Vintage Fascination: Implementation

As part of the repository assignment, I wrote about my process in implementing the digital collection. This is the write-up:


Introduction

The collection I created is of my family’s vintage cameras. I had my family help me with the project by taking photos and answering questions about the cameras, since they are all in North Carolina. Although there are only four camera entries completely finished in the digital collection as of 3 May 2016, each entry has a camera and some of them also have other items like cases, manuals, etc. [UPDATE 16/5/16: All entries on repository are now completed] Each completed entry also has photos my brother took for the project. There are five camera entries that have been completed through the sub-series hierarchy and will be completed fully in the course of the next week.

User Experience

At the beginning of the project, I intended to use Omeka (Omeka, 2015), but found it to be too limiting. Although Omeka is very basic, I was frustrated at how basic it was because I wanted to add more detail to the metadata and I was not pleased with the layout of the collection interface. After some research, I found Access to Memory (AtoM) and decided to use that instead. Since I have a personal website, I was able to install AtoM on my website and use it for the project. There was a larger learning curve because of the different platform, but once I figured out how to do everything I needed to do for the project, adding entries went a lot quicker. (Access to Memory, 2016)

Organizational Schema

At first, it is somewhat difficult to see the organization scheme within the website, but there is a definite set to the hierarchy. While deciding the best practice to organize the collection within the AtoM hierarchy of Fond > Series > Sub-Series > File > Item, I settled on the following diagram:

Diagram

In order to better organize the identifiers, I have an excel spreadsheet that helps keep track of the hierarchy and which digits have already been used. For example, F01 is Cameras (Fond 01), the Iloca Quick Series is S01IQ (Series 01 Iloca Quick), the Quick-B Camera Model is SS01B (Sub-Series 01 [Quick] B), etc. Through this naming system, I can tell how many camera models are currently in the digital repository (6) and how many images there currently are (60). I can also ensure there are no repeats in the naming system.

Preservation, Metadata Management

Since the website is hosted by my uncle and has very good security, I am limited only by what my uncle and I are able to puzzle through when it comes to site management. As for preservation, I intend to create a backup of the website using a tool such as HTTrack (Roche, 2016) or SiteSucker (Cranisky, 2015). With these tools, I can create a full backup of the collection’s website, although I will need to do more research into the most appropriate option for my website. I will have to take into account the operating system and the reliability of the backups created by the tools.

Challenges

While trying to pick a metadata standard for the project, I originally started with Dublin Core (Dublin Core Metadata Initiative, 2012) while using Omeka. However, I was quickly frustrated by the simplicity of the descriptions. Since I was working with camera models, I wanted to build a better hierarchy within the metadata that would allow all cameras made by Kodak to link to each other and all the Brownie models to link to each other. When I switched to AtoM, it automatically uses ISAD(G) (UKLON, 2002), but I tried displaying MODS (Library of Congress, 2016) metadata standards, but found them to be too limiting as well. In the end, I continued to use ISAD(G) metadata standards because it offered the best options for describing the items in the collection.

Future Plans

I intend to double-check the uniformity of the metadata in the current records and update descriptions of the cameras with more research information. This research will also allow me to expand my subject headings and apply them more uniformly across the files. I also intend to utilize AtoM’s link digital object feature to add the camera manual .pdfs that are frequently available for online and link the Flickr photo albums that contain photos taken with the cameras. When I go back to North Carolina, I will add the remaining cameras in the collection and update the photos to be more uniform. I will not delete the existing photos, since my brother worked very hard to take them for me. Even after the project has been turned in for the Digital Libraries course, I intend to maintain the website and keep it up as part of a portfolio. Once I have completed the camera portion of the repository, I will add more collections to the repository. AtoM supports more than one collection and I have collections of post cards and vintage books. I will need to create policies for the post card and book collections; since they are mine and not my family’s, I am in complete control of acquisition — to a certain extent.

References

Access to Memory. (2015). AtoM: Open Source Archival Description Software. Retrieved from https://www.accesstomemory.org/en/

Cranisky, R. (2015). SiteSucker for OS X. Retrieved from http://ricks-apps.com/osx/sitesucker/index.html

Dublin Core Metadata Initative. (2012). Dublin Core Metadata Element Set. Retrieved from http://dublincore.org/documents/dces/

Library of Congress. (2016). Metadata Object Description Schema. Retrieved from http://www.loc.gov/standards/mods/

Omeka. (2015). Omeka.net. Retrieved from http://omeka.net/

Roche, X. (2016). HTTrack Website Copier. Retrieved from http://www.httrack.com/page/1/en/index.html

UKLON. (2002). ISAD(G). Retrieved from http://www.ukoln.ac.uk/metadata/cld/formats/isadg/

Vintage Fascination: Cameras

Over the course of the past few years, much to my mother’s chagrin, my family has amassed a small collection of vintage cameras from antique shops, gifts from family and friends, and other unknown origins. Included in this collection are a camera that belonged my mom’s grandma, a camera my dad’s dad bought in Germany, and a camera my dad bought when he wanted to be a photographer (it explains why my dad takes over a thousand photos on our family vacations).

When I was tasked with creating a digital collection based on something I collect, I chose the camera collection. I had been curious about the cameras in it and how old they are since my brother and I got the Polaroid Land Camera Automatic 100 and the Kodak Brownie Flash Six-20 running during summer 2015.

The digital collection can be found at this link and I hope to continue adding cameras to it and maybe other collections, since the platform supports multiple collections.

The Stein Salon Library – Presentation

This project was made for a course in the University College Dublin Master’s in Library and Information Systems in collaboration with Robert Alfis, John Kiely, Dermot O’Leary, and Patrick Thompson. The first poster was made for the final project presentation, where it won first place in the class.

The second poster was made for the SLIP Ireland Student Conference 2016, where it won Best Poster Presentation.


 

The Stein Salon Library presentation!

A photo posted by Tiny Sis (@apparentlyapril) on

The Stein Salon Library Board of Trustees

A photo posted by Tiny Sis (@apparentlyapril) on

SLIP Poster

To view full-size, right-click, then click “Open Link in New Tab”

The Stein Salon Library – Reflection

This project was made for a course in the University College Dublin Master’s in Library and Information Systems in collaboration with Robert Alfis, John Kiely, Dermot O’Leary, and Patrick Thompson.


The Stein Salon Library - img Banner 07 Reflections

 

Building the Stein Salon Library’s collection over the course of the semester was a very useful project for me as I look ahead at what I would like to do after graduation. Since I have some experience working in a museum’s education outreach program, I wanted experience with building a collection to add to my experiences that are useful in a museum setting. Through this project, I learned more about developing policies and procedures, especially how difficult it is to build policies and procedures. I used the opportunity to look into the policies and procedures of the Victoria and Albert Museum, which is where I would most like to work as a Librarian. We also benefited from using the Folgers Shakespeare Library as our inspiration because we could peruse their collection policies and those from the V&A to build our collection policies.

As my education professors used to say, “You don’t need to reinvent the wheel, you can adapt it to what you’re making.” Instead of trying to create everything from scratch, we used information available through other organizations and the textbook for the Reference and Information Services course. Although I found creating the policies and procedures to be the hardest part of building the collection, it was also the most educational. Especially since I am part of a capstone project where the work we did for this project will be useful. It was one of the hardest projects I had to do this semester, but that makes me feel even more proud of how much we’ve done for it.

The Stein Salon Library – Collection Development Policy

This project was made for a course in the University College Dublin Master’s in Library and Information Systems in collaboration with Robert Alfis, John Kiely, Dermot O’Leary, and Patrick Thompson.


The Stein Salon Library - img Banner 02 Collection Dev Policy

Purpose
The purpose of The Stein Salon Library (SSL) Collection Development Policy is to guide the selection of library stock by the SSL Acquisitions Committee and to inform the Board of Trustees, the SSL Administration and other interested parties of the principles employed in the selection process.

Background
Located in the heart of downtown Manhattan, New York, the SSL aims to provide services to the community of Art History and English Literature academics and researchers attending the numerous colleges and universities not only in New York City but also in greater Tri-State area. With its close proximity to some of the most internationally acclaimed cultural institutions, the library also caters to the massive influx of art and literature tourists who visit New York each year.

Responsibility
There is a Board of Trustees in place as a checks and balances system for the managers and decision-makers across all levels. However, ultimate responsibility for the maintenance and development of the library collection rests with the Director of the Library who works according to the operational policies laid out by the Board of Trustees.

Mission
The SSL’s primary mission is to provide a wide audience including scholars, academics, and families with access to the works and information on the writers and artists who were brought together in 27 rue de Fleurus, Paris, France, the former home of Gertrude Stein.  The SSL is committed to providing ease of access to this information in order to help facilitate research and study. Our collection includes print, electronic and non-print materials. Books will be available to loan to members with the exception of more expensive or rare books. Rare books will only be available for viewing under special request. Members will pay a small annual fee to join the Friends of the Stein Salon Library (FSSL), with the exception of students and retirees who are granted free membership. Current membership allows access to the library’s online resources.

Budget Allocation & Funding
The overall materials budget for the library is administered by the SSL Administration on the recommendations of the SSL Acquisitions committee. Allocation of the budget for all new materials is decided on a case-by-case basis by the SSL Acquisitions committee. Maintenance and preservation of materials is included in the materials budget year-on-year.
The majority of funds required for materials are received through the generous donations and membership fees of the FSSL and in particular the Stein family. The library also solicits and welcomes donations from a variety of other sources. Cultural grants are applied for on a continual basis and the library has been lucky enough to secure substantial funding in recent years through this process.

Target Audience
While the Stein Salon does not discriminate in terms of access to the collection we are very aware of our user profile. Recent user surveys have revealed that 40% of our audience is made up of both undergraduate and postgraduate students in both Art History and English Literature. A further 20% consists of academic and private researchers, university lecturers and teachers, and curators of other cultural museums and galleries. The final 40% is made up of the general public including international and U.S. tourists.

Services
The library will provide the following user services in line with the aims outlined in the Mission statement –

  • Facilitation of undergraduate, graduate and PhD students and researchers via study rooms and access to the Special Collections.
  • Short tours of the entire collection including the rare books and first editions in the Special Collections library.
  • Expert knowledge and advice relating to the collection from well-versed and educated staff.
  • An annual print and e-journal about the collection featuring new additions, changes to the collection, and articles written by researchers who have accessed our services.
  • A small circulation library giving access to titles from the general loan collection. The loan period will be one week. Late fees incurred will be at a rate of $1 per week. Damaged or lost items must be paid for in full or replaced with a brand new copy of the same title.
  • Membership of FSSL for a small annual fee, which provides access not only to all areas of the actual collection but also to the library’s online resources, including journals and databases.

Evaluation Of Materials
The following criteria shall be considered in evaluating materials for the SSL collection :-

  • Scope & Relevance. All material in the collection has to have been created by one of the artists who attended the Stein Salon (artists being a broad term encompassing both visual artists and authors) or secondary sources related to the work or lives of the artists included in this collection.
  • Quality Of Content. As the majority of material in our collection is of a historical nature, priority will be given to material which is out of print or rare. The content must also be accurate and of sufficient depth to our target audience with uniqueness of the content another dictating factor.
  • Authority of Author and/or Publisher. Priority will be given to the works generally acknowledged as the subject’s most famous, best or most influential. However, the authority of each individual work will still be assessed first by the SSL acquisitions committee. Authors and publishers with an already-established pedigree and reputation will be given preference in deciding which secondary materials to assess first.
  • Accuracy of Content. All material in the collection will be assessed for accuracy by comparison to other available material on the particular subject matter.
  • Historical relevance. If found that a work holds specific relevance to an important historical event or era we deem it to be worthy of inclusion in our collection e.g Dali’s Soft Construction with Boiled Beans: Premonition of Civil War and its relevance to the Spanish civil war.
  • Currency. Even though the collection is largely of a historical nature, attempts will be made to ensure that the subject information of the work is recently verified and up to date.
  • Ease of Use. All materials in the collection, both in print as well as electronic form must be easy to use and accessible to all. The SSL Acquisitions committee is aware of the exclusive reputation that such a collection has but would like to open up the world of Paris in the early 1900s to all.
  • Arrangement of Material. As above, accessibility and ease of use is of paramount importance to encourage further study and research of this era in history. Arrangement of the material must reflect this.
  • Format. The collection will reflect the changing landscape of research in this area with all formats considered for acquisition. Acceptable formats include print, electronic and multimedia (see Format below). Materials in new formats will be collected when feasible.
  • Cost. The cost of an item will always be a factor in evaluation. The price will be weighted against how the work performs when assessed against all the other evaluative criteria as specified in this policy. Only then will a decision on acquisition be made.

Format
The SSL currently stocks materials in the following formats :

  • Books (Print Format)
  • DVD and Blu-Ray
  • Online Electronic Databases & Journals
  • CD-ROM and Multimedia kits

New and alternative formats will be considered under the selection criteria as outlined in Evaluation of Materials.

Special Collections
The collection has a large selection of rare and first edition books by both literary and artistic personalities who frequented the original Stein Salon. These collections are viewable by members of FSSL by monitored appointment only, with no exceptions. Membership can be purchased either online at www.steinsalonlibrary.com or through the main desk. All purchases of rare books will be evaluated according to the library’s selection criteria as outlined in Evaluation of Materials. Donation of rare books will be accepted according to the same.

Copyright
The SSL adheres to all provisions of the U.S. Copyright Law (17 U.S.C.) and actively promotes compliance by all users of the library. However, the Library also supports the Fair Use section of the Copyright Law (17 U.S.C. 107) which permits and protects citizens’ rights to reproduce and make other uses of copyrighted works for the purposes of teaching, scholarship and research.

Collection Maintenance
Library materials are expensive to purchase, process and house. The SSL acknowledges the importance of preservation of all materials held by the Library. The curatorial staff will need to provide information services to the public and to professionals seeking information from the collection. Staff will also need museological training on how to handle the materials with proper care and preservation. Temperature and humidity controls are regulated in accordance with correct preservation standards.

Weeding
So as to maintain a collection of optimal usefulness the SSL staff will continually evaluate all materials in all formats. Those deemed no longer appropriate will be removed and final approval will be at the behest of the Director of the Library. The following criteria will be considered during the weeding process –

  • Materials which contain no longer accurate information.
  • Lack of usage.
  • Worn, badly damaged or marked materials.
  • Materials which are in formats requiring equipment that is obselete – although this material will be kept in storage for its historical value.
  • Replacement by comparable material.

Policy Revision
This policy will be reviewed no less frequently than once every two years by the Director of the Library and the SSL Acquisitions Committee. Any recommendations will then be made to the Board of Trustees.

References & Consulted Texts

Cassell, K.A. and Hiremath, U. (2013). Reference and information services in the 21st     

     century: An introduction. London: FacetPublishing.

Hoffmann, F. W., & Wood, R. J. (2005). Library collection development policies: Academic,

     public, and special libraries. Lanham, MD: Scarecrow Press.

The Stein Salon Library – Reference Tool

This project was made for a course in the University College Dublin Master’s in Library and Information Systems in collaboration with Robert Alfis, John Kiely, Dermot O’Leary, and Patrick Thompson.


 

The Stein Salon Library - img Banner 01 Ref Tool Eval

The Foreign Critical Reputation of F. Scott Fitzgerald, 1980-2000: An Analysis and Annotated Bibliography by Linda C. Stanley
An Evaluation by April Mittelstaedt

DD05B93E-5EA3-4455-A739-94078B24A496

(Amazon.com – The Foreign Critical Reputation of F. Scott Fitzgerald, 1980-2000, n.d.)

Scope
This particular bibliography is the second volume of F. Scott Fitzgerald’s foreign critical reputation and is meant to expand and add to volume one’s bibliographic content by including literature from 1980-2000 and from countries not covered in the first volume. The bibliography aims to highlight the translations of Fitzgerald’s work from countries such as “the former countries of the USSR, Romania, India, and Canada, as well as countries that were covered in the first volume, such as Britain, France, Italy, Germany, and Japan.” (Amazon.com, n.d.)

Quality of Content
Since this is an annotated bibliography with the author’s annotations alongside the collection, it is made more accessible and useable by researchers looking into Fitzgerald. The resources are categorized by their relevance to each other, making it easy for researchers to find information about the reception and reputation of Fitzgerald and his work outside of the United States.

Authority of Publisher
Praeger Publishers Inc is an imprint of ABC-CLIO, LLC, a publisher that “has published award-winning print and digital resources focusing on curriculum, reference, and professional development for teachers and librarians” (ABC-CLIO Greenwood, 2015) since 1955.

Accuracy of Content
Since this is volume two, it is expanding the accuracy of volume one by including information that was not previously available at the time of volume one’s publication. In the preface, Stanley even points out that Japan was included in the original volume, but the material was only available through about 1969 (Stanley, 2004, p.x).

Currency
Volume two is a little out of date now, because it was published in 2004, but it does bring the resources closer to the present by expanding on the resources past 1980.

Ease of Use
The layout of the book makes it very easy to use because it is set up to be uniform throughout the entire book. Once you are accustomed to the format, which is very easy to understand, it would be simple for a researcher to use this as a point-of-reference. The background information on the resources found start of each country’s section and then the bibliography of references is broken down into the different kinds of resources she used in the annotations. If a user is looking for a specific printing of This Side of Paradise that was published in England, they would simply need to go to the British section of the book and then to the “Editions” heading to see how many volumes and reprints of This Side of Paradise there are (Stanley, 2004, p.8).

Arrangement of Material
The material follows a logical pattern, sectioned off by the different countries Stanley is discussing in her book and then within that designation by translations/editions, books, essays/chapters/notes/conference papers, book reviews/news articles/radio programs, dissertations, and teacher/student guides and editions (Stanley, 2004, Table of Contents).

Appropriateness to Audience
This would be a very useful tool for researchers looking into Fitzgerald’s works and are looking for the reception across the world. For example, if I was writing an essay about The Great Gatsby and needed to include its reception and publication history from multiple countries, or even a specific country, this would be a good place to start.

Format
This is a hardcover book that has a very simple cover and no dust jacket. Since the publisher has undergone some changes in its name and who is the highest owner of the publisher, there is more than one edition currently available, but the one available on Amazon is the cheapest.

Cost
Although this book is currently out of print, it is only 9GBP on Amazon.com as of 22 November 2015.

References

  • ABC-CLIO Greenwood (2015). Fall catalog. Retrieved from http://greenwoodfall15.easyviewer.net/
  • Amazon.com – The Foreign Critical Reputation of F. Scott Fitzgerald, 1980-2000 (n.d.). Retrieved from http://www.amazon.co.uk/Foreign-Critical-Reputation-Fitzgerald-1980-2000/dp/0313308853
  • Cassell, K.A. and Hiremath, U. (2013). Reference and information services in the 21st century: An introduction. London: Facet Publishing.
  • Stanley, L. C. (1980). The foreign critical reputation of F. Scott Fitzgerald: An analysis and annotated bibliography (Vol. 1): Praeger Publishers Inc.
  • Stanley, L. C. (2004). The foreign critical reputation of F. Scott Fitzgerald, 1980-2000: An analysis and annotated bibliography (Vol. 2): Praeger Publishers Inc.

The Stein Salon Library – Background Information and Biographies

This project was made for a course in the University College Dublin Master’s in Library and Information Systems in collaboration with Robert Alfis, John Kiely, Dermot O’Leary, and Patrick Thompson.


The Stein Salon Library - img Banner 000 Background & Bios
C324478B-E83A-4DEF-8555-51A5EF0D0424
27 Rue de Fleurus
Entrée into the Stein salon was a sought-after validation, and Stein became combination mentor, critic, and guru to those who gathered around her, including Ernest Hemingway, who described the salon in A Moveable Feast. The principal attraction was the collection of Paul Cézanne oils and watercolors and the early pictures by Henri Matisse and Pablo Picasso which Gertrude and Leo had had the funds and the foresight to buy. The walls of their atelier at 27 rue de Fleurus were hung to the ceiling with now-famous paintings, the double doors of the dining room were lined with Picasso sketches. On a typical Saturday evening one would have found Gertrude Stein at her post in the atelier, garbed in brown corduroy, sitting in a high-backed Renaissance chair, her legs dangling, next to the big cast-iron stove that heated the chilly room. A few feet away, Leo Stein would expound to a group of visitors his views on modern art.
27 Rue de Fleurus. (n.d.). In Wikipedia. Retrieved from https://en.wikipedia.org/wiki/27_rue_de_Fleurus
7E127E8C-B50D-4F6E-97BC-C2F1A055F91E
Gertrude Stein
(1874-1946)
Modernist author Gertrude Stein was born in Allegheny, Pennsylvania, on February 3, 1874. Stein moved to Paris in 1903, embarking on a literary career that produced Tender Buttons and Three Lives, as well as work dealing with homosexual themes. Stein was also a prolific art collector and the host of a salon that included expatriate writers Ernest Hemingway, Sherwood Anderson and Ezra Pound.
Biography.com Editors (2015). Gertrude Stein. Biography.com. Retrieved from http://www.biography.com/people/gertrude-stein-9493261
 
3ADB6305-0D88-4E1E-A069-AC3A50715E36
Salvador Dalí
(1904-1989)
Salvador Dalí was born on May 11, 1904, in Figueres, Spain. From an early age, Dalí was encouraged to practice his art and would eventually go on to study at an academy in Madrid. In the 1920s, he went to Paris and began interacting with artists such as Picasso, Magritte, and Miró, which led to Dalí’s first Surrealist phase. He is perhaps best known for his 1931 painting The Persistence of Memory, showing melting clocks in a landscape setting. The rise of fascist leader Francisco Franco in Spain led to the artist’s expulsion from the Surrealist movement, but that didn’t stop him from painting. Dalí died in Figueres in 1989.
Biography.com Editors (2015). Salvador Dalí. Biography.com. Retrieved from http://www.biography.com/people/salvador-dal-40389
00244CAB-0C9C-4E95-AB62-0844758B719E
Pablo Picasso
(1881-1973)
Born in Málaga, Spain, in 1881, Pablo Picasso, became one of the greatest and most influential artists of the 20th century and the creator (with Georges Braque) of Cubism. A Spanish expatriate painter, sculptor, printmaker, ceramicist and stage designer, Picasso was considered radical in his work. He first came to Paris in 1900 and spent much of his career here painting such seminal works as Les Demoiselles d’Avignon and Guernica. After a long prolific career, he died on April 8, 1973, in Mougins, France. The enormous body of Picasso’s work remains, however, and the legend lives on—a tribute to the vitality of the “disquieting” Spaniard with the “sombrepiercing” eyes who superstitiously believed that work would keep him alive. For nearly 80 of his 91 years, Picasso devoted himself to an artistic production that contributed significantly to—and paralleled the entire development of—modern art in the 20th century.
Biography.com Editors (2015). Pablo Picasso. Biography.com. Retrieved from http://www.biography.com/people/pablo-picasso-9440021
Wikipedia Editors (2015). Pablo Picasso. Wikipedia.com. Retrieved from https://en.wikipedia.org/wiki/Pablo_Picasso
2681611C-CB81-4A8F-B442-A8E64316BCD5
Ernest Hemingway
(1899-1961)
Born on July 21, 1899, in Cicero (now in Oak Park), Illinois, Ernest Hemingway served in World War I and worked in journalism before publishing his story collection In Our Time. He was renowned for novels like The Sun Also RisesA Farewell to ArmsFor Whom the Bell Tolls, and The Old Man and the Sea, which won the 1953 Pulitzer. In 1954, Hemingway won the Nobel Prize. He committed suicide on July 2, 1961, in Ketchum, Idaho.
Biography.com Editors (2015). Ernest Hemingway. Biography.com. Retrieved from http://www.biography.com/people/ernest-hemingway-9334498
9571D8B7-893E-4402-A1E4-BE70F5FFA523
F. Scott Fitzgerald
(1896-1940)
F. Scott Fitzgerald was born on September 24, 1896, in St. Paul, Minnesota. His first novel’s success made him famous and let him marry the woman he loved, but he later descended into drinking and his wife had a mental breakdown. Following the unsuccessful Tender is the Night, Fitzgerald moved to Hollywood and became a scriptwriter. He died of a heart attack in 1940, at age 44, his final novel only half completed.
Biography.com Editors (2015). F. Scott Fitzgerald. Biography.com. Retrieved from http://www.biography.com/people/f-scott-fitzgerald-9296261

The Stein Salon Library – Introduction

This project was made for a course in the University College Dublin Master’s in Library and Information Systems in collaboration with Robert Alfis, John Kiely, Dermot O’Leary, and Patrick Thompson.


 

The Stein Salon Library - img Banner 00 Intro

The Stein Salon Library is a collection that brings together research and reference resources on writers and visual artists who all have one main thing in common – they attended Gertrude Stein’s legendary soirées at 27 rue de Fleurus in Paris, France. Loosely inspired by the Folger Shakespeare Library in Washington DC, the collection aims to aid further research into these intellectual gatherings and the lives and work of the individuals involved. The roll call of attendees reads as a veritable Who’s Who of modernism in the early twentieth century. These include :

  • Pablo Picasso (artist)
  • Ernest Hemingway (writer)
  • F. Scott Fitzgerald (writer)
  • Salvador Dali (artist)
  • Henri Matisse (artist)
  • Francis Picabia (artist)
  • Juan Gris (artist)
  • Ezra Pound (poet)
  • James Joyce (writer)
  • Man Ray (artist)
  • T.S Eliot (writer)
  • Guillaume Apollinaire (poet)
  • Georges Braque (artist)
  • André Derain (artist)
  • Henri Rousseau (artist)
  • Sinclair Lewis (writer)
  • Thornton Wilder (writer)
  • Sherwood Anderson (writer)
  • Francis Cyril Rose (artist)
  • René Crevel (writer)
  • Élisabeth de Gramont (writer)
  • Claribel Cone (art collector)
  • Mildred Aldrich (journalist and writer)
  • Carl Van Vechten (writer and artistic photographer)
  • Max Jacob (poet)
  • Marie Laurencin (artist)
  • Joseph Stella (artist)

This presentation gives only a flavour of the type of material in the collection covering as it does just the first four names on this list as well the hostess herself, Gertrude Stein.

 

References

Wikipedia – 27 rue de Fleurus (n.d.) Retrieved from

http://en.wikipedia.org/wiki/27_rue_de_Fleurus

 

Managing…. Me?

This post originally appeared at Librarian in Progress as part of an assignment for class.


It’s amazing to me how quickly time has flown but at the same time how slowly it’s gone by, if that makes any sense. It seems like we just started this course, but also like it’s been a lot longer than three months since I got here.

As far as writing this blog goes, I’ve had a blog for over three years now, so I’m used to this kind of platform. My writing style and voice haven’t really changed in this because I have an established voice already. If you look back at the beginning of Ever-Present Wanderlust, though, there is a marked difference in my writing. I’ve grown a lot since I first started my blog and, it might be hard for the readers to tell, I’ve grown a lot since I started this writing exercise, too. When I read back over the posts on both blogs, I can more readily remember who I was then and fondly think of how much has changed since then. I’m older, yes, but my heart is a lot stronger and my faith in myself and others is, too.

Doing this management series of posts makes me like the regular update format, so in the upcoming holiday and term, I’m going to try to go for a bi-monthly update. Once a week is a little too much if I feel like nothing of note has happened, but I think twice a month will give me a good stretch of time to talk about. I’d also like to start adding projects I’m particularly proud of to my portfolio, like the ones I did while working at the Molly Brown House Museum and the presentations I made while teaching. Maybe even some projects I’ve worked on while doing my undergrad and my masters. Probably less of the undergrad because I mostly wrote papers, but you get the idea.

Big thanks to Jane Burns for such a fantastic class. (I’m seriously not just saying this, it was my favorite. Am I allowed to say that? It’s my blog I do what I want! It was my favorite!!)

Managing Repositories

This post originally appeared at Librarian in Progress as part of an assignment for class.


With the rise in digital publishing’s popularity, academics and researchers need a place to put their publications. Institutions, naturally, have come up with a solution: Institutional Repositories (IR). According to Margaret Barton of MIT, “[a]n institutional repository is a database with a set of services to capture, store, index, preserve and redistribute a university’s scholarly research in digital formats.” (Barton, 2004)

Unfortunately, not every researcher or academic is willing to alter their publication routine to include publishing their research in an institutional repository. Chan, Kwok, and Yip (2005) described the changes in a reference librarian’s job as institutional repositories become more popular, including the potential struggles involved in implementing an IR. Many of the potential issues outlined, from the faculty’s ignorance and apathy of IR policies to the institution’s policies regarding the IR, are new to the current reference librarians. Fortunately, current students with access to studies such as the one highlighting HKUST’s IR will be able to learn about the issues facing future reference librarians and prepare for them before they become an issue.

Fortunately for those institutions hesitant about creating an IR, there are studies available to outline the benefits of institutional repositories. For example, Gibbons (2004) outlines many benefits, including the preservation of published research, the efficiency involved in having convenient access to an institution’s faculty’s research, and the ability of the IR to spread the researched material through a wider base, among other things.

As digital preservation becomes more discussed and institutional repositories are established in more institutions, studies like the ones referenced here will become more important for students of library and information systems.


Barton, M. R. (2004). Creating an Institutional Repository: LEADIRS workbook, Cambridge: MIT Libraries.

Chan, D. L. H., Kwok, C. S. Y. and Yip, S. K. F. (2005). Changing the roles of reference librarians: The case of the HKUST institutional repository. Reference Services Review, 33(3), 268-282. doi: 10.1108/00907320510611302.

Gibbons, S. (2004). Benefits of an institutional repository. In Library Technology Reports Number 4 (chapter 3). Retrieved from https://journals.ala.org/ltr/article/view/4376/5059.