Digital Library Center Blog | UF

The Alachua County Historic Trust: Matheson Museum, Inc. and the University of Florida George A. Smathers Libraries need help identifying historic photographs taken in Gainesville from 1920-1970. The photographs were taken by Elmer Harvey Bone and they’re all online within the Elmer Harvey Bone Collection here.

The Elmer Harvey Bone Collection is particularly important to the Digital Library Center because the collection is shared between the Matheson Museum and the University Archives, and because our own Lourdes Santamaria-Wheeler chosen this collection for her graduate work in museum studies because of the way it connects traditional library and museum collections. The Gainesville Sun newspaper has an article on the collection, and please dive into the collection and let help us find the names of the men in the “Best Beard” contest, the names of the people in the Brown Wedding party, and all of the others!

The Samuel P. Harn Museum of Art at the University of Florida has been awarded a Collections Stewardship grant from IMLS (Institute of Museum and Library Services). The project abstract is online along with the abstracts for the many other winners, and the Harn’s project is “Digitization of the Harn Museum Collection.” For the project, the Harn Museum will be taking digital images for 2,000 items and adding them to their collections management system. These digital images are necessary for practical purposes of access right now, but they’ll also create the foundation for building larger projects like digitizing exhibits and entire collections later on.

Congratulations to the Harn!

Comics studies and comics collections continue to grow, and now there’s more great news. Ohio State University’s Cartoon Research Library is acquiring the International Museum of Cartoon Art’s collection. Currently, OSU’s gallery space is small (or so this article says–I haven’t been lucky enough to see it yet, but it’s on my list of places to go as soon as I can) so OSU’s Cartoon Research Library is planning a larger gallery space to display more of their already excellent, and now growing, collection. This is great news for comics studies as a whole–it means more resources will be available in a centralized and organized place–and it means that the International Museum of Cartoon Art’s materials will again be available and in a place with lots of human, institutional, and printed friends. This is also great news for OSU and the International Museum of Cartoon Art because it will allow them to more easily continue their work in comic studies together.

The University of Florida Digital Collections have a number of collaborative partnerships with the Digital Library of the Caribbean, the Florida Digital Newspaper Library, and other projects. One of our local partners is the Matheson Museum. The picture above comes from one of their photograph collections, the E. H. Bone Collection, and many other photos are in the Matheson Museum and in the University Archives, so this is a great partnership to help preserve the history of the Gainesville, Florida area and to preserve the early history of the University of Florida while also showing how the town and school developed together. This particular picture seems like a great image for a Friday Gainesville’s quirky side.

The Webby Award winners and nominees for 2008 are out and one of the nominees was “The Calligraphic World of Mi Fu’s Art” from the National Palace Museum, and it’s on calligraphy. UF’s Digital Collections don’t have as much related material as we’d like (but we’re digitizing 100,000 pages a month so we’ll get there), but we do have the 24-volume set of “Qin ding xi Qing gu jian” and we made a few pages into a Flash flipbook to help display the beauty of the volumes.

Jane Pen has been instrumental in getting “Qin ding xi Qing gu jian” digitized and she’ll be visiting Taiwan this May 24-31, and meeting with the library at Tamkang University. Hopefully this will lead to more partnerships with libraries and museums, especially with so many museums in Taiwan are actively involved in digitization projects.

“The Calligraphic World of Mi Fu’s Art” is an excellent site because it does something that couldn’t easily be done without the technologies it uses. For many of the other Webby Award sites this is also true, but many others are aesthetically pleasing first and then accessible second or not at all. For some sites like the National Palace Museum’s site tools to recognize calligraphy or handwriting akin to Optical Character Recognition simply aren’t yet available at the level they’re needed to make the site as accessible as possible, but the site still has a great deal of other accessible information. In the meantime, “The Calligraphic World of Mi Fu’s Art” is a beautiful site and one that will hopefully be enriched even further in the near future with new technologies.

“This is crucial, the fact that a book is a thing, physically there, durable, indefinitely reuseable, an object of value.”

The quote above is from page 38 of “Staying Awake: Notes on the alleged decline of reading,” by Ursula K. Le Guin in Harper’s Magazine (Vol. 316, No. 1983, February 2008, p. 33-38), and it speaks to the issue of materiality for digitization. Digital initiatives have rightfully focused on access to book contents, or access to information. Given the technological limitations for even this, with the difficulties from copyright and costs of mass digitization, access to information has been a lofty goal alone. Now however, with ever-increasing screen sizes and touch screens entering popular use through the MacAir, iPhone, Nintendo DS, and others, the object-ness of the book must be further considered.

In Evocative Objects, Sherry Turkle explains “We think with the objects we love; we love the objects we think with” (5) and this love includes the object of the book. The design of an interface impacts its usability based on the way the user feels about the interface. Donald Norman has shown that people find “prettier” interfaces easier to use, so the interface is also a consideration in working through to a means for representing the book-as-object in a digital form. I don’t have any easy answers for how to best go about this representation, but I’m working on it for my upcoming presentation at the University of Florida’s Comics Conference, and I hope to post more about it soon. In the meantime, I’m considering the object qualities of digitized comics, the interface(s) in which they are represented, and the relation of digital libraries and museums in terms of needs and problems for showing the qualities of objects and addressing the users’ desires for those object-qualities.

Like the Library of Congress, the National Museum of Health and Medicine has also been exploring using Flickr to share images. The images are great and include historical photos and documents. Some, like the Malaria Joe comic are humorous images from their eras, but some of the photos are strikingly beautiful, painful, haunting, and inspiring snapshots of life, offering glimpses into their time and into people’s lives. Everyone should be able to wander through these images, and it’s an amazing gift to have them online for us to see:

http://www.flickr.com/photos/99129398@N00
http://www.flickr.com/photos/7438870@N04
http://www.flickr.com/photos/22719239@N04

Britain’s Queen Elizabeth is now on YouTube. Since there’s so much in terms of historical footage and in terms of history within that footage, I’m excited to see what this will mean for museums and historical materials. The Queen is on YouTube on The Royal Channel: The Official Channel of the British Monarchy. While many official organizations - political, governmental, and other - have released videos through museums and libraries, it’s interesting to see those materials being added into the regular-user interfaces where people can stumbled across them through the official-and-popular format. Seeing historical footage like “Roses for the Rose Queen” are interesting in themselves and it will be more interesting to see what others do with them, using them for teaching, research, and hopefully new creative projects.

In thinking about the Queen on YouTube, it also seems like Queen Elizabeth is always the correct queen-size, being large and small enough for any format, like the always one and more of the royal “we”. While queen-sized on US women’s clothing is used to mean large or plus-sized, it’s often a normal woman’s size. Like the large-yet-normal-size known as queen-size, Queen Elizabeth seems to be sized appropriately for any media format. Hopefully, other public figures will learn from her appropriate-sizing and size themselves to speak through different media formats in the most appropriate and productive ways possible.

One of the more interesting new Web 2.0-style mashups are library and museum partnerships. Both have large collections that need to be interconnected and digitized for easier and expanded access. However, libraries have traditionally focused on information access and museums on exhibit-access with the display significant to the materials. As more special collections go online and more information in general, display and access are both becoming more important for libraries and museums. The image above is a shot from a SketchUp file of Gallery B in the Samuel P. Harn Museum of Art at the University of Florida in Gainesville, Florida. This is just one small work-in-progress, but it’s an artifact of a much larger process and it’s also really neat to explore the inside of a museum from outside the museum.

We also have these files for a virtual exhibit using the Special Collections Exhibit Area for an exhibit on the Art of Letterpress. Hopefully we’ll soon be adding more contextual materials on exhibits and exhibit design, as well as more exhibits themselves.

UF’s Digital Library Center has digitized this Grebo Mask. I’m not a mask expert of any sort, but the description tells that the Grebo Mask is possibly Kru (Liberia and Ivory Coast), in the shape of a bird with four eyes, representing a seer (Wood) circa 1960.

The Grebo Mask alone is a beautiful artifact, but what’s more interesting is that the Digital Library Center is working on a standard method for putting these images together in a looping clip, where users can click to stop the clip or to zoom in on the object. A number of museum websites offer spinning objects or objects that can be zoomed in on, but I haven’t found any examples as good as our full 360-rotation and depth of zooming. As museums and libraries move to digitize more materials, the best methods not only make materials accessible in the same ways as they would have been in non-digital format, but in ways that improve their usability through digitization.

Masks and other object-artifacts are often presented in museums encased in glass, so that only parts of the objects are viewable and the detail of the view is hindered by lighting, glass or ropes defining the space, and eyesight. Digitizing objects in ways that respect the materiality of objects allows users to see and study the objects in new ways while working within the traditional constraints of not handling, and thus not damaging the objects.

Digitization approaches that respect the materiality of object dovetails into digital preservation initiatives and into more recent studies on the importance of objects-as-objects, like Sherry Turkle’s edited collection Evocative Objects: Things We Think With, which studies the importance of objects for inspiration and thought patterns (it’s much like Donald Norman’s work on how designs affect the way users think about and use objects in Things that Make Us Smart and The Design of Everyday Things). I’m excited to see where this project takes us and to see the many problems and solutions we find in presenting digital versions of objects.