81. Ethnomusicology Multimedia - Books and Online Multimedia (37:14)

Date:
2010-10-06
Main contributors:
Cowan, Will
Summary:
In 2010, Indiana University Press, Kent State University Press and Temple University Press received a Mellon grant to create a new series of books on Ethnomusicology by new authors called Ethnomusicology Multimedia. One of the key features of this new series of books is that discussion and content in the book will be linked to multimedia on the web so that readers will be able to see or hear the specific songs, dances, ceremonies, etc. that are being discussed in the books by linking to a web site and playing back video, audio or images related. To help the editors, authors and the presses work with and maintain this web site, the development staff at the Institute for Digital Arts and Humanities, are developing an online tool that will allow editors and authors to segment and annotate uploaded video, audio and image files and then provide the necessary information to link those annotated segments to references in the published books. But beyond assisting authors and editors, this new online tool will also assist the presses in determining the content to move to the web site so that readers will have access to the multimedia materials associated with a given book. In essence, like a content management system, the online tool will be a Annotation Management System, allowing the presses to copyedit, review and publish multimedia materials to the readers' web site to provide additional resources for the published book. I will discuss the process of designing and building the Online tool and demo a prototype that we have developed for the project.

82. Using Digital Video in Omeka: Development of a Video Segmentation and Annotation Plugin (55:10)

Date:
2012-08-29
Main contributors:
Cowan, Will
Summary:
This presentation will showcase video segmentation and annotation functionality developed as a plugin to be used with Omeka, an open-source, exhibition software package. The plugin was made possible by a start up grant from the NEH Office of Digital Humanities. I will discuss two of the many potential functions this plugin provides for video in Omeka. First, it is able to represent interactive data on a timeline as videos play. This functionality makes it possible to use this tool in the classroom in a variety of ways, from presentation of data to students to the creation of videos and annotations by the students. In addition, this functionality is ideal for presenting video segments and annotation on an Omeka website so that you don't have to present entire videos but just important segments. Second, it is a tool that can be used for research, especially if it involves the representation of several streams of video. In their book The Maltese Touch of Evil: Film Noir and Potential Criticism, Richard Edwards and Shannon Scott Klute present the idea of an MTOE database, a collection of films noir that have been segmented and annotated and could be used to form the basis of new analyzes of the genre. How frequently and where do closeups occur in film noir? How dark is film noir, really? Do all men with guns wear hats in film noir? By segmenting the video and setting up side by side displays, this type of analysis becomes possible and provides a means to address questions that are often based on a few specially chosen films as opposed to many films across the genre. I will demo a preliminary version of this database using 20 public domain films noir and show how such an analysis could be done.

83. Workshop Session Two: Will Cowan (26:00)

Date:
2013-11-16
Main contributors:
Cowan, Will
Summary:
Will Cowan (Indiana University - Bloomington) presented "Scholarly Use of Video" on November 16, 2013 during the Regeneration in Digital Contexts: Early Black Film Workshop.

84. Omeka and Video: Using Video Plugins with Omeka (57:49)

Date:
2013-09-11
Main contributors:
Cowan, William
Summary:
This project was funded by an NEH Office of Digital Humanities Startup Grant and is managed by Indiana University Libraries. This grant funded the creation of two Video plugins for Omeka. One allows the importing of Annotator's Workbench (a digital video segmentation and annotation tool developed as part of the Eviada Project) annotations and segmentations into Omeka as Items. In addition, another plugin was developed to present these video segments in Omeka and Omeka exhibits. Both plugins will be reviewed as well as a short background on Omeka.

85. Omeka Plugin for Kaltura Video (40:08)

Date:
2018-09-05
Main contributors:
Cowan, William
Summary:
As webserve has done away with Digital Media and encourages folks to put video on Kaltura, I have developed a plugin that allows you to playback Kaltura video in Omeka. This plugin, which will also allow the playback of video from Youtube as well, will allow those who need to use video in Omeka to use Kaltura to store their videos and playback in an Omeka site. I will demo the setup and use of this plugin in Omeka.

86. Integrating digital audio and print in Orson Welles on the Air (54:11)

Date:
2018-01-24
Main contributors:
Cowan, William, Dowell, Erika, Cameron, Jon
Summary:
Indiana University's Lilly Library acquired a large collection of the papers of Orson Welles in the late 1970s, and with it nearly six hundred recordings of his iconic series First Person Singular, Mercury Theatre on the Air, and Campbell Playhouse, as well as more obscure gems, mostly originals cut directly from the broadcasts as they aired. And yet the collection guide listed only "tapes," reformatted from the unmentioned originals. The presentation will discuss how the discs were 'rediscovered,' the problem of multiple formats in traditional archival descriptive practices, and IU's project to digitize and make publicly available the original disc recordings. The Orson Welles on the Air project has digitized the discs and associated scripts. In creating the publicly available web site, the project team used Omeka, an application that the group had a lot of experience with, but this time faced a new use case that required the integration of audio and image interfaces. Omeka has a plugin that works with the audio in Media Collections Online (Avalon Media Systems), but how to integrate the scripts? And how to handle playback of radio programs spread across multiple files/disc sides? Using standard plugins for Omeka, we were able to create a web site that would allow audio playback while simultaneously allowing the user to page through images of the script. In this presentation, we will demo the new site and show how we added the linked audio and print pages.

87. "Contentless" Digital Collections (59:07)

Date:
2015-10-14
Main contributors:
Cowan, William, Floyd, Randall, Pierce, Daniel
Summary:
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.

88. Paged Media Project: Developing a Hydra-based page turning application and turning a Plum into a ... (51:52)

Date:
2017-02-01
Main contributors:
Cowan, William, Homenda, Nicholas
Summary:
The IU Libraries have a long history of delivering access to digital musical scores beginning with the Variations project in 1997. In 2014, the IU and IUPUI Libraries began work on a collaborative project to develop a new page turning application built upon the Hydra/Fedora open source software. In 2017, a new musical scores service is being launched to replace the retired Variations software. The IU Libraries adapted the Plum software, developed by the Princeton University Libraries, into Pumpkin, a Hydra Head to support digitization workflows for various paged media projects. In Bloomington, our first project will be Musical Scores. In Indianapolis, their first project will be newspapers. This software features tools to assist with importing digitized page images, ordering and numbering pages, adding bibliographic metadata, setting access controls, and making the digital object viewable within a customizable module called the Universal Viewer. The Universal Viewer is a front end for an International Image Interoperability Framework or IIIF or more commonly called ‰ÛÏtriple I F‰Û. This presentation will detail the software's functionality, the history of the development process, and the migration of Variations musical scores into this new system.

89. Using Omeka: Cultural Heritage Projects at Indiana University (55:21)

Date:
2014-11-19
Main contributors:
Cowan, William, Jenns, Erika, Smith, Ardea
Summary:
In recent years, Omeka has become an important tool for the exhibit of digital object collections. As with many technologies, Omeka can present some issues with setup and configuration, but overall, Omeka is easy to use for managing digital content. A few of the recent projects to use Omeka are the Lilly Library's War of 1812 (http://collections.libraries.iub.edu/warof1812/) and Indiana University Library Moving Image Archive's World War II Propaganda Films (http://collections.libraries.iub.edu/IULMIA/). The two projects discussed at this session are the Don C. Belton memorial site by the English Department, presented by Erika Jenns, and the ‰ÛÏRegeneration in Digital Contexts: Early Black Film‰Û conference and workshop site presented by the Black Film Center/Archive graduate assistant Ardea Smith. Using Omeka to Represent the Library of Professor Don C. Belton (http://belton.indiana.edu/) presented by Erika Jenns Using my experiences cataloguing the collection of Professor Don Belton, the late novelist, book collector, and English professor at Indiana University Bloomington, I will address the benefits of using Omeka to create a dynamic access point for users. After Belton's death in 2009, the bulk of his collection was transferred to branch libraries on campus. Remaining books were kept by IU's English Department, which does not have a formal library. To make the collection more visible, I created an Omeka website, meant to function as a precursor to a visit to the collection. The site uses tags, rendering it more searchable. It also includes scans of book covers, digitized videos of Belton lecturing and reading, and posts by students who have worked with the collection. The site represents Belton's books both physically and electronically. Coupled with biographical information, it highlights Belton's research interests, sources of inspiration, and some of the works he produced. The Proceedings of Regeneration in Digital Contexts: Early Black Film (http://www.indiana.edu/~regener8/regeneration/) presented by Ardea Smith In 2013, the Black Film Center/Archive received a National Endowment for the Humanities Level I Digital Humanities Start-Up Grant to convene an interdisciplinary group of scholars, archivists, curators, and digital humanities technology specialists for a two-day conference and workshop, ‰ÛÏRegeneration in Digital Contexts: Early Black Film.‰Û The conference and workshop proceedings were documented on video and fully transcribed. To enhance public access to these proceedings, I oversaw the creation of a website utilizing the open-source Omeka platform and VideoStream 2 plugin designed by project advisor Will Cowan at Indiana University. The website anchors streaming video content to keyword-searchable transcripts of the event proceedings. Drawing on the development process for the ‰ÛÏRegeneration‰Û website, my presentation will discuss the practical issues of building of an Omeka-based site using IU's webserve system with an aim to help individuals new to digital archival creation.

90. Negotiating Network Analysis: Balancing Historical Thinking and Data Science Learning in Digital ... (43:05)

Date:
2022-03-30
Main contributors:
Craig, Kalani
Summary:
The ability to understand and analyze massive amounts of information cuts across disciplinary lines but is particularly salient in the disciplines of both history and data science. This talk will leverage activity theory to explore an activity system that supports students and researchers working with complex information by integrating a collaborative open-source network-analysis software tool called Net.Create. I’ll explore the ways in which Net.Create transforms the limitation of large class sizes in history classrooms into a resource for students’ collaborative knowledge building, how Net.Create provides a platform for students to draw on details in a historical text to collaboratively construct a larger network, and how collaborative data entry supports the historiographic practices of citation and revision for both students of history and professional historical researchers alike.

91. Choosing Digital Methods: Updating Your Pedagogy and Research for the 21st Century (46:28)

Date:
2017-08-23
Main contributors:
Craig, Kalani, Dalmau, Michelle
Summary:
The 2016 election cycle showed us how digital methods like image manipulation, social network analysis and data mining can change our perceptions of the world around us. This presentation will take these digital methods and demonstrate how applications to the arts & humanities can help us craft new research questions and answer those questions. We will discuss how to (or not to) apply mapping, data mining, network analysis, data visualization, 3D rendering, computationally aided vision and other digital methods to a variety of disciplines. We’ll also provide a clear list of IU resources that can support these efforts. Finally, we’ll engage in a practical white-board-based activity that doesn’t require digital tools to demonstrate how analog methods can enhance understanding of some of these digital-methods applications in a variety of environments (including the classroom). This presentation kicks off a series of workshops offered by the Institute for Digital Arts and Humanities called Choosing a Digital Method.

92. Using Text Mining to Expose Spies and Detectives in a Digital-History Exploration of the Spanish-... (47:03)

Date:
2016-10-05
Main contributors:
Craig, Kalani, Diaz, Arlene
Summary:
In 1897-1898 secret agents from the Pinkerton National Detective Agency were following American war correspondents in Havana, Cuba. These agents were all Americans yet they all seemingly had a common employer: the Spanish diplomatic minister in the United States. The mission of the operatives that were sent to Cuba was to inform, as well as to sabotage, the journalist work of these correspondents who kept feeding the animosity of American public opinion against Spain. They also sought to identify other spies who were helping the Cubans as well as the Americans. In this mÌ©lange of (private) espionage and (public) published stories, who were the ‰Û÷real' spies and for whom did they really work for? According to the detective reports, what was going on and what stories were being told about the war in Cuba by these American journalists? This brown bag presentation will discuss what we have learned so far from this research as well as how the tools provided by digital humanities were used to uncover spies, the crafting of narratives, and the relationships among them through time.

93. Making History in the Midwest: A Tale of Two History Harvests (43:58)

Date:
2020-01-29
Main contributors:
Craig, Kalani, Moyd, Michelle
Summary:
This brown bag documents the early stages of a community-engagement project with digital foundations. Our “History Harvest” is an ongoing invitation to community members to help shape an archive about identity and material culture at IUB. We’ll talk about the teaching, research, and ethical considerations that framed partnerships between IUB community members, two research centers, the libraries, and an undergraduate and graduate course and walk through some practical responses to those considerations that will shape the History Harvest as it moves forward.

95. Best Practices for TEI in Libraries (58:26)

Date:
2010-10-20
Main contributors:
Dalmau, Michelle
Summary:
The Text Encoding Initiative Guidelines for Electronic Text Encoding and Interchange (TEI), first published in 1994, quickly became the standard for encoding literary texts. The TEI was widely adopted by libraries for its promise of discoverability, interoperability, and preservation of electronic texts, but the TEI's monolithic nature inspired the codification of library-specific practice. Since 1999, libraries have relied on the Best Practices for TEI in Libraries (http://purl.oclc.org/NET/teiinlibraries) to guide their work with encoded texts. In April 2008, the TEI in Libraries special interest group (SIG) and the DLF-sponsored TEI Task Force partnered to update the Best Practices. The revision was prompted by the release of P5, the newest version of the TEI, and the desire to create a true library-centric customization. The revised Best Practices contain updated versions of the widely adopted encoding 'levels' - from fully automated conversion to content analysis and scholarly encoding. They also contain a substantially revised section on the TEI Header, designed to support interoperability between text collections and the use of complementary metadata schemas such as MARC and MODS. The new Best Practices also reflect an organizational shift. Originally authored by the DLF-sponsored TEI Task Force, the current revision work is a partnership between members of the Task Force and the TEI Libraries SIG, with the SIG taking the lead. As a result of this partnership, responsibility for the Best Practices will migrate to the SIG, allowing closer work with the TEI Consortium as a whole, and a stronger basis for advocating for the needs of libraries in future TEI releases. If you work with encoded texts or simply want to learn more, please join me for the Best Practices for TEI in Libraries brown bag session. I will discuss the: motivations governing encoding in the context of libraries; historical context for the development of the Best Practices; and TEI Header and encoding levels recommendations.

96. Collections as Data at Indiana University and Beyond (54:04)

Date:
2019-01-16
Main contributors:
Dalmau, Michelle
Summary:
In response to federally-funded “Always Already Computational: Collections as Data” movement (https://collectionsasdata.github.io), the Indiana University Libraries are both exploring ways to provide access to our own digitized special collections for teaching and research and helping others discover non-IU collections for the same purposes. Those teaching or conducting research or creative pursuits in the arts and humanities have much to gain from interacting with digital collections as data. This brownbag will constructively a) critique ways in which cultural heritage organizations historically have made digital content available for sharing that are not quite conducive for re-use/re-mixing by scholars and students, b) explore how collections, including Indiana University collections, are currently made discoverable and portable, and c) identify the myriad of ways we can improve full access to these collections to advance cultural scholarship. Part of this brown bag will include hearing from you – how you currently use or would like to use existing digital collections in your teaching and research and your ideas about how we can facilitate those use cases.

97. Do You TEI? Survey Findings of Text Encoding Practices in Libraries (57:07)

Date:
2013-11-20
Main contributors:
Dalmau, Michelle
Summary:
Historically, libraries‰ÛÓ especially academic libraries‰ÛÓhave contributed to the development of the TEI Guidelines, largely in response to mandates to provide access to and preserve electronic texts. The institutions leveraged standards such as the TEI Guidelines and traditional library expertise‰ÛÓauthority control, subject analysis, and bibliographic description‰ÛÓto positively impact publishing and academic research. But the advent of mass digitization efforts involving scanning of pages called into question such a role for libraries in text encoding. Still, with the rise of library involvement in digital humanities initiatives and renewed interest in supporting text analysis, it is unclear how these events relates to the evolution of text encoding projects in libraries. This paper presents the results of a survey of library employees to learn more about text encoding practices and to gauge current attitudes toward text encoding. The survey asked such questions as: As library services evolve to promote varied modes of scholarly communications and accompanying services, and digital library initiatives become more widespread and increasingly decentralized, how is text encoding situated in these new or expanding areas? Do we see trends in uptake or downsizing of text encoding initiatives in smaller or larger academic institutions? How does administrative support or lack thereof impact the level of interest and engagement in TEI-based projects across the library as whole? What is the nature of library-led or -partnered electronic text projects, and is there an increase or decrease in local mass digitization or scholarly encoding initiatives? Preliminary analysis shows, despite assumptions of decline, that over 80% of eligible respondents are actively engaged in text encoding projects, and many others are planning to embark on a new project. The presentation will unveil a full analysis.

98. Next Generation Sheet Music Consortium (54:15)

Date:
2011-11-30
Main contributors:
Dalmau, Michelle
Summary:
The Sheet Music Consortium (SMC) was founded in 2001 as a partnership between major universities and cultural heritage institutions, including Indiana University and University of California, Los Angeles, with significant sheet music collections. The initial aim of the Consortium was to demonstrate the application of the OAI-PMH protocol to a specialized set of digital collections, and, more specifically, to build a sheet music service that would provide unified access to those collections. In 2007, in an effort to revitalize the project, the SMC was awarded an IMLS Planning Grant which helped the lead project members, IU and UCLA, identify ways to increase participation by data providers from small and large institutions with little or lots of technical expertise. The planning grant also helped us identify ways in which to improve the end-user interface for the SMC Portal. In 2009, UCLA and IU were awarded a two-year IMLS National Leadership Grant, which has allowed us to actualize the improvements identified as part of the planning grant. Now that we are well into year 2 of the grant, this brown bag presentation will focus on the various improvements we have made from both the data provider and end-user service perspectives in hopes that we have established a stronger foundation upon which we can continue to share resources, and, in turn, foster and grow the larger sheet music community.

99. Stories from the Digital Humanities & Libraries THATCamp (57:43)

Date:
2013-01-23
Main contributors:
Dalmau, Michelle
Summary:
On November 2, 2012, colleagues from Indiana University, New York University, Temple University, Ohio State University, University of Houston, the Digital Library Federation, and THATCamp hosted a Digital Humanities & Libraries THATCamp as a pre-conference to the Digital Library Federation Forum held in Denver, Colorado with just over seventy participants. The organizers were largely inspired by the fact that academic libraries- their staff, content, and services- have a long history of supporting digital humanities (DH) initiatives. Often these initiatives are concerned with digital representation of content, discovery, preservation, and analysis activities that are essential to a library's mission. We felt that the DH and Libraries THATCamp would provide a venue to further explore on-going conversations about strategic partnerships and services libraries are uniquely situated to offer to the digital humanities arena, moving away from a support model to a truly collaborative framework in which librarians foster and contribute to DH as experts and scholars in their own right. The outcome of these vibrant discussions resulted in what we, as organizers, hope would equip us with ways through anecdotes, new collaborations and partnerships, and shining examples to better define and promote our unique roles as information professionals. We are particularly interested in: re-visiting or establishing relevant services to foster digital research; securing administrative and organizational support; and shaping outreach endeavors in ways that will grow the community of scholars, students and library professionals in sustainable ways. As an organizer and attendee, I will share several themes and issues that emerged from the THATCamp sessions themes and issues that we face here at the IUB Libraries as we undergo strategic planning and promoting new services like the Scholars' Commons. I am looking forward to spending a chunk of time exploring and discussing the issues before us so please stop by or tune in ready to chat or tweet.

100. Cultivating the Victorian Women Writers Project While Developing Digital Humanities Expertise (49:00)

Date:
2012-03-07
Main contributors:
Dalmau, Michelle, Courtney, Angela
Summary:
The Victorian Women Writers Project began in 1995 at Indiana University under the editorial leadership of Perry Willett and was celebrated early on for exposing lesser-known British women writers of the 19th century. The VWWP's original focus on poetry was meant to complement The English Poetry Full-Text Database, but soon Willett acknowledged the variety of genres in which women of that period were writing novels, children's books, political pamphlets, religious tracts. The collection expanded to include genres beyond poetry, and continued active development from 1995 until roughly 2000 at which point the corpus reached approximately two hundred texts. These nearly two hundred texts comprise only a small fraction of Victorian women's writing. Encouraged by renewed interest among Indiana University's English faculty and graduate students, the Indiana University Libraries and the English Department are exploring ways to reinvigorate the project, and in turn, cultivate a sensibility in digital humanities methodologies and theories. Through our newly offered graduate English course (L501, Digital Humanities Practicum), an eager and curious group of students learned not only encoding skills but also began to develop the collaborative practices pervasive in the digital humanities. As part of our talk, we plan to explore whether cultivating markup skills are sufficient enough in establishing a digital humanities curriculum (Rockwell) and whether majoring in English today means the curriculum should include awareness of the possibilities that arise for new scholarship when technology is applied to literary studies (Lanham). Certainly Indiana University is not breaking new ground or alone in this endeavor, but the literature is scarce is terms of understanding successes of graduate level digital humanities curricula situated in an English or any other humanities department. As Diane Zorich reports in her recent review of digital humanities centers, "A Survey of Digital Humanities Centers in the United States," archives such as the Willa Cather and Walt Whitman Archives are precisely leveraged for teaching and learning, and this reporting is promising for the Victorian Women Writers Project as a project reconceived to meet both teaching and research needs in a classroom setting (19). As a result of the Digital Humanities Practicum, VWWP has catalpulted from a standard, mid-level encoding to a scholarly encoding project. Our talk will briefly introduce the Victorian Women Writers Project, explore curriculum-building strategies; and propose ways in which faculty and students can reliably and perpetually contribute to the VWWP.