|This spreadsheet is provided as an informal tool to connect individuals who are seeking ideas and/or collaboration on session proposals for ARCHIVES 2017. It is not monitored by SAA or the 2017 Program Committee and is not part of the official submission process. Read the full Call for Program Proposals: http://www2.archivists.org/am2017/program/call-for-proposals.||/|
|Name: Session Proposer||Contact Information||Topic Presentation||ldea||Name(s) of interested parties||Contact Information|
|Abbi Nyefirstname.lastname@example.org||Assessment without hashmarks||Assessment is an increasingly important topic for archivists as we face funding shortages and skeptical resource allocaters. Many archives are caught in a world of paper call slips, registration forms, etc., making assessment a real challenge. This session would address free/cheap ways that archivists can leverage technology to move their statistics and assessment out of a paper-based environment and present a more robust picture of archival activity and value. This could be a panel, but could also easily be a lightning round or other format.||Kristine Toma, University Archivist, Texas State University. We are utilizing a variety of free digital platforms and reporting the statistics each site provides (such as unique visitors, page views, item downloads, users) to show access that is exponentially beyond what our phyiscal reading room can handle. Flickr, Omeka, Portal to Texas History - all help supplement our official DSpace content. Also, our new marketing specialist is encouraging us to use unique URLs so we can track print products, e-mails, and other links so that we will know which methods are most successful at driving patrons to our resources. We're in the first 2-3 years of these assessments and we're pleased with what we're seeing in terms of patron email@example.com|
|Adam Lukefirstname.lastname@example.org||Archivist as Teacher: Engaging Students with Primary Sources||For several years now archivists have taken a larger role in instruction by using materials in their care in teaching. At college campuses in particular, where a ready and interested population roams just outside the doors, the potential to have undergraduates interacting with primary sources is relatively high. I'm interested in looking at diverse examples where primary sources have been incoporated into instruction. How do you engage students with primary sources? What have you learned from these efforts? Additionally, how can your efforts be tied to current studies to standardize primary source literacy skills?||Katie Nash (College Archivist, Williams College) Julie Porterfield (Instruction & Outreach Archivist, Penn State Unversity Libraries) Rachel Seale (Outreach Archivist, Iowa State University) ../ Kris Bronstad (Modern Political Archivist, UT Knoxville Libraries) & Laura Romans (Manuscripts Archivist, UT Knoxville Libraries) Nancy Greco (Archives Librarian, St. John Fisher College)||email@example.com firstname.lastname@example.org email@example.com firstname.lastname@example.org; email@example.com firstname.lastname@example.org||Jessica Ritchie, Old Dominion University|
Kris Bronstad (Modern Political Archivist, UT Knoxville Libraries) & Laura Romans (Manuscripts Archivist, UT Knoxville Libraries)
|Alessandro Meregagliaemail@example.com||Lightning Round: Project Management Tools for Student Employees||Knowing that there are a great number of free project management tools available (Trello, 5pm, etc.), I think it would be beneficial for archivists to share the ways they find most useful to manage student workers. A lightning round format allows the greatest number of people to share their tips without the need to go into great detail since implementation would be different at each institution.||Rosalie Gartner, Emerson College - Starting to use Trello this fall; |
Jessika Drmacich-Flach I have been using Trello with students with some success for two years,
Sarah Bost, UALR - UALR is piloting the use of a Blackboard course shell with our student workers; Brady Kal Cox - firstname.lastname@example.org;
Conor Casey, Labor Archives of Washington, University of Washington Libraries Special Collections. I have been using Asana as a project management tool since around 2012, and our department used it to revamp our accessioning process. I used it to manage volunteers, staff, and students on archival processing, digitization, exhibit curation, and oral history and cataloging projects.
email@example.com, 720-331-1242; firstname.lastname@example.org; email@example.com; firstname.lastname@example.org
|Janet Carleton email@example.com. Been using 5pm for more than 5 years to manage student work on projects.||Jordan Jancosek, Brown University. I actually use Google suite to mangage both my students and their projects - it works well, is free, and allows for a wide variety of management tools. It may not be as complex as some of the other new management tools, but I find that it works best for managing the large number of students I have working for me (5-8 a a semester and summer).||firstname.lastname@example.org||Brady Kal Cox, Abilene Christian University (email@example.com). |
Would you be interested in a student worker's perspective on this? I am a graduate student, and I work as a student worker in the Callie Faye Milliken Special Collections and the Center for Restoration Studies in the Brown Library at Abilene Christian University.
|Megan Blair, St. Edwards University; I use Trello to train my student worker this firstname.lastname@example.org||Chelsea Gunn, University of Pittsburgh - have used Asana and Slack for project management; teach project management workshops to graduate students with focus on both tools and strategies, email@example.com||Conor Casey, Labor Archives of Washington, University of Washington Libraries Special Collections. I have been using Asana as a project management tool since around 2012, and our department used it to revamp our accessioning process. I used it to manage volunteers, staff, and students on archival processing, digitization, exhibit curation, and oral history and cataloging projects.|
|Alexis Antracolifirstname.lastname@example.org||Beyond the Finding Aid||Do you have materials in your collection that might not be best served by a finding aid? Do current encoded archival standards have shortcomings for describing some of your materials? Are new technologies and their affordances changing the way you think about archival description? I'm interested in putting together a panel that discusses questions and topics that explore both the challenges/shortcomings of current description practices and standards as well as the future of archival description. If you have ideas, thoughts, questions on this topic, let's talk.||Jennifer Sirotkin (Chick-fil-A) - Due to how the materials will be accessed, we will not be using finding aids for our materials - at least our users will not. I am having to work out how to use a DAMS to share the same information. I will not claim to be an expert by the conference, but I would love to share my experiences making this transition. | David Staniunas (Presbyterian Historical Society): For the plurality of our collections, hierarchicial description just doesn't apply. So the "Finding Aid" in many cases is a formality, a way of orienting text on a page. (Sometimes old formalities port to new representations in bad ways!) Mostly we are "Keep clam and write an inventory," ama.Katrina O'Brien (Collection Mgr/Archivist) Archive Blog collection highlights, keyword-searchable OCR finding aids for select collections in ContentDM, online browser searcher keyword email@example.com | firstname.lastname@example.org; email@example.com|
|Alston Cobourn, Washington and Lee University, (Texas A&M-Corpus Christi beginning Jan 2017)||firstname.lastname@example.org|
How to manage colleagues' and patrons' unrealistic expectations
|Whether it be the user who can’t believe the whole collection isn't already available online or the staff member/colleague/administrator who hates the new system because it isn’t exactly like the old system, every archives professional periodically has to address someone’s unrealistic expectations. In this panel of lightning talks participants will share their experiences with and techniques for managing colleagues' and patrons' expectations of systems, departmental services, etc. For example, this could include advice on how to help set realistic expectations at the beginning of projects/initiatives and how to help colleagues and patrons appreciate the advantages about a particular technological system/platform while focusing less on what it lacks. All attendees will learn strategies for managing expectations and helping others understand and cope with change while maintaining their own sanity.||Lynn Eaton, Head of Special Collections at James Madison University, Jan 1 2017- Head of Special Collections at George Mason University; Julie Judkins, University of North Texasemail@example.com; firstname.lastname@example.org|
|Amanda Oliver, on behalf of Anne Daniel and Amanda Jamiesonemail@example.com||Reference Tools in the Academic Archives||Do you have an interest in reference services and the nature of the tools archivists use to conduct reference? We conducted a survey of Canadian academic archivists to gain insight into how these professionals conduct reference services. This is an in-depth analysis of our professional practice with practical applications. We want to discuss the intersection of reference services and technology. Have you conducted similar or related research with other types of archival institutions or locations?|
|Andrew Needham, Oregon State Archivesfirstname.lastname@example.org||Archives and Politics||In the current political environment, archives and politics are more important/intertwined as ever. From presidential libraries to governor's records, it's up to the archivist & records manager to make sure their records are available to the public and in a timely manner. With digital records becoming more and more voluminous and complex, how do we process these records in a reasonable amount of time while still paying close attention to any kind of restriction/issue? In other words, how does MPLP work with the complexities of political collections and external pressure? Are records getting more political in nature? Or have they always been and we're becoming more aware of their political implications?||Jillian Lohndorfemail@example.com|
|Ann Cooperfirstname.lastname@example.org||What do we do? Digital Archivists' job responsibilities||I'm interested in getting some people together who have job titles like Digital Archivist or Electronic Records Archivist to discuss the very wide range of responsibilities that a digital archivist might have. I'm especially interested in getting perspectives on how the archives or library size / institution type / etc. affect this enormous diversity.||Meredith Broadway (NDSR resident at World Bank), Bridging ITSKI Archives and DECDG Data Curation email@example.com||Alice Prael, Digital Accessioning Archivist at Beinecke Rare Book and Manuscript Library, Yale Universityfirstname.lastname@example.org||Kyle Henke, Digital Archivist at DePaul Universityemail@example.com||Katie Blank, Electronic Records Manager in the Special Collections & University Archives at Marquette Universityfirstname.lastname@example.org||Laura Litwer, Digital Initiatives Archivist, South Carolina Political Collections, University of South Carolinaemail@example.com||Shira Peltzman, Digital Archivist, UCLA Library (+ former NDSR-NY resident)||firstname.lastname@example.org|
|Ashley Todd-Diazemail@example.com||Alike/different: archivists and librarians||In many colleges and universities, special collections and archives are located within the physical and hierarchical structure of the university’s library, which brings some benefits and challenges. On the one hand, this proximity allows for rich collaborations and instructional opportunities; however, on the other it can lead to disagreements or tensions due to subtle differences in education, values, and priorities. The fact that librarians and archivists have not always seen eye to eye is apparent in the number of books and articles that have been written over the last forty years about the two professions getting along and working harmoniously. Ideas for this session might include case studies of successful collaborations, lessons learned from not so successful collaborative initiatives, considerations of professional convergence, etc. I’m open to ideas.||Erin Allsop, Archivist (Central Piedmont Community College) - I have submitted a similar proposal firstname.lastname@example.org|
|Austin Schulz, Oregon State Archivesemail@example.com||What would MacGyver do? Strategies for digitizing defunct or proprietary formats.||Archivists often encounter defunct and/or proprietary formats, but are unsure what steps to take to provide long-term access. Original playback machines are becoming increasingly scarce and costly to maintain. These records of our history may be lost and forever locked away in their original format, inaccessible to future generations.|
Facing a lack of functioning playback equipment, staff time, knowledge of the equipment, and funding for professional reproduction we must channel our inner MacGyver for solutions!
This panel will discuss how to meet the challenge of obsolete technology. What format issues have you encountered at your institution? Have you developed solutions others will find helpful in their own collections? Let’s share our experiences - both successes and failures – as we learn that despite our different institutions and backgrounds, we all face many of the same challenges.
|Tom Robinson (Historic Photo Archive)|
|Caitlin Christian-Lambfirstname.lastname@example.org||I Do Not Think it Means What You Think it Means: Differing Conceptions of the Archive||Seeking folx to talk about differing ideas of what "the archive" is, how they explain archives to others (in my position, that usually means undergraduate students), and whether these differences in definitions are salient for archivists. One potential would be to build on Kate Theimer's "Archives in Context and as Context" and Trevor Owens' "What Do you Mean by Archive?" and have a discussion about the relationships between digital humanities and archives. This is a rough idea right now so definitely open to some shaping!||David Staniunas: Any place we can talk about the myths of neutrality and totality, I am down for. Among many others, worth reading/contacting is Kathy Ferguson, at Hawaii https://muse.jhu.edu/article/257578#back ||Erin Allsop, Central Piedmont Community College (Charlotte, NC). email@example.com or firstname.lastname@example.org. *Caitilin - I have been thinking about submitting a proposal or poster session on a very similar topic. I am in the process of advocating our archive to students as well as CPCC's administrative board and our faculty. Perhaps we can combine forces?||Chelsea Gunn, University of Pittsburgh, email@example.com; I have been thinking about this recently, as I have been taking classes in other graduate departments here and incidentally learning more about how people outside of the information professions use the terms archive/archives/archiving, and how it differs from my professional understanding. Interested in how this impacts research experiences and access. Also, as iSchools have an interest in interdisciplinary work, I think there is some potential advocacy to be done in this area.||Aaisha Haykal, College of Charleston, firstname.lastname@example.org I agree with David about speaking about neutrality. Also I most often speak to community groups, individuals, and churches, who want to create "an archive"||Hello, I work for the Navy and while they are required to send us their files. They don't actually know what we do with them or how we use them. I am working on trying to create a better reltionship with folks outside of the archive in the hopes to get 'better' records I am in the process of trying to get Deck Logs to be create digitally. Currently they are hand written and I have to explain to the Navy that no, we actually do want them digital. Kay email@example.com||Conor Casey: I am interested and talk about this frequently in the context of power and archives in the context of labor, social justice, and civil rights collections. I have also participated in a hybrid digital humanities/web archives project from the ground up that had challenges and successes in this area and am teaching a class for the first time that will incorportate some of these themes in the spring. Cmcasey@uw.edu|
|Dainan Skeemfirstname.lastname@example.org||Faculty Papers: Creating a Collection Development Policy that works||Those who work with faculty papers who have a CDP. Specifically if you have been successful at narrowing your focus on which faculty papers you'll take but I'm open to other topics about faculty papers||Amy Allen - University of Arkansas; created collection policy for faculty||Angela White (IUPUI, email@example.com); created a faculty paper collection policy for the Philanthropic Studies Archives. We had offended people by saying no to collections, so it was necessary to create a written policy that was specific enough to take the personal slight out of the process.|
|Daria Labinskyfirstname.lastname@example.org||2017 Great Debate||Do you feel passionately about archives? Are you comfortable with arguing for and against topics of interest to the archival community? Do you enjoy discussing ethical issues with your colleagues? The Issues & Advocacy Roundtable leadership invites interested participants to sign up for a Great Debate at SAA 2017. We can have a couple of Cabinet Battles over topics of interest to the archival community. While we have several topics in mind, the participants will choose the final ones. We especially encourage students to sign up.||Dominique Luster, Carnegie Museum of Art (LusterD@cmoa.org) ||
|Deborah Riceemail@example.com||Lightning Talk: Navigating the Digital Maze of Visual Material Description & Access||Providing digital access to visual materials across a multitude of platforms and/or institutions can be challenging. We are given standards, best practices, and systems and software from the archival, library, and museum professions to work with in an effort to provide more meaningful and robust relationships between still image collections and related records, library, and art object collections. Considerations of item-level description and access also factor into the overall integration of visual materials, especially considering new online crowdsourcing options for identification. How is your institution addressing this challenge? What are the motivating forces behind your decisions? How would you rate your success in elevating the significance of visual materials within your institution, across institutions, and amongst the broader community?||Alexandra Orchard (integration of AV and manuscript materials, ArchivesSpace); Paula Jeannet Mangiafico (this is exciting - many topics are possible: how visual mats differ from ms. and print materials and how that affects digital projects; what factors are considered when deciding on which collections to digitize, what level of access, and what metadata is sufficient and desired by the public; how our platform has influenced our visual materials ditigization projects - and vice versa)||firstname.lastname@example.org; email@example.com|
|Dorothy Berryfirstname.lastname@example.org||Decoding Archival Description: Expanding Description to Make Collections Accessible to Stakeholders||Describing records is part and parcel of the archivist's job, but as we diversify our collections, questions of discoverability come to the forefront. I am interested in putting together a panel that discusses the variety of ways this comes into play- bilingual finding aids for immigration collections, open tagging for community archives, language decisions when describing historical LGBTQ collections, enhancing metadata to make collections more discoverable to the marginalized communities represented therein. If you have ideas, experiences, or interests relevant to this panel, please contact me! - Panel at Capacity as of 11/2||Erin Baucom (The University of Montana - I have material prepared from a paper I wrote for a discussion on the description of LGBTQ materials)|
Anthony Wright de Hernandez (Virginia Tech) - I'm working on identifying and describing items in our collection that touch on various aspects of diversity (race, ethnicity, ability, gender, sexuality, etc.) and finding existing controlled vocabularies problematic. We've recently begun looking at creating local terms to provide better access to the material.
|email@example.com, firstname.lastname@example.org||Devon Proudfoot (email@example.com) Bentley Historical Library - We have been working on a Hidden Collections project in which we are highlighting and enhancing description of women associated with the University of Michigan in the 19th century.|
|Ellen Engsethfirstname.lastname@example.org||Cultural Competencies at work in the profession||Do you have an interesting model to share which supports our collective efforts related to cultural competency? What are some of the effects of our cultural competency work - on our users, on us as individuals, or on the profession more broadly? There is a lot of flexibility to this session topic, so let’s create something interesting. I’m working on international experiences (and globally skilled individuals) as related to cultural competence; alike/different topics welcome! What work are you doing that we can consider in light of cultural competency?||Selena Chau, NDSR resident at KBOO Community Radio; Volodymyr Chumachenko, (Archivist, K-state University)||email@example.com|
|Erin Allsopfirstname.lastname@example.org||Alike/Different: The Power of Collaboration between an Archivist and a Cataloger||Archivists and catalogers who have overcome the linear walls of their respective positions to collaborate and provide greater access to archival and library collections through both digital and physical means; i.e. automated tools and processes, exhibitions, workshops, etc.||Melissa Gurney Schultz, Lecturer/Processing Archivist & Jessica Hayden, Technical Services Manager, University of Northern Coloradoemail@example.com, firstname.lastname@example.org|
|Fletcher Durantemail@example.com||Lightning Session: Makers in the Archives: Makerspaces and Beyond||Are you a maker? Are you using 3-D printers, makerspaces, or just old-fashioned ingenuity to develop tools and objects for use in your archives? Whether for education, exhibition, outreach or plain old fun, I am looking for other archivists who are creating objects to make their archives better and are looking for a place to share with their fellow practitioners.||Kelsey Duinkerken (Special Collections and Digitization Librarian at Thomas Jefferson University) Megan Atkinson (Tennessee Tech University (Utilized 3-D printing and google goggles for exhibiting materials firstname.lastname@example.org|
|Hathaway Hester, National Association of REALTORS®||email@example.com||Creating Value for Internal Audiences||Creating value for audiences internal to our organizations can lead to meaningful partnerships that ultimately translate to vital support for the archives. Speakers will share ideas, experiences, and tips for effective internal outreach on topics such as making archives essential to other departments' work, encouraging internal users to view the archives in new ways, or assessing the most effective methods of reaching and serving your departments.||Winnie Titchenerfirstname.lastname@example.org, email@example.com|
|Jen Hoyer, Brooklyn Connections (Brooklyn Collection @ Brooklyn Public Library)||firstname.lastname@example.org||Finding ourselves: teaching with local history archives in changing communities||Archives help us see ourselves and our communities through the lens of history; they allow us to understand our place in the world around us through the context of people and events that have previously inhabited our space. How can local history archives build connections with students and teachers today, when present-day communities look vastly different than those represented in the archive? This panel will feature innovative techniques that archivists and archives educators use to bridge this gap, as we highlight similarities between past and present while celebrating the differences in changing communities.||Amanda Jasso, Mexican American & Latino Community Archivist at Austin History Center (Austin Public Library)||email@example.com|
|Jennifer McGillanfirstname.lastname@example.org||I'm interested in discussing best practices and outreach and related topics for academic repositories that have legal history records (wills, lawyers/judges papers, significant rare law book collections, etc) but are not affiliated with a law school.||Rachel Van Unen (Princeton University-- home to the national ACLU records) | Gina Strack (Utah State Archives) - with legislative records, historical statutes, and large collections of court records, we've had to become knowledgable on legal research but without formal legal training - if interested in going beyond academic email@example.com | firstname.lastname@example.org||Linda Reynolds, East Texas Research Center, email@example.com We have no law school, a couple of collections we have that were a little challenging were two law office collection one from the 1920s-50s and one from the 1910's-1960s. The most challenging one was the local NAACP president & community advocate. That collection contains mostly case files of people wanting him to file a police brutality complaint. We did a risk assessment and decided to not following everything our lawyer was telling us to do.||Rachel Taketa, UCSF Industry Documents Library, firstname.lastname@example.org. Our digital library/archive was created out of the tobacco Master Settlement Agreement in 1998 between the tobacco industry and 46 states in the US. We currently have over 15 million documents created by the tobacco industry and pharmaceutical industry that were produced during the discovery phase of large lawsuits. Included in our holdings are thousands of legal motions/orders/court records that complement our internal document holdings. much of our acquisition of new collections involves contact with attorneys, the DOJ, expert witnesses, investigative journalists, etc|
|Jennifer Sirotkinemail@example.com||That's nice, but we don't have the money or IT staff for...||Many of the solutions presented to archives to manage Finding Aids and digital assets require money and significant IT support. What options do smaller archives with little funding have?||Group is at capacity as of firstname.lastname@example.org; email@example.com||Deirdre Joyce (Project Manager, Empire Archival Discovery Cooperative) In 2015-16 the Central New York Library Resources Council, cooperating with 8 peer library systems across New York State, worked with Ethan Gruber (developer of the EADitor tool) to create a consortial version of the EADitor which gives small-to-medium sized librararies, archives, and museums without the money or technical expertise an opportunity to create and mount finding aids in a shared index and repository. I can talk about leveraging partners and relationships, as well as a shared technical solution, to approach how smaller organizations can participate in the project at a relatively low cost.||Cathy Miller||Emily Reed (Digital Records Archivist). In October 2014 I became the Digital Records Archivist for Mercy Heritage Center, archives of the Sisters of Mercy of the Americas, which is a religious Catholic women’s group. I was hired to establish and manage a digital archiving program. We lack IT support and due to our unique nature (not affiliated with academia; material that is not local, but rather from a multitude of states and countries; not a public institution; not a diocesan archives) that has limited us on seeking some more traditional partnerships and funding routes that smaller institutions often look to. We have been practicing the motto “Perfect is the enemy of good”. Through creative thinking, being up for constant learning and career development, and having a strong volunteer/intern program, we have been able to lay the foundation and take the first steps to digital preservation and digital exhibiting. (firstname.lastname@example.org)||Eamon Smallwood email@example.com (Digital Media Archivist, Colorado State Archives). |
In 2016, The Colorado State Archives was awarded an NHPRC – State Electronic Records Grant to convert born digital audio recordings of the Colorado General Assembly’s legislative sessions to an archival format. Colorado State Archives hired two archivists to complete the project over the 2 year grant period. The project work will be comprised of converting and editing audio files, creating descriptive, and technical metadata, and making the converted recordings publically accessible online. Although the Colorado State Archives is supported by an IT department, there is not a developer assigned to the project. Additionally, while both project archivists are aware of programming solutions and are technically literate, they are not trained developers. We would like to present information on the solutions and work-arounds we have developed that will allow us to complete the project and meet grant requirements. These solutions and work-arounds, while perhaps not always elegant, are thoroughly documented and include step-by-step procedures that allow all users to understand the issues, work flow processes, and solutions.
|Jenny Kinniff, Johns Hopkins; Valerie Gillispie, Dukefirstname.lastname@example.org; email@example.com||Digging into Diversity: The Diversity Research Fellowship Model||On college and university campuses nationwide, students, faculty, and administrators are grappling with questions of campus diversity and how to be a welcoming community to all. This session will explore the diversity research fellowship model as an effective strategy for engaging an institutional community in reflections on its own history. By providing students the opportunity to conduct research into underrepresented topics in university history, the archives empowers them to bring new stories to light and to examine silences in the archival record. This fellowship model is unique in its focus on diversity as the subject of research, rather than the diversity of the applicants themselves. Presenters will discuss how this approach creates a "big tent" where many interpretations of diversity are welcome and how it positions the archives as an important site of reflection and inquiry, bringing a historical grounding to discussions that are often focused on the present day.|
|Jesse P. Karlsberg, Emory Universityfirstname.lastname@example.org||Annotation Systems for Visual and Multimedia Collections||Are you involved in a project developing annotation systems for visual collections, ranging from texts and web pages to digitized books to collections of photographs or artwork, or for multimedia collections such as audio or video? This panel will describe the range of approaches such projects take to questions including: standards, scalability, annotation content (including multimedia content), preservation and export, and more.|
|John Benceemail@example.com||No Monkeying Around: Non-Human Subjects of Research in Archives||I'm interested in a working with folks to talk about ethics relating to records documenting research that uses non-human subjects|
|Jordan Jancosekfirstname.lastname@example.org||Space Sharing and Collaboration: When Archives and Special Collections live and operate together||For repositories, it is often not uncommon to have archives, special collections, manuscripts, and rare books housed and functioning together. This can often create an array of issues, including space, cataloging, and organization methods. The John Hay Special Collections Library has recently implemented a 3 year Survey Project, tasked with identifying these issues within their buildling and collections and finding solutions on how to best correct them. I'm hoping to assemble a panel of other universities or repositories who share space and function together, and have recently undertook their own Survey Project. The panel will strongly focus on space, cataloging, and collaboration. Please contact me if your repository falls under these parameters and you have any interest in sharing your experience and insight (or questions!). Thank you!||Peterson Brink, Assistant Archivist, University of Nebraska-Lincoln. We are both the Archives and Special Collections, I would be very interested in chatting about this topic! |
Amy Allen, University Archivist, University of Arkansas; the University Archives and Special Collections are integrated together in the same space
Marc Levitt, Archivist, National Naval Aviation Museum. I'm in charge of both the archives (manuscript and photograph collection), and a specialized library collection (including rare books). I'd be happy to discuss further.
email@example.com (Marc Levitt)
|Grant Gerlich, Senior Specialist-University Archives, Texas Tech University Southwest Collections. Our building was built in 1997 to house the Archives and Special Collections. We (University Archives) share space with rare books, the Sowell Collection, the Vietnam Center and Archives, the Remnant Trust and the various departments of the Southwest Collection. Space utilization and cooperation is the name of the game here. I would be interested in discussing this firstname.lastname@example.org||Anna Harbine, Museum Archivist, Joel E. Ferris Research Library & Archives, Eastern Washington State Historical Society, Northwest Museum of Arts & Culture -- As the sole archivist of the institution, I manage the special collections of the historical society, and the institutional archives and library. We have rare books, film reels, architectural drawings, manuscripts, and a small reading library (to name a few) housed within the same space. Because we are also part of a museum, we also have the added need for collaboration with the material culture collections of our email@example.com||Sue Luftschein, Head of Special Collections at USC Libraries. I head a department that contains special collections, manuscripts, and rare books and we are constantly struggling to juggle space priorities and are about to embark on a project to evaluate our space allocations. Would be happy to firstname.lastname@example.org||Josh Minor, Manager of Archival Processing at the College of Charleston, South Carolina. The Special Collections department houses the college archives, manuscripts, and rare book collections. Additionally, the South Carolina Historical Society, a separate institution, also shares the space, including its staff and archival collections, with Special Collections.||email@example.com|
|Joshua Minorfirstname.lastname@example.org||Pop Goes the Archives: The Risks and Rewards of Pop Culture Collections||I’m interested in putting a panel together that discusses some of the issues archives face when accepting and working with high profile or pop culture collections. Risks discussed may include copyright, access, and usage issues as well as reproduction issues relating to online fan communities and online social networking services, particularly Twitter, Facebook and Reddit as well as recommendations and strategies for avoiding these risks. Additionally, the benefits of accepting such a collection can be discussed including an increase of new users to an archives and the increased potential for archival events and outreach related to a particular pop culture collection.||Jennifer Allen; Steve Ammidown; Katrina O'Brien (Collection Mgr/Achivist, email@example.com) motorsport cultural. local builders blends with national fans, celebrity+ branding mixing with collectors "swap+share" culture, exhibit and digitized loans, controling content - how photograph and watermark; Tracy Grimm (Barron Hilton Archivist for Flight and Space Exploration, Purdue University Archives and Special Collections)||firstname.lastname@example.org||Tracy Grimm, email@example.com (Barron Hilton Archivist for Flight and Space Exploration, Purdue University Archives). The Purdue Flight Archives includes the Neal Armstrong and Amelia Earhart papers - two very popular figures (still) among diverse audiences. I would say they are pop culture icons of sorts. We deal with interesting issues of copyright, persona, and third party privacy often. While such issues can be thorny, at the same time these collections continually are source of tremendous interest by K-12,undergraduate,and graduate srudentswhich means tremendous outreach and instruction opportunities.||Katrina O'Brien (Collection Mgr/Achivist, firstname.lastname@example.org) motorsport cultural. local builders blends with national fans, celebrity+ branding mixing with collectors "swap+share" culture, exhibit and digitized loans, controling content - how photograph and watermark; Tracy Grimm (Barron Hilton Archivist for Flight and Space Exploration, Purdue University Archives and Special Collections)|
|Julia Corrin, Carnegie Mellon Universityemail@example.com||What the *#!@ is a bundle?: Admitting to, and learning from our mistakes||Have you made a mistake, or regretted an archival decision? Are you willing to talk about it and what you learned from it? Archivists (like all people) make mistakes all the time – a bad series name, a questionable metadata choice, an error in arrangement, or deciding that a “bundle” is a widely understood level of archival description. The only difference is that archivists have to live with our mistakes (and the mistakes of our processors) longer. Because of this, archivists need to learn to share their mistakes along with their successes. This lightening panel is an opportunity for archivists to talk about the mistakes they’ve made and what they’ve learned from them so that other archivists don’t have to repeat them. |
|Kate Barbera, Carnegie Mellon Universityfirstname.lastname@example.org||After the End: Strategies for Sustaining Momentum||Do you love facilitating discussion? Do you like sharing real-life examples? Join us in this panel! In this session, I hope to create an open dialogue around strategies for sustaining innovation and maintaining momentum in archival projects. This can be especially challenging if projects involve grant funding or rely on temporary personnel. The session will dress these issues and will focus on strategies to bolster creative, inclusive, and innovative environments in the workplace. The format will be untraditional and will be comprised of short presentations by members of the panel, and after each one, the panelists will mingle with the audience to facilitate discussion. The session is designed to inspire active discussion and the cross-pollination of ideas. Members of the audience will be encouraged to share their own ideas about the topics addressed by the panelists. To create a safe environment and inspire participants to share real-life experiences, we will ask that the session not be recorded. |
|Katie Howellemail@example.com||Documenting Student Activism on Campus||I'm interested in getting together a panel to discuss the challenges and successes experienced in documenting student activism on campus. Questions or topics to consider may include what approaches your institution have taken to document digital records of these events, how have you approached and built relationships with student groups who may be distrustful of college/university administration, how can we document events that unfold rapidly and with little warning, etc. Open to suggestions.||Des Alaniz (current MLIS student and co-chair of 2017 DERAIL Forum at Simmons College) Krista Oldham (College Archivist/Records Manager, Haverford College), Anna Trammell (University of Illinois), Samantha Abrams (StoryCorps), Ashlyn Velte (Archivist, University of Idaho)||firstname.lastname@example.org, email@example.com, firstname.lastname@example.org, email@example.com, firstname.lastname@example.org|
|Katrina O'Brien, World of Speed Motorsport Museumemail@example.com||First Year Open||Have you started an archive dept, museum or collection-based organization from scratch? Are you in contractor or freelance archive development? What kind of foundation (foci, policies, programs etc) do you or your team develop in order to open your archive/museum/collection etc.to the public or internal use? Resources when building from scratch? What was in place or wanted in place before opening the doors? What did you learn after being open to the public for a year (or less, or up to two years). How do you think different from coming into an organization already up-n-running? What's your next steps for your program/dept to grow/build?||Katrina O'Brien (Collection Mgr/Archivist, World of Speed motorsport museum); Jennie Thomas (Head Archivist, Rock and Roll Hall of Fame)||firstname.lastname@example.org; email@example.com|
|Kerry Dubyk, MLIS Candidate, Rutgers Universityfirstname.lastname@example.org||Researchers' Practices in the Archives||The practices and needs of researchers in the archives are as diverse and complex as the user groups archivists serve. Understanding and evaluating the practices, experiences, and needs of researchers in the archives is an important element in facilitating the archival values of access, use, and service. This session will aim to illuminate the practices and perspective of both traditional and under-represented researchers in the archives. Session topics may include archival user studies, case studies, research, or discussion surrounding issues of use, access, and outreach for user groups within the archives. A goal of the session will be not only to examine issues facing our users, but offer recommendations for practitioners in the archival community to successfully meet the needs of and increase equitable access to our users. For example, my current research focuses on the experiential nature of genealogists as archival users and as a distinct community of information practice.||Alexandra Chassanoff, Postdoctoral Fellow at MIT Librariesemail@example.com|
|Kim Andersenfirstname.lastname@example.org||OK...so how do I tweet this finding aid?||Archivists increasingly are balancing new roles as captains of social media while still trying to process collections and reference collections with their new followers who have little/no experience doing primary research. The challenges we face range from simple time management to complex struggles over how to adequately and appropriately contextualize and interpret our collections within the short attention span theater world of social media. This session could be planned as an Incubator Session, a Lightning Talks session, or a typical panel discussion, I think.||Adrienne Evans, 20th Century Photography Collections Archivist, History Colorado Center, Denver Colorado .||email@example.com -- firstname.lastname@example.org||Gerri Schaad, Floria Southernemail@example.com||Erik R. Bauer, Archivist, Peabody Institute Library, Peabody Massachusettsfirstname.lastname@example.org||Rose Oliveira, Linda Lear Special Collections Librarian, Connecticut College||Rose.Oliveira@conncoll.edu||Stephanie Prochaska, Assistant Archivist, Colorado Springs Pioneers Museum, Colorado Springs, Coloradoemail@example.com||Chris Marino, Reference and Outreach Archivist Environmental Design Archives, UC Berkeley firstname.lastname@example.org||Mary Mellon, Assistant Archivist, Indiana University Archives, Bloomington - we use Twitter, Facebook, Instagram, our blog, and library website to raise awareness of new collections, and also get analytics support from our library's Discovery and User Experience department to track social media referrals to our web content - email@example.com|
|Lily Troiafirstname.lastname@example.org||Archives and Research Data Management: Overlaps and Intersections||Seeking archivists and archivally-inclined individuals working in (or around) research data management for a session that explores the intersections surrounding data and digital preservation, institutional repositories and digital archives, and the increasingly broadening definition of scholarly communications to include archivally-adjacent areas like digital humanities. The session will hopefully pay particular attention to issues of appraisal, long term preservation and access, rights management, and the hybrid roles and responsibilities now assumed by many academic, information, and cultural heritage organizations.||John Benceemail@example.com||Ashley Taylor, Archivist, University of Pittsburgh, firstname.lastname@example.org||Natalie Bond|
Myself and members of SAA's CPR--CSS/CMS Data Task Force are investigating ways to view, query, preserve, and provide access to data exported from Congressional offices' Constituent Management Systems. At the moment we're testing script developed by WVU and are working on a white paper. Does this sound applicable?
|Evelyn McLellan, email@example.com. President of Artefactual Systems. Artefactual is the lead developer of the free & open-source Archivematica digital preservation tool (https://archivematica.org). We are working on the JISC Researc Data Management Shared Services project (https://goo.gl/OO2q9R). Specifically, we are working on integrating digital preservation micro-services into a suite of tools and services for higher education institutions in the UK to publish, share and preserve research datasets. I would like to talk about this project from a technical perspective and would also like to address how the JISC project could serve as a model for research data preservation efforts in other countries.|
|Lisa Grimmfirstname.lastname@example.org||Archivists in Tech: 'Selling Out' without Being a Sellout||Other archivsts (or ex-archivists) who are now working in technical fields (and getting paid accordingly) - we have three from my current workplace so far, but would love another from someplace different to provide a more diverse perspective. Whether you are a programmer, working as a content strategist or anything else in the field, we'd love to have one more potentiall panelist.|
|Lori Compasemail@example.com||Cold storage: Practical management and space planning tips||Cold storage is essential for the long-term preservation of film, animal pelts, and other items that tend to deteriorate quickly, but cold storage presents a number of challenges, including how to obtain funding, how to find qualified contractors, and how to make the most effective use of expensive cooler or freezer space.|
I'm hoping to assemble a panel to help museum professionals begin to plan their space and/or improve their management of coolers or freezers; this is not intended to be a technical discussion of the chemical and physical processes that lead to deterioration. Please contact me if you have experience planning and/or managing a cooler or freezer and an interest in sharing your insights and knowledge. Thanks!
|Samantha Dodd-University of Texas at Arlington UT Arlington completed the installation of a cold storage space after receiving an NEH grant for the project: http://www.uta.edu/news/releases/2014/08/library-cold-storage.php |
In January of this year I started to populate the space with our collections. Would be happy to discuss how we did it, problems we encountered and how we are making the most of it: https://www.youtube.com/watch?v=l08swDhoiWs -------------------- Alexis Peregoy - Center for Creative Photography at University of Arizona. I am currently working on a project with our senior conservator to identify and isolate all of our nitrate and acetate film. We are first isolating so we can quantify the totals and figure out how much space we will need; apply for a grant; and move materials to cold/ freezer storage. We currently have one freezer with collections such as Ansel Adams, but we will need additional freezer storage.
|Marc Levittfirstname.lastname@example.org||Exhibiting Archives||Those interested or experienced in putting exhibits together than feature or highlight archives. This can have several aspects: User testing/evaluations, preservation vs. access in displaying the materials, encouraging and advocating the use (and role) of archives through exhibits, etc.|
We could also use a more clever title! Are you an Exhibitionist? The art of promoting archives through exhibits (Teri Hedgpeth) <=WINNER.
|Chad Garrett, Greta Browning, Mary Ahenakewemail@example.com; firstname.lastname@example.org; email@example.com; firstname.lastname@example.org||Emily Swenson, email@example.com - Project Archivist at Bentley Historical Library currently working on an exhibit in conjunction with the University of Michigan Musuem of Art.||Matthew Strandmark, firstname.lastname@example.org, University of Kentucky [I have participated in and managed archival/special collections exhibits at two different institutions. I think this is a topic that gets passed over a lot, when it is one of the main ones we see the campus and local community interact with and participate in our institutions. I am always curious why we, as a profession, do not pay more careful attention to this topic, when I know that institutions are doing wonderful things.]||Meghan Courtney, email@example.com, Outreach Archivist at the Walter P. Reuther Library, Archives of Labor and Urban Affairs in Detroit. In summer 2017 we'll launch an exhibit related to the 1967 civil unrest in Detroit, like many cultural organizations in the city. Because we hold over 40 collections with related material, we're focusing our efforts on teaching critial thinking and information literacy through incorporating primary sources into the exhibit in a transparent way. Can also discuss our attempts to get grant funding by leaning on the "exhibit as teaching tool" model.||Teri Hedgpeth, U.S. Olympic Committee Archivist & Historic Steward. This defines my role with the USOC. We have an archive; however, we also have a museum component of artifacts that we use in displays across the United States to further the Olympic Movement. I would be very interested in this and think that this could even be tied into a cultural competency linking archives and museums, shared behaviors, challenges, etc. firstname.lastname@example.org.||Janet Hauck, email@example.com, Whitworth University Archivist - through the installation of numerous exhibits at my institution, I have increased collections, gotten grants, helped celebrate anniversaries and the opening of new buildings, and taught undergraduate history majors some good resume-able skills. I agree that archival exhibits are an exciting tool that our profession should showcase, and I would love to participate with you on this panel.||Lourdes Santamaría-Wheeler, firstname.lastname@example.org. Exhibits Coordinator, University of Florida George A. Smathers Libraries.I oversee an exhibition program that enhances research and learning opportunities by sharing and interpreting the Libraries’ collections. My work addresses an increasing imperative to academically engage students outside the classroom, and reveal collections to a broader public. I specialize in exhibitions, technology, community engagement, and broad access. I frequently lecture in Museum Studies courses to expose and educate students to other aspects of GLAM work; using museum training in other cultural sectors. I have a BFA in photography and MA in Museum Studies.||Greta Browning, Reference Archivist/Librarian, Appalachian State University. I head exhibits for Special Collections. We install surrogates or duplicates in most cases due to the less than ideal exhibit cases in our library. I also have worked with academic classes to assist them in researching and installing their exhibits in our cases--a real time-saver for us and a quality exhibit product. We are also beginning to do digital exhibits.||Sandra Varry, Heritage Protocol & University Archivist at Florida State University - email@example.com. Many years of exhibits at different institutions, currently managing a museum as well as other exhibits spcaes as part of the university archive.||Katrina O'Brien (Collection Mgr/Archivist) exhibit team model collection/cars/education/design, building archive into collection, linking with larger collection online catalog and online collection highlight, preservation in design, duplication and replicas firstname.lastname@example.org||Mary Ahenakew, Exhibits Librarian, U.S. Military Academy Library; creating engaging and interactive exhibits using materials in our special collections and archives.|
|Meaghan O'Riordanemail@example.com||Get the People Paid: Establishing a Workflow for Processing New Acquisitions||Who receives new collection material - curators, archivists, the head of collections or your collections manager? Once received, how is information communicated and paperwork distributed in order to pay vendors and individual sellers? Where is material held in the interim? What about communicating with the finance team for your library and/or university? Once items are paid for, how do they move on to archivists and catalogers to be accessioned? What about gifts? Do they go through a similar process or something different? These are all questions that I have had to answer with colleagues as we have established workflows for handling new acquisitions. I'm interested in other folks who have struggled with or worked on these types of questions and come up with answers and solutions that have worked for their institutions. I serve as the Accessioning and Collections Management Coordinator, so it would be interesting to get some other folks with similar titles on board, as well as folks who serve in other (maybe more traditional) roles but have taken on these types of responsibilities.||Katrina Windon (Accessioning and Processing Archivist, University of Arkansas); Julie May (Managing Director of Library & Archives, Brooklyn Historical Society); Jessica Geiser (Collections Management Librarian, University of California Riverside), Maurita Baldock (University of Arizona); (CLOSED - at capacity 10/17/16) Kira Dietz (Acquisitions & Processing Archivist, Virginia Tech); Volodymyr Chumachenko (Processing Archivist, Kansas State University), Joy Novak (Head of Collection Management and Outreach for Special Collections, Washington University in St. Louis); Sue Luftschein (Head, and Archival & Metadata Librarian, USC Libraries Special Collections)||firstname.lastname@example.org; email@example.com; firstname.lastname@example.org, email@example.com; firstname.lastname@example.org; email@example.com; firstname.lastname@example.org; email@example.com|
|Megan M. Atkinsonfirstname.lastname@example.org||Little Things That Make a Big Difference: Practical Archive Tools for Everyone||Have you created something unique that you use in your archives that is worth sharing with others? Have you created a special bookmark, a better enclosure, a quick way of converting a file, a better way to organize a shelf, a more practical way of using a program, a program we should all know about? This pannel would include a lightning round, show and tell. This would not be the pannel to discuss your biggest ideas. Everyone has a few seconds to show off their idea, either on the bigscreen or physically in person. The goal is for everyone to take away at least a few potential ideas that may help make their job better, their work day easier, or a project less expensive. This requires a large number of participants and quite a few ideas, but would benefit email@example.com|
|Melissa Hernandezfirstname.lastname@example.org||Rights & Access to digitized audio and video recordings||For years now cultural heritage institutions with sound and video recordings in their collections have been warned about the imminent danger of losing this unique and valuable content to degradation and obsolescence. Standards, tools, and/or guidelines for the digitization of these have been developed and made available and work is underway at many institutions for digitization. However, once digitized access to this content is still limited because of the complex copyrights status of most recordings. How are rights being handled for digitization of sound recordings ? How are we balancing our mission as libraries and archives and copyright compliance? This session can hopefully be a space to share solutions, workarounds, and approaches to dealing with the complexities of copyright for sound recordings.||Laura Treat, University of North Texas, interested in video portion; ,Chloé Pascual California State University, Long Beach; Rita Johnston, University of North Carolina at Charlotte (interested in oral history copyright & ethical issues)||email@example.com; firstname.lastname@example.org; email@example.com|
|Michelle Sayersfirstname.lastname@example.org||Digitize and Return: Navigating the World of Digital Surrogates||Many of us deal with scanning and returning collections to donors who aren't quite ready to give up their materials indefinitely. Looking for others who face this challenge and how you deal with copyright and other issues, and how you are making digital surrogates available to patrons.||Dainan Skeem - BYU goes out to communities to scan docs called History in Your Attic; Julie May (Managing Director of Library & Archives, Brooklyn Historical Society) Katrina O'Brien (Collection Mgr, World of Speed) "Archive from the Streets", digitizing loaned scrapbooks, exhibit-specific loans, collection highlights, Racing Story Vault, lender/donor development, specialized loan email@example.com; firstname.lastname@example.org; email@example.com||Andrea Weddle, firstname.lastname@example.org, Texas A&M University-Commerce. We document regional/local history (with an emphasis placed on African American history) by collecting digital surrogates from families, churches, school alumni associations, and small regional repositories through formalized partnerships.||Kim Andersen, AV Materials, State Archives of North Carolina. email@example.com. We are currently not officially collecting digital surrogates of material held in private hands outside our institution. That policy has been called into question recently and is being debated. The argument goes like this - we have for years and years collected analog copies of original materials held in private hands outside the institution (specifically negative copies of original photographs) so how is this so different? Factors in play include space in our Digital Repository, collection management in our Digital Repository, rights management, and donor relations.||Linda Reynolds, East Texas Research Center, firstname.lastname@example.org We have been doing "Community Collections" for about 12 years now. We have multiple paperwork for individual community members and paperwork for smaller institutions. It has been very successful in underrepresented communities i.e. African American and Native American. http://digital.sfasu.edu/cdm/landingpage/collection/Community |
I am also part of a multi-disciplinary project that has four components, one of which is a community collection Voices from Small Places http://digital.sfasu.edu/cdm/landingpage/collection/Voices
|Maggie Schreiner, New York University (formerly Culture in Transit). Culture in Transit was an 18 month grant project funded by the Knight Foundation that funded post-custodial community digitization work at METRO, the Brooklyn Public Library and Queens Library. We recently released a Toolkit for to guide others in this work: https://mnylc.github.io/cit-toolkit/. My work at Queens Library specifically focused using this model to build community partnerships and teach digital archiving. Email: email@example.com||Dara Flinn, firstname.lastname@example.org: Rice University and other institutions are participating in an ongoing project, "Astrodome Memories", supported by IMLS and the Texas State Library and Archives Commission, a community partnership to digitize photos, scrapbooks, programs, memorabilia such as uniforms, etc, and exhibit on the Astrodome Memories web site (omeka.astrodomememories.org). The materials are all returned to the owners upon digitization.|
|Natiba Guy-Clement & Tiana Taliep, Schomburg Center, NYPLemail@example.com||Confidentiality and Access in the Archive: Walking the Fine line||Have you ever been faced with having to provide access or answer questions about items in your Archive that might interfere with donor or institution imposed restrictions on access or confidentiality? Join us to discuss real life scenarios and outcomes and the steps taken to ensure that the balance between access and confidentiality are upheld.||Sarah Hopley (Special Collections and Exhibits Librariany at Murray State University - this exact issue has been a real challenge since I've come into this position. It's a real struggle)||firstname.lastname@example.org|
|Nicole Laflammeemail@example.com||Gamification in the Archives||Are you using gamification at your archives? If you’ve raised interest in using archives, or re-fired donations by tapping people’s natural eagerness to use their knowledge, help out, or just compete, you’re using gamification! It can be something done in social media or other digital realm…but it doesn’t have to be. It’s about making a “game” of something, but with a very real benefit for your repository and the participants. We are seeking panelists for a lightning round discussion on games in the archives!|
|Rosemary K. J. Davis & Chloe Raubfirstname.lastname@example.org; email@example.com||Identity-Focused Collections: Intersectional Approaches||The Women's Collections Round Table is seeking people interested in developing and participating in a panel. Possible topics include feminist and intersectional collection development strategies, the complicated labor of making women's and other identity-focused archives more inclusive across the spectrum of gender, race, and sexuality, and issues surrounding increased representation for the lives and experiences of people of color within archival collections. We'd like to highlight the work of people and institutions that are making collections already focused on the marginalized more diverse at every phase of the process--community outreach, collection acquisition, description, accessibility, and education. We are open to ideas (in terms of format and content) and want this panel to emerge as a true collaboration between all participants.|
Nikki Lynn Thomas, firstname.lastname@example.org, | Dominique Luster, Carnegie Museum of Art (LusterD@cmoa.org)
|Sam Winn, Virginia Tech (International Archive of Women in Architecture)||email@example.com||Jessica Ritchie, Old Dominion Universityfirstname.lastname@example.org|
|Shannon Lauschemail@example.com||Educational Outreach in the Community: Teaching Archives to Alike, Different Communities||Has your institution offered workshops or educational opportunities to the public? What was your experience and outcomes? In 2016, we offered a grant-funded workshop that taught archivists, librarians, and teachers how to build a virtual exhibit, including how to find content, use common scanning standards, and navigate Omeka. Not only did participants find this a valuable experience, but it allowed us to connect to educational institutions across the state.||Doug McElrath. University of Maryland; Jenny Swadosh, The New School Archives and Special Collections Rachel Seale, Iowa State University; working on a workshop in spring 2017 to campus affinity groups that shows how they can preserve & document their heritage, focus on oral history; Danna Bell, Library of Congress (CLOSED, met capacity11/3)||firstname.lastname@example.org; email@example.com; firstname.lastname@example.org|
|Stephanie Clark, Oregon State Archivesemail@example.com||The work is not the profession: non-archival work to achieve archival goals||In a profession that is in the middle of a paradigm shift, the daily work that we do often falls outside of our traditional roles. In this session, we explore what that looks like. How have policies and procedures within your organization evolved to absorb these new responsibilities? How have you managed expectations while not stifling innovation? How do you push past the traditional boundaries of the profession in order to strengthen your organization and remain relevant in your stakeholder community?||Matt Brown; Heather Isbell Schumacher (Archivist, Architectural Archives at the University of Pennsylvania; Mary Margaret Groberg (Outreach Archivist, Norwich University); Blake Spitz (Archivist, University of Massachusetts Amherst); Erin Passehl-Stoddart (Head, Special Collections and Archives, University of Idaho); Sandra Varry, Heritage Protocol & University Archivits, Florida State.|
firstname.lastname@example.org; email@example.com; firstname.lastname@example.org; email@example.com; firstname.lastname@example.org
|Susanne Belovariemail@example.com||Digital Processing - for 'regular' archivists||Discussing and analyzing actual experiences with digital processing of large (unstructured) collections that are trying to use MPLP type approaches (simple, fast, cheap, reliable etc). I want to present about my reserach/work project in Germany this summer trying MPLP type approaches to process 677 GB (focus on analysis, weeding, de-duplication, appraisal). [the term 'regular' archivists comes from https://saaers.wordpress.com/2016/04/05/digital-processing-at-the-rockefeller-archive-center/]|
|Theresa Rea, Oregon State Archivesfirstname.lastname@example.org||Not your parent’s archives…||Outreach is an integral component of the archives profession. The antiquated mindset of “build it and they will come” is not realistic in reaching new audiences in the 21st century. What are some creative ways archivists have engaged users in using original materials, sparking imagination, making archives fun, interesting and relevant? How can planning events such as Archives Month celebrations and other outreach programs energize collaboration among archivists and advocate for our institutions and profession? How can these types of outreach activities entice non-traditional users and help inform public perceptions of archivists and archives?||Sierra Green, Archivist, Senator John Heinz History Center, email@example.com|
|Virginia Ferris, North Carolina State Universityfirstname.lastname@example.org||Archivists and oral history: Engaging our communities to create more inclusive collections||Oral history is widely recognized and used as a tool for creating more inclusive collections that reflect and engage the diversity of the communities that archivists support, but the role of archivists working with oral history is not one that is frequently explored. This panel will examine the roles of archivists at different institutions who are using oral history as a tool for actively filling gaps in the record, and in innovative approaches to sharing and connecting communities to the archive.||Allison Schein, Studs Terkel Radio Archive; Stefanie Ramsay, Swarthmore College; Natalie Navar, Archivist at the Center for Oral and Public History (COPH), California State University, Fullerton (Current MMLIS student at the University of Southern California); Katrina O'Brien, World of Speed Motorsports Museum; Jaycie Vos, Southern Oral History Program, UNC-Chapel Hillemail@example.com; firstname.lastname@example.org; email@example.com; firstname.lastname@example.org; Katrina@worldofspeed.org|
|Volodymyr Chumachenkoemail@example.com||Immigration Archival Collections Today: Dimensions, Transnationality, Relevance||The conversation about the preservation of the country’s immigration history as a specific subject of the archival work has largely been left to specialists rather than integrated within conversations in the archival profession. Documents and artifacts reflecting America’s diverse past and present are dispersed throughout a wide range of repositories and private collections across the country. Often, these collections hold unique and important historical documents of the “old country”, and as such, they can have great research potential for researchers outside of the United States. The issues of international cooperation, provenance and custodial responsibility, collaborations of archivists with immigrant communities, collaborative processing projects with members of the community who have the appropriate language skills, and other aspects of this rich field are sought to be discussed.. ||Daniel Necas, IHRC Archives, U of MN (my suggestions added to ldf) ; Lisa Huntsha, Swenson Swedish Immigration Research Center (Augustana College). We do a lot to encourage international collaboration and support visiting scholars from around the world, and we do a good job of connecting with 3rd+ generation immigrants, yet need to do more to reach the more recent immigrant community. We also struggle with getting students (we’re on a college campus) to use our resources because of real and perceived language barriers. Could also speak to collaborative processing projects. |
Conor Casey, Labor Archives of Washington, University of Washington Libraries Special Collections. Our labor and labor-related collections have important connections to diaspora communities, including especially the Filipino American community (cannery workers union collections, Carlos Bulosan Papers, and an Anti-Marcos collections) and some Mexican and Central American immigrant communities (UFW, farmworker, Casa Latina worker center). As such, these labor records also can tell important stories about transnational labor flows, immigration, and diaspora communities in the Western US, the Pacific Rim, and the Pacific Slope.
|firstname.lastname@example.org; email@example.com, firstname.lastname@example.org|
|Bethany Fairemail@example.com||Outreach for Transparency on a Shoestring|
|Ingi Housefirstname.lastname@example.org||From Oppression to Power||From Oppression to Power uses collections that were originally used to negatively track or oppres specific groups and see how they flipped into something positive. The Chinese Exclusion Act from NARA San Francisco is a prime example of documentation used to track Chinese immigrants who came into the county. This provides a wealth of information for anyone trying to find their ancestors, track migration and recover the history of Chinese Americans. An additional example involves court records from individuals involved in the Civil Rights Movement. These records shed light on a time when activism was viewed as criminality and intentionally created a negative dialogue between oppressed individuals and the system which oppressed them. Now these records can be used to understand and provide context to the people initially oppressed during this time.||Ingi House - Archivist at the National Archives in San Francisco - I would love it if others from joined so this could be a pannel!|