to create a strong visual documentation and to restore a sense of trust in the presidency lost during the Richard Nixon administration. She helped facilitate unprecedented press access to Ford, making possible a fully balanced view of the unelected president. Eisert would later return to the White House and is the only editor to have served on staff as picture editor for three U.S. presidents: Ford, George W. Bush and Barack Obama.
After the Ford presidency, Eisert became the first female picture editor of The Washington Post, where she pushed the paper to send photographers to cover national stories for the first time. Her team covered stories like a devastating drought in the Midwest, the Jonestown massacre and the rise of the U.S. Hispanic population.
She moved West to work at the San Jose Mercury News as the newspaper’s first senior graphics editor. After a few years, she became its first design editor and established the paper’s first design desk. She helped build a strong picture editing team, which won the National Press Photographers Association Angus McDougall Overall Excellence in Editing Award for photography. She also contributed to six Mercury News NPPA Overall Best Use of Pictures team awards.
Eisert played a key role in the Mercury News’ 1990 staff Pulitzer Prize for coverage of the Loma Prieta earthquake and its aftermath, designing and directing on deadline a special section about the earthquake. The section also won six other international design and editing awards.
She also served as art director of the newspaper’s award-winning Sunday magazine, WEST. While in Silicon Valley, she became interested in finding new ways to serve the reader using digital opportunities.
She left WEST to work for Microsoft as the first journalist and one of the original four senior editors who created MSNBC.com, the first real site for news on the Internet. As senior editor and director of graphics for the mainstream news site, she also created the site’s revolutionary design. The design made possible use of a content management system, allowing editors to respond to news instantly and create diverse special projects on the fly.
Eisert served on the Accrediting Council on Education in Journalism and Mass Communication for 20 years, visiting universities to evaluate quality in education. She was the first woman on the accreditation council and co-authored its diversity standard, which has become one of the critical components of accreditation.
Eisert is a recipient of the Joseph Costa Award, an award named for the NPPA founder that goes to a person who exhibits outstanding initiative, leadership and service in advancing the goals of the NPPA. She was the first woman to win the award, 39 years after its inception.
Now, as an entrepreneur, Eisert serves as a startup CEO. She has taught at three universities, and she has served as a media consultant in roles including establishing the Department of Defense’s Public Web Program and contributing to the editing, design or strategy of 90 books, with more than 9 million copies in circulation.
Recently the IU Libraries has seen major progress in managing born digital materials within some of the special collections units. The Born Digital Preservation Lab, established in January 2016, has been developing workflows to image and preserve obsolete media. The University Archives has been a strong partner in establishing end-to-end management of born digital materials, as they have revised accessioning and processing workflows, collaborated with the BDPL on pre-ingest, and have begun working on issues like backlog processing, providing access to researchers, and working with record creators to establish optimal acquisition of digital records.
This presentation will discuss how the BDPL and University Archives have been working on these larger challenges. We will also highlight a few current projects, including a collaboration between the BDPL and Media Services to image and provide access to a collection of obsolete PC games.
Until recently, the Variations Digital Music Library provided online access to approximately 30,000 selected recordings and scores from the Indiana University Cook Music Library. First implemented in 1996 with support from IBM and later revised thanks to grants from the National Science Foundation, National Endowment for the Humanities and the Institute for Museum and Library Services, it served the students and faculty of the Jacobs School of Music until its retirement in January of 2017, prompted by the end of life of one piece of its underlying technology. The recordings hosted in Variations have been migrated to Media Collections Online in 2016.
Variations addressed real teaching and learning needs beyond the basic features of discovery and access; migrating the Variations materials to a different tool is only one aspect of the change that this transition represents to Variations users and support staff. Other important aspects to consider are gaps in functionality. Some new features have been implemented in Avalon, the system powering MCO, to address some of the gaps.
In this talk we will discuss the transition, the features added to Avalon prompted by the Variations use cases, the remaining functionality gaps we intend to address, and how MCO is being received by faculty and students.
