Next semester I’m reviving (with my colleague Barry Salmon) the “Sound & Space” class we first taught in 2005, and last taught in 2008. And I’m teaching a new graduate studio course on “Digital Archives & Institutional Memory,” which is conceived as a hands-on “Part 2” to the “Archives, Libraries & Databases” seminar I’ve been teaching for the past few years.
My students aren’t Library/Information Science students; they’re media studies students (there are also, often, a few Design & Technology and Writing students in the mix, too). In short, we’re not experts in cataloguing or archival processing or Dublin Core or Encoded Archival Description or anything like that. But I think people like us, who think about media — about how form and content inform one another, about how users interact with media, about meaningful links and interfaces and non-gratuitous interactivity — just might have something useful to say about archival techniques and technologies. That said, I’m still planning to call in quite a few experts to fill in for my many — and sizable — knowledge and skill deficiencies. And I’m also looking for a crackerjack TA.
I’ll post the draft syllabus below, and I welcome any and all recommendations — regarding readings, activities, overall course structure, potential guest presenters (maybe even you?!) — from colleagues, students, whomever.
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COURSE DESCRIPTION
Building on the critical historical, theoretical, and technical foundation weâve built in the fall âArchives, Libraries & Databasesâ seminar, in this spring studio weâll put our theory into practice by working with The New Schoolâs Libraries and Archives to consider how the digital archives do, and perhaps could better, reflect and construct the institutionâs memory and identity. Weâll look behind the scenes at how the Archives processes its collections, and how metadata and finding aids are created. Then, using the unique perspectives and tools of Media Studies â a field thatâs far too infrequently in conversation with Library and Information Science, despite their many shared interests â weâll examine how we might work with the Archives to make these archival conventions more dynamic and responsive. Weâll reimagine the âinterfaceâ to the archives by prototyping dynamic finding aids and platforms for highlighting and recontextualizing noteworthy archival material â particularly material regarding the history of media study and media-making at The New School (a history that includes one the first academic classes in film studies, a long tradition in sound studies, the innovative Center for Understanding Media, etc.). And in the process weâll also aim to help the Archives better understand how diverse user groups might engage with its collections and further animate the archives.
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ASSIGNMENTS
ATTENDANCE AND PARTICIPATION: We need everyone to show up regularly, on time, and prepared to ensure that we have sufficient time for discussion and hands-on lab work. You will be permitted two excused absences (âexcusedâ means that you must have contacted me prior to class to inform me of your absence) for the semester. Additional excused absences â and any unexcused absences â will negatively affect your grade. More than three absences, excused or unexcused, will result in failure of the course; if you anticipate needing to miss several classes, you are advised to drop the course. A pattern of late arrivals is likewise detrimental.
There are various ways to participate: I hope youâll all contribute regularly to class discussions and take part in our lab workshops, but I also invite you to post relevant resources, project updates, etc., to our class website. Attendance and Participation are worth 20% of your final grade.
ARCHIVAL INTERFACE CRITIQUE: Youâll preset a 10-minute critique in class on April 1 and take notes on the ensuing discussion, and then youâll have one week â until April 8 at 11:59pm â to post a 900- to 1200-word critique (containing at least three screenshots) to our class website. The presentation and post are together worth 30% of your final grade.
Choose an exemplary online archival interface or finding aid, or an online exhibition using archival material, and tell us what we can learn from it â either what to do or what not to do. You might consider:
- the siteâs composition, organization, and aesthetics;
- how it structures the userâs experience and navigation, and how intuitive and âseamlessâ that interaction is;
- furthermore, how desirable would âseamlessâ interaction be in this instance (perhaps it would be helpful and instructive to show some seams?);
- how the site contextualizes the archival material (e.g., does it provide or link to robust metadata, does it âanimateâ the material?);
- how the site âhierarchizesâ the presentation of information (e.g., does it allow users to âdig deeperâ for more data if they want it?);
- the availability of documentation and help for users who want or need it.
Consider the needs of various user groups and user scenarios, and try to put yourself in their positions as you navigate through your site.
FINAL PROJECT PROPOSAL: Iâve mapped out three possible trajectories for your final project; weâll discuss these in class on Week 7. These options were developed in consultation with TNSâs archivists and librarians and several faculty, who proposed that these three âdeliverablesâ would be not only useful and enjoyable (we hope!) for you, but also of value to the Archives, the University, and the School of Media Studies. That said, if you have your own ideas for a culminating project, we can talk.
Before our class on March 18 youâll need to submit via Google Drive a formal 600- to 900-word project proposal (youâll then post your revised proposal to our course blog). This proposal must address:
- which project option youâve chosen, or, if youâve designed your own project, what form itâll take (if the latter, youâll need to speak with me in advance);
- the theme(s), topic(s), program(s), people, etc., you plan to focus on;
- why youâve chosen to highlight these themes, topics, or entities â i.e., what do we gain by calling attention to their presence within the archives?;
- relevant collection(s) in the New School Archives, and any particular materials within those collections, that you plan to consult;
- relevant resources from outside the archive that you might weave into your project â e.g., resources in other archives, published research material, primary research material youâll create yourself (e.g., oral histories, interviews, field recordings, etc., in various formats: photographs, videos, audio recordings, etc.); and
- the platform(s) youâll likely use (e.g., WordPress, Omeka, etc.) to execute your project.
- Your proposal should also include a tentative bibliography of at least five published resources (the majority of which should be scholarly sources or publications from reputable presses/production companies) pertaining to your subject matter, which will help you provide necessary historical, cultural, political, etc., context.
Youâll be expected to deliver a short, informal presentation in class on March 18. Youâll have an opportunity to revise and resubmit the proposal if necessary. Your proposal is worth 10% of your final grade.
FINAL PROJECT: Ideally, one of these three options will appeal to you, but youâre welcome to discuss other possibilities with me. Youâre also encouraged to team up and develop expanded group projects (in which case Iâd ask you to complete a group evaluation at the end of the semester). Your final project is worth 40% of your final grade.
Option 1: Mapping the History of Media Studies @ TNS and Building an Online Exhibition
- Media study and media-making have a rich history at The New School â yet as historian Julia Foulkes, whose own students have contributed to the creation of the New School History website points out, our media history hasnât been a major part of our dominant institutional narratives.
The Archives have recently acquired a number of records documenting that history, and several faculty who played key foundational roles in media-focused programs are still present at The New School. Your goal is to take advantage of these primary resources in order to put our media history into proper context, and to present this history in a dynamic way. Your work might involve the digitization of recently acquired archival materials; conducting interviews with and collecting oral histories from âlegacyâ faculty, students, and administrators; highlighting past and present student and faculty research and creative productions, etc.
- Then, ideally, after having developed a platform to contextualize this archival material, youâll be able to reflect on your research and design processes and translate your insights into âfinding-aid logic.â What have you learned through your own archival research-and-design process that might shed light on how we might design more effective and responsive finding aids?
Option 2: Building a Custom-Themed Online Exhibition Using Archival Material
- Through your own encounters with The New Schoolâs archive, you might have uncovered and traced various thematic or topical threads through the institutionâs history. Ideally, for the purposes of this class, those themes and topics would be in some way related to media/information/cultural studies. You could devise an online exhibition that allows others â a variety of potential user groups â to follow your lead in tracing those threads through the archive and The New Schoolâs various other âdigital assets.â
- Then, ideally, after having developed a platform to contextualize this archival material, youâll be able to reflect on your research and design processes and translate your insights into âfinding-aid logic.â What have you learned through your own archival research-and-design process that might shed light on how we might design more effective and responsive finding aids?
Option 3: Mapping the Evolution of TNSâs Institutional Structure and âBrandâ
- If youâve been at The New School for any length of time, youâve undoubtedly witnessed the renaming and merging of divisions, the splitting of departments, the emergence of new programs, etc. This evolving institutional structure complicates the archival process. Sometimes name changes reflect a fundamental shift in the nature or composition of an entity â but sometimes they simply reflect a cosmetic ârebranding.â Michelle Light asks, âWhen does one corporate body become another, or, stated another way, how much change has to occur before we understand that a corporate body is substantially different than a previous one?â The New Schoolâs archivists have been maintaining a timeline of these name changes, and theyâd like your help in fleshing it out â and understanding what this institutional evolution means for their work in the archives. The specific format of your project can be determined in consultation with the archivists.
- Skim Patricia Harpring, âRelationships in Controlled Vocabulariesâ In Introduction to Controlled Vocabularies: Terminology for Art, Architecture, and Other Cultural Works, online ed. (Los Angeles, Getty Research Institute, 2010): see in particular 3.1.1.2 âHistorical Name Changesâ
- Skim Michelle Light, âMoving Beyond the Name: Defining Corporate Entities to Support Provenance-Based Accessâ Journal of Archival Organization 5:1/2 (2007): 49-74.
ARCHIVES & INSTITUTIONAL MEMORY
WEEK 1: January 28
Introductions & Overview
Getting Acquainted with TNSâs Archives
Engaging Administrivia (Or, Having Fun with Bureaucracies’ Detritus)
- Shannon Mattern, âBureaucracyâs Playthingsâ Reanimation Library: Word Processor (October 28, 2013).
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WEEK 2: February 4
Institutional Memory & Mnemonic Structures
Archives & the Discipline of Organizing
- James. P. Walsh & Geraldo Rivera Ungson, âOrganizational Memory,â The Academy of Management Review 16:1 (1991): 57-70. [stop @ âThe Role and Utility of Organizational Memoryâ on p. 70 â or, if youâre interested in the role of organizational memory in management, skim through the end]
- Brien Brothman, âThe Past the Archives Keep: Memory, History and the Preservation of Archival Records,â Archivaria 51 (Spring 2001): 48-52, 58-63, 71-80 [skim âRecord Life Cycle and Records Continuum,â pp. 52-58; âPhilosophy, TechnologyâŚâ and âScience and the PlasticâŚ,â pp. 63-71].
- Michael J. Paulus, Jr., âReconceptualizing Academic Libraries and Archives in the Digital Age,â portal: Libraries and the Academy 11:4 (2011): 939-952.
- Robert J. Glushko, âFoundations for Organizing Systemsâ In The Discipline of Organizing (Cambridge, MA: MIT Press 2013): 1-36.
- Skim quickly through the New School Archives & Special Collectionsâ âArchives of Individuals + Organizations,â âUniversity History Collectionsâ + âDigital Collectionsâ (see in particular the course catalogues and scrapbooks). Weâll talk more about these next week and again, in more depth, in a few weeks.
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WEEK 3: February 11
Meet in Kellen Archives @ SW corner of Lobby in 66 5th Ave.Â
Our Own Archives & Institutional Memory[1]
Guests: Wendy Scheir & Liza Harrell-Edge
- A Proposal for an Independent School of Social Science for Men and Women (New York: Marchbanks Press, 1918) [13 pp.].
- Excerpt from Sally Bick, âIn the Tradition of Dissent: Music at The New School for Social Research,â Journal of the American Musicological Society 66:1 (Spring 2013): 129 â 141.
- Excerpt from Ira Katznelson, âLiberty and Fear: Reflections on the New Schoolâs Founding Moments (1919 and 1933),â Columbia University, October 31, 2008, pp. 11-19.
- Browse through http://thenewschoolhistory.org/, the product of Julia Foulkes and Mark Larrimoreâs âWho New? A History of The New Schoolâ University Lecture class.
- Sample Archival Materials
- The New School for Social Research, âAnnouncement of Courses of Study, October 1919 â May 1920â
- The New School for Social Research, âGraduate Faculty of Political and Social Scienceâ (1933-1934)
- The New School, âCourses of Study, 1943-44â
- Skim Alvin Johnson, âIdeas Are High Explosivesâ
- New School Bulletin 20:3 (Fall 1962-63)
- New School Bulletin 33:1 (Fall 1975) [see p. 113 re: Center for Understanding Media].
- Siegel + Gale, âThe New Schoolâ branding campaign [Have you noticed other âbrandingâ or âgraphic identityâ shifts as youâve skimmed through the archived course guides and scrapbooks?]
- Skim Parts and Labor & Vera List Center, By Any Name: A Tiny Archive of Critical Viewpoints on The New School (Vera List Center, 2009).
- The New Schoolâs 2013 Mission Statement
History of Media Studies @ TNS
Guests: Carol Wilder and Peter Haratonik
- Sample Media Studies Archival Materials
Supplemental:
- Herbert Croly, âA School of Social Research,â The New Republic (June 8, 1918): 167-171 [Envisioning an infrastructurally-light, faculty driven institution committed to âsocial science [tha]
is useful in supplying a technique of social progress.â] - âA Statement by Charles A. Beard,â The New Republic (December 29, 1917): 249-251 [Katznelson mentions the âColumbia University firings⌠and resignationsâ; this piece reveals the boring institutional politics behind the âacademic freedomâ origin myth!]
- Ann Snitow, âRefugees from Utopia: Remembering, Forgetting and the Making of The Feminist Memoir Projectâ In Yifat Gutman, Adam D. Brown & Amy Sodaro, Memory and the Future: Transnational Politics, Ethics and Society (New York: Palgrave, 2010): 144-148 [On women central to The New Schoolâs early years].
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ARCHIVAL FOUNDATIONS
WEEK 4: February 18
Understanding the Finding Aid
Guest: Thomas Lannon, Assistant Curator, Manuscripts and Archives, NYPL
LAB: Creating a Hypothetical Finding Aid for an Imaginary Collection
About the Readings: Yeah, it’s a long list — but you’re reading only excerpts from most of these texts, and most are filled with illustrations.Â
- Excerpt from Francis X. Blouin, Jr., & William G. Rosenberg, âThe Turn Away from Historical Authority in the Archivesâ In Processing the Past: Contesting Authorities in History and the Archives (New York: Oxford University Press, 2011): 14-22. [Thomas has asked that you read this in order to gain some perspective on the evolution of the archivesâ institutional identity and approach to records management. Read from âThe Advance of Records Managementâ through the end, pp. 14-22.
- Browse through some of the Library of Congressâs finding aids and some of the collection guides in TNSâs institutional collections
- Browse through Princetonâs finding aids (which recently won the Society of American Archivistsâ C.F.W. Coker Award), and see their âUsing Princeton University Library Finding Aidsâ video
- Browse through the NYPLâs archives and manuscripts catalog
- Excerpts from Ciaran B. Trace & Andrew Dillon, âThe Evolution of the Finding Aid in the United States: From Physical to Digital Document Genre,â Archival Science 12:4 (December 2012): 1-19 [Focus on âHistory of the American Finding Aid,â pp. 4-7, and âThe Finding Aid as an Exemplary Genreâ & âFinding Aids as Digital Representations,â pp. 12-16. The first passage addresses the pre-1970s history of the finding aid (the Daines & Nimer reading will address its more recent history). Thereâs quite a bit of specialized language in this section. Donât get bogged down in the technicalities; instead, look for major shifts in archival âinventoryingâ practices and their ideological and user-experience implications. The second passage examines the finding aid as a âgenreâ â one whose schema we might reconceive for the digital age.]
- Excerpts from Magia Ghetu Krause & Elizabeth Yakel, âInteraction in Virtual Archives: The Polar Bear Expedition Digital Collections Next Generation Finding Aid,â The American Archivist 70:2 (Fall-Winter 2007): 282-314 [Skip âFindings,â pp. 296-305].
- J. Gordon Daines III & Cory L. Nimer, âRe-Imagining Archival Display: Creating User-Friendly Finding Aidsâ Journal of Archival Organization 9:1 (2011): 4-31.
- Trevor Owens, âImplications for Digital Collections Given Historiansâ Research Practicesâ Trevor Owens [blog pos]
(December 13, 2012) [See the comments, too!].
Supplemental:
- Jefferson Bailey, âDisrespect des Fonds: Rethinking Arrangement and Description in Born-Digital Archivesâ Archive Journal 3 (Summer 2013).
- Richard Cox, âRevisiting the Archival Finding Aidâ Journal of Archival Organization 5:4 (2007): 5-32.
- Cory Harper, âLinked Open Communism: Better Discovery Through Data Dis- and Re-Aggregationâ Presentation at Code4Lib Conference, Chicago, February 2013.
- Michelle Light & Tom Hyry, âColophons and Annotations: New Directions for the Finding Aidâ The American Archivist 65:2 (Fall-Winter 2002): 216-230.
- Mary Samouelian, âEmbracing Web 2.0:Â Archives and the Newest Generation of Web Applications,â The American Archivist 72:1 (Spring-Summer 2009): 42-71.
- Elizabeth Yakel, Seth Shaw & Polly Reynolds, âCreating the Next Generation of Archival Finding Aids,â D-Lib 13:5/6 (May/June 2007).
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WEEK 5: February 25
Understanding Metadata & Encoded Archival Description
Guest: Archivist Jenny Swadosh
- Jenn Riley & Devin Becker, âSeeing Standards: A Visualization of the Metadata Universeâ [data visualization] (2009-10).
- Steven J. Miller, âIntroduction to Data for Digital Collectionsâ in Metadata for Digital Collections (Neal-Schuman, 2011): 1-23.
Supplemental [Warning!: this might make your head explode!]:
- Dublin Core, âUser Guideâ + âCreating Metadataâ
- Library of Congress, âEncoded Archival Descriptionâ: âAbout EADâ + âDesign Principlesâ
- Library of Congress & Visual Resources Association, âVRA Core 4.10 Introductionâ
- Public Broadcasting Meta Dictionary Project, âPB Core: Aboutâ
- SNAC: The Social Networks and Archival Context Project
- Timothy W. Elfenbein, Metadata Pragmatics: Toward a Unified Semiotic Framework. Masterâs Thesis, University of North Carolina at Chapel Hill, April 2013.
- Jason Thomale, âInterpreting MARC: Whereâs the Bibliographic Data?âcode4lib 11 (2010).
Collective Access
Guests: Seth Kaufman, Lead Developer; & Julia Weist, Senior Consultant, from Collective Access
- âAbout,â âFeatures,â âWhoâs Using It,â âProject Galleryâ
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WEEK 6: March 4
Envisioning an Archival Commons, a Living/Animated Archive
Guest: Ben Vershbow, Manager, NYPL Labs
- Scott R. Anderson & Robert B. Allen, âEnvisioning the Archival Commons,â The American Archivist 72:2 (Fall/Winter 2009): 383-400Â [Some of this will repeat ideas presented in our readings on finding aids. Consider this a refresher â and a proposal, with concrete tactics, to link separate archives into digital collections.]
- Linked Collections: Digital Public Library of America + Online Archive of California + Europeana
- Jeffrey Schnapp, âAnimating the Archive,â First Monday 13:8 (August 2008).
- Jefferson Bailey, âDisrespect des Fonds: Rethinking Arrangement and Description in Born-Digital Archivesâ Archive Journal 3 (Summer 2013) [âFonds Essentialismâ through the end].
- Tate Britain, Transforming Tate Britain: Archives & Access
- Scan through the program for the 2009 âAnimating the Archivesâ conference at Brown University. Now, watch Ramesh Srinivasanâs talk on âDe-stabilizing Archives through Performance, Incommensurability, and Fluid Ontologiesâ by searching iTunes for âAnimating the Archives,â selecting the âAnimating Archival Structures: Part 1 of 2â video, and watching through 46:20. Youâre encouraged to watch any additional sessions or talks that are of personal interest.
- Explore the work of NYPL Labs
Supplemental:
- Timothy A. Thompson, James Little, David GonzĂĄlez, Andrew Darby, and Matt Carruthers, âFrom Finding Aids to Wiki Pages: Remixing Archival Metadata with RAMPâ code4lib 22 (October 14, 2013).
- Alexandra Eveleigh, âWelcoming the World: An Exploration of Participatory Archivesâ International Council on Archives, Brisbane, Australia, August 2012.
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APPLICATIONS
WEEK 7: March 11
Revisiting the New School Archive & Considering Final Project Options
- Look more closely at the New School Archives & Special Collectionsâ âArchives of Individuals + Organizations,â âUniversity History Collectionsâ + âDigital Collectionsâ
- Review your three assignment options, described in the âAssignmentsâ section of the syllabus, above; and begin formulating ideas for your own final project; youâll be submitting a proposal next week.
- Shannon Mattern, “Interface Critique, Revisited: Thinking About Archival Interfaces” Words in Space [blog pos]
(January 22, 2014)Â [This piece, which you might regard as an extension of our readings on archival finding aids, will ideally help you to think of your final project as an âinterfaceâ to the archive, and will help to prepare you for your interface critique on April 1.]
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WEEK 8: March 18
Final Project Proposals Due: Short (Seriously!) Presentations of Proposals In Class
Platforms
LAB: Platforms Overview & Group Critiques
- As TNSâs archives aim to open up their collections to other classes, and as their further digitization efforts make possible the creation of âmultimodalâ scholarly projects by more and more scholars, practitioners, and students, both internal and external, the library and archives staff hopes to identify scalable, sustainable, compatible platforms for these online scholarly activities. As Jennifer Vinopal, NYUâs Librarian for Digital Scholarship Initiatives, said in a recent interview with Library Journal, âFor a number of years, we were trying to help scholars build websites in a way that was custom built for their needs, and after doing that for years, we realized that if youâre building one-off websites, thereâs no way to make them scalable and sustainable. So we learned from that that we have to be clearer about what we can do and the importance of building reusable infrastructures.â We need to help the NS Archives and Special Collections identify platforms that allow for the dynamic presentation and contextualization of archival materials and are also sustainable and compatible with the archivesâ existing infrastructure.
Possible platforms to consider include: Omeka; WordPress; Scalar; Racontr; Zeega; Microsoftâs Rich Interactive Narratives + Digital Narratives. Please come to class with other platform recommendations. You might try searching for online archival exhibitions â e.g., the National Archivesâ, Columbia University Librariesâ, Harvard Librariesâ, MoMAâs â and identify what platforms they use. In our next class weâll critique the execution of individual online finding aids and exhibitions.
Supplemental:
- Abby Smith, âNew-Model Scholarship: How Will It Survive?â (Washington, D.C.: Council on Library and Information Resources, 2003).
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March 25: No Class: SPRING BREAK
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WEEK 9: April 1
ARCHIVAL INTERFACE CRITIQUES: Student Presentations
- Browse through the wiki for the âCURATEcamp Exhibition: Exhibition in and of the Digital Ageâ unconference (April 2013). Youâll find links to GoogleDoc notes for some sessions within the schedule grid.
- Read Jennifer Mundy & Jane Burton, âOnline Exhibitions,â MW2013: Museums and the Web 2013 Conference, Portland, OR, April 2013.
- Review some sample interface critiques: Joey Marburger and Sarah Sampel, âA Design Critique of HealthCare.Govâ Washington Post (October 6, 2013) + Alexis Madrigal, âHow Facebook Designs the âPerfect Empty Vesselâ for Your Mindâ The Atlantic (May 2, 2013).
- Choose an exemplary online archival interface or finding aid, or an online exhibition using archival material, and tell us what we can learn from it â either what to do or what not to do. Youâll find more detailed instructions in the âAssignmentsâ section of the syllabus, above.
Youâll preset your 10-minute critique in class on April 1 and take notes on the ensuing discussion, and then youâll have one week â until April 8 at 11:59pm â to post a roughly 900-word critique (containing at least three screenshots) to our class website.
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WEEK 10: April 8
Field Trip: 4:00-5:30: Visit to ArtStor, 150 5th Ave., 5th Floor, with Mary Finer and Siân Evans
LAB: Tutorials as needed
Shannon out of town — in Charm City, yo.
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WEEK 11: APRIL 15
User Experience in the Archive / Public Engagement with the Archive
Guest: Jane Pirone, Faculty, Design & Technology
LAB: Designing a Usability Test for Collective Access
- Kellie Snow et. al., âConsidering the User Perspective: Research into Usage and Communication of Digital Information,â D-Lib 14:5/6 (May/June 2008).
- Shaun Ellis & Maureen Callahan, âPrototyping as a Process for Improved User Experience with Library and Archives Websitesâ code4lib 18 (2012).
- Michael Corbett, âUsability Testing in Libraries: A Student Perspectiveâ SLA New England (September 27, 2012).
- Browse Lukas Mathisâs âIgnore the Codeâ blog; see in particular âYou really, really need to do usability testsâ (June 22, 2008).
- Laura Browder & Patricia Herrera, âAn Archive, Public Participation, and a Performanceâ Imagining America 1:1/2 (2012).
Supplemental:
- Christine L. Borgman, âWhy Are Digital Libraries Hard to Useâ & âMaking Digital Libraries Easier to Useâ In From Gutenberg to the Global Information Infrastructure: Access to Information in the Networked World (Cambridge, MA: MIT Press, 2000): 117-168.
TO DO: Conduct Usability Testing on Your Own Project
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WEEK 12: April 22
LAB: Pecha Kucha
Guest Critics: Orit Halpern, Peter Asaro & Alex Kelly
- Learn about PechaKuchas here. See also Olivia Mitchellâs âFive Presentation Tips for a Pecha Kucha or Ignite Presentationâ Speaking About Presenting [blog pos]
, and check out some videos of Ignite presentations. PechaKucha presentations typically involve presentations consisting of 20 slides, with 20 seconds dedicated to each. Depending on our class enrollment, we may need to cut the number of slides.
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WEEK 13: April 29
LAB: Independent Work & Consultations
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WEEK 14: May 6
LAB: Independent Work & Consultations
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WEEK 15: May 13
Final Presentations
Guest Critics: Wendy Scheir, Liza Harrell Edge &Â Others To Be Confirmed
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[1] I must thank the brilliant and generous Julia Foulkes for her advice regarding appropriate readings for this section.