Elisa Lanzi, Smith College presentation at VRA 28 Atlanta conference session "Transition to Learning Spaces: Redefining Our Space for the Digital World."
How JISC Projects are Funded and Sustained (2010 version)Alastair Dunning
An introduction to how JISC projects are funded and sustained, with particular emphasis on concentration of projects funded under its Digitisation Programme
How JISC Projects are Funded and Sustained (2010 version)Alastair Dunning
An introduction to how JISC projects are funded and sustained, with particular emphasis on concentration of projects funded under its Digitisation Programme
Open.Ed. Supporting engagement with learning technology through open education Lorna Campbell
Presentation on the University of Edinburgh's vision and policy for Open Education given at the annual ALT Scotland event "Sharing Stories: enablers and drivers for Learning Technology in Scottish Education", at Dundee and Angus College, 7th June 2016.
Digibury December: Dan Knox, University of Kent MakerspaceLizzie Hodgson
Research student, Daniel Knox, presented an overview of "The Shed”: The University of Kent's School of Computing’s Makerspace which is equipped with a wide variety of machines and equipment including 3D printers, laser cutters, Oculus Rift and Raspberry Pi. In his talk, Dan explained how The Shed came to life plus how, by taking advantage of the increasing accessibility of electronics and engineering with a rapid prototyping capability, it also supports new kinds of innovative teaching and learning.
Day workshop at Highwire, Lancaster University, 4th Feb 2016
exploring issues for designing for those at the physical, social or economic margins of society.
http://alandix.com/academic/talks/margins-and-migrants-2016/
Presentation delivered at International Librarian International Conference 2019, Wednesday October 16th. https://www.internet-librarian.com/2019/Agenda.aspx
How Learning Objects & OERs Position the Library to Enhance Student SuccessJohn D. Shank
Open Educational Resources (OERs) and Learning Objects can be leveraged by libraries to enhance their own instructional efforts as well as build their learning collections to strengthen their faculty educational resources.
#OpenScot Update for Warsaw Policy Forum June 2017Joe Wilson
This is an Open Scotland update for the Warsaw Open Educational Resource Policy Forum June 2017 You can find out more about Open Scotland http://openscot.net/
Slides for a webinar organized by BCcampus on Open Education at British Columbia post-secondary institutions. These slides are about a project in which students and faculty create and use case studies as open educational resources
Presented by Carolyn Caizzi at the Annual Conference of the Visual Resources Association, April 18th - April 21st, 2012, in Albuquerque, New Mexico.
Session: Engaging New Technologies
While the seemingly exponential array of new technologies offers the potential to enhance the services we provide, simply keeping up with what is available (or on the horizon) is a daunting process. This fast-paced session will demonstrate a rich variety of new technologies, emphasizing concrete examples that show engagement in professional contexts. Utilizing the expertise of energetic, tech-savvy presenters, this session will introduce new tools as well as creative uses of more established technologies, demystifying them to empower session attendees to further investigate on their own. Emphasis will be given to technologies that can be readily utilized in teaching, learning, and research environments.
CO-ORGANIZERS:
Betha Whitlow, Washington University in St. Louis
Meghan Musolff, University of Michigan
MODERATOR: Betha Whitlow, Washington University in St. Louis
PRESENTERS
1: Carolyn Caizzi, Yale University
2: Meghan Musolff, University of Michigan
3: John Trendler, Scripps College
4: Betha Whitlow, Washington University in Saint Louis
For more links: http://www.diigo.com/user/Engagingtech
Open.Ed. Supporting engagement with learning technology through open education Lorna Campbell
Presentation on the University of Edinburgh's vision and policy for Open Education given at the annual ALT Scotland event "Sharing Stories: enablers and drivers for Learning Technology in Scottish Education", at Dundee and Angus College, 7th June 2016.
Digibury December: Dan Knox, University of Kent MakerspaceLizzie Hodgson
Research student, Daniel Knox, presented an overview of "The Shed”: The University of Kent's School of Computing’s Makerspace which is equipped with a wide variety of machines and equipment including 3D printers, laser cutters, Oculus Rift and Raspberry Pi. In his talk, Dan explained how The Shed came to life plus how, by taking advantage of the increasing accessibility of electronics and engineering with a rapid prototyping capability, it also supports new kinds of innovative teaching and learning.
Day workshop at Highwire, Lancaster University, 4th Feb 2016
exploring issues for designing for those at the physical, social or economic margins of society.
http://alandix.com/academic/talks/margins-and-migrants-2016/
Presentation delivered at International Librarian International Conference 2019, Wednesday October 16th. https://www.internet-librarian.com/2019/Agenda.aspx
How Learning Objects & OERs Position the Library to Enhance Student SuccessJohn D. Shank
Open Educational Resources (OERs) and Learning Objects can be leveraged by libraries to enhance their own instructional efforts as well as build their learning collections to strengthen their faculty educational resources.
#OpenScot Update for Warsaw Policy Forum June 2017Joe Wilson
This is an Open Scotland update for the Warsaw Open Educational Resource Policy Forum June 2017 You can find out more about Open Scotland http://openscot.net/
Slides for a webinar organized by BCcampus on Open Education at British Columbia post-secondary institutions. These slides are about a project in which students and faculty create and use case studies as open educational resources
Presented by Carolyn Caizzi at the Annual Conference of the Visual Resources Association, April 18th - April 21st, 2012, in Albuquerque, New Mexico.
Session: Engaging New Technologies
While the seemingly exponential array of new technologies offers the potential to enhance the services we provide, simply keeping up with what is available (or on the horizon) is a daunting process. This fast-paced session will demonstrate a rich variety of new technologies, emphasizing concrete examples that show engagement in professional contexts. Utilizing the expertise of energetic, tech-savvy presenters, this session will introduce new tools as well as creative uses of more established technologies, demystifying them to empower session attendees to further investigate on their own. Emphasis will be given to technologies that can be readily utilized in teaching, learning, and research environments.
CO-ORGANIZERS:
Betha Whitlow, Washington University in St. Louis
Meghan Musolff, University of Michigan
MODERATOR: Betha Whitlow, Washington University in St. Louis
PRESENTERS
1: Carolyn Caizzi, Yale University
2: Meghan Musolff, University of Michigan
3: John Trendler, Scripps College
4: Betha Whitlow, Washington University in Saint Louis
For more links: http://www.diigo.com/user/Engagingtech
Presented by Jan Eklund at the Annual Conference of the Visual Resources Association, April 18th - April 21st, 2012, in Albuquerque, New Mexico.
This informal discussion will focus on recent developments in cataloging and metadata. To start things off, Jan Eklund, independent metadata consultant, will give an overview of CollectionSpace and Jonathan Ward, editor at the Getty Vocabulary Program, will talk about CONA. An open discussion will follow which will be driven by the presentations and any other topics of interest to audience members including CCO, Getty vocabularies, embedded metadata, semantic web, Dublin Core, etc. Attendees are encouraged to bring their cataloging conundrums and solutions to the meeting for lively discussion.
Jointly organized by Sherman Clarke, Elisa Lanzi (Smith College), Meghan Musolff (University of Michigan-Ann Arbor), and Greg Reser (University of California-San Diego).
Presented by Christin Chenard at the Annual Conference of the Visual Resources Association, March 10-15, 2015, in Denver, Colorado.
Session 9: “If you build it, they will come.”...but will they come back? Supporting user-friendly online resources with usability testing
ORGANIZER / MODERATOR: Jen Green, Plymouth State University, NH
PRESENTERS:
Christin Chenard, Plymouth State University, NH
Melanie Clark, Texas Tech University, Lubbock, TX
John Trendler, Scripps College, Claremont, CA
Building a digital resource collection for your department or institution is one major step towards providing access to rich online resources, but how do you ensure that your resource makes your users happy rather than frustrated, or even angry? Ask them! There are many reasons why gathering user feedback is often an afterthought to the process of creating and launching a digital platform, but it does not have to be. Any time is a good time for usability testing, although the sooner you know what’s wrong, the sooner you can fix it to accommodate your users’ needs. In this session you will learn about a variety of approaches to usability testing addressing a variety of stages within the process including planning, implementation, interpreting result, responding to results, and repetition. Be prepared to walk away with tangible ideas that you can implement right away at your home institution.
When Servers Crash: Disaster Planning in the Digital Age
VRA Conference 2007, Kansas City
Co-Chairs:
Heather Seneff, University of Washington and
Heather Cleary, Otis College of Art and Design
Moderator:
Lise Hawkos, Arizona State University
Abstract: This session will revisit and update VRA Special Bulletin 7: Disaster Planning for Visual Resources Collections, published in 1994. The experiences of visual resources curators who have been through recent disasters will be examined, focusing on how their disaster plans did or did not facilitate recovery. The session will also address preparing a disaster plan in the digital age; as analog collections depend more on digital media, how can a robust disaster plan prepare for both the analog and digital collection? The participants hope to present a diverse and practical discussion about disaster planning.
Meghan Dougherty, Visual Resources Collection, College of Architecture and Urban Planning, University of Washington
The Visual Resources Association remembers those members who have passed away during the last few years: Jeffrey Stuart Erickson, Florence Jill Thorp, and James F. Monteith.
Presented by Marianne Martin at the Annual Conference of the Visual Resources Association, April 18th - April 21st, 2012, in Albuquerque, New Mexico.
Session: Beyond These Four Walls: Optimizing Traditional Collections Through Outreach and Collaboration
With the advent of digital technology, image repositories are no longer limited to a single physical presence on campus or in a museum. This provides motivation for creative thinking and prompts the establishment of new working relationships within our own institutions as well as on a national level. As curators, librarians, and faculty become well versed in the use of digital technology, many have been able to optimize the development of their resources through successful collaborative ventures. This session will highlight some of these recent projects at academic institutions, museums, and cultural archives.
ORGANIZER & MODERATOR: Karin S. Whalen, Reed College
PRESENTERS:
• Jen Green, Lamson Library and Learning Commons, Plymouth State University
• Marianne Martin, Colonial Williamsburg Foundation
• Laura Anne Heller, Dickinson Research Center, National Cowboy & Western Heritage Museum
• Stephanie Post, The Metropolitan Museum of Art & Jenni Rodda, Institute of Fine Arts, New York University
A highlight of the Conference, the Members & Awards Dinner brings colleagues together for an opportunity to relax and socialize over dinner in an elegant setting. The evening's festivities include recognition of the Association’s honors and awards recipients along with the generous donors who have made these awards available.
rethink – rebuild - rebrand: think iCentreSyba Academy
Featured address at School Library Association of Victoria (SLAV) 'Creating collaborative learning spaces: Future school library scenarios' seminar held at Victoria University of Technology, Melbourne, Friday 25 March 2011
Augmented Reality and Learning Innovation - a co-created journey? debbieholley1
Presentation Edtech World Forum Winter 2021
This talk reflects upon the pace and rate of change in learning that technology enables, and Covid-19 has accelerated this trend. The generation of new knowledge is increasing exponentially and having the 'single expert' that knows all there is on a given topic is no longer viable. Communities of practice, co-creating and sharing ways of working offer much to our students, as team working, data searching, managing and archiving are all skills employers value in the workplace. Drawing upon ONS (October 2021) data about the student experience of first year undergraduates, I suggest that student learning through the medium of the institutional VLE needs to be enhanced through authentic learning opportunities, and suggest ways in which augmented reality can play a role.
Moving from downloads to uploads: Toward an understanding of the curricular i...Darren Milligan
Full paper available: http://mw2016.museumsandtheweb.com/paper/moving-from-downloads-to-uploads-understanding-curricular-implications-of-access-to-large-scale-digitized-museum-collections-on-the-professional-practice-of-k-12-classroom-educators/
The need for museum strategy to be audience driven is now directed and enabled (in an accelerated way) by digital technologies. This allows, or requires, museums to understand the intersection between the needs of those it hopes to serve and the capacity of its own organization to meet them: to provide customized experiences and opportunities to unique audience groups. Educators are one of museums' historically most-valued audiences. Opportunities to have greater impact with teachers, their students, and the learning experiences they create, are great—greater than in the past, when museums focused on adult programming, school visitation, and exhibition-centered lesson plans. These new opportunities lie primarily in the utilization of museum collections and resources within the classroom, where the teacher can make use of them in ways that fit naturally into the learning process they have already developed for their students. To enable this, as we should, museums need to understand this group and how they use digital assets to design and deliver learning experiences. This study looks towards the development of a reusable framework for addressing this need through an understanding of the evolving role of the museum in the education space, the process and knowledge bases required for teachers to be designers of learning resources, and finally the ways that technology itself (in this case, primarily the Web) changes the nature of teaching and learning. The framework proposed is used to develop a survey instrument that is then tested through a case study of an emergent digital platform for teachers, the Smithsonian Learning Lab.
Keynote Address, Sydney CEO TL ConferenceSyba Academy
'Converging the Parallels', Primary & Secondary Teacher Librarian, Cross Regional Conference.
Presented on Friday 10 September 2010. Conference held at The Terry Keogh Conference Centre, CEO Southern Region, Revesby (Sydney).
The story of how Digital Cultures helped introduce Moodle within a WebCT shop at the University of Sydney.
NOTE: Eight full screen slides of this presentation are followed by the same slides with notes on the talk.
These slides are for a lightening talk at the Open Education Workshop Nov 21, 2008 at Macquarie University's Graduate School of Management organised by ASKOSS http://opened.notlong.com
Would you, or teachers you know, like to discover free online resources including images, video and audio that you can use in class without falling foul of Copyright laws? This session will cover how and where to easily find high quality openly licensed media for teaching, learning, and developing curriculum resources.
Presented at the Naace Strategic Conference March 2015
Licence: CC BY SA
Keynote for #teema14
http://www.nba.fi/fi/museoalan_kehittaminen/teemapaivat/puheenvuorot
Museoalan Teemapäivät/Museum Theme Days 2014
11-12 September, Helsinki
Cairns Conference School Library FuturesSyba Academy
Hay, L. (2010). What would a school library of the future look like? [Workshop]. Cairns Diocese Curriculum Conference Library Strand, Catholic Education Services, Cairns, Qld, 13 March.
VRA 2023 Collections Management in Fashion and Media session. Presenter: Wen Nie Ng
The goal of the paper is to enhance the metadata standard of fashion collections by expanding the controlled vocabulary and metadata elements for Costume Core, a metadata schema designed specifically for fashion artifacts. Various techniques are employed to achieve this goal, including identifying new descriptors using word embedding similarity measurements and adding new descriptive terms for precise artifact descriptions to use when re-cataloging a university fashion collection in Costume Core. The paper also provides a sneak peek of the Model Output Confirmative Helper Application, which simplifies the vocabulary review process. Additionally, a survey was conducted to collect insights into how other fashion professionals use metadata when describing dress artifacts. The survey results reveal 1) commonly used metadata standards in the historic fashion domain; 2) sample metadata respondents use; and 3) partial potential metadata that can be appended to Costume Core, which is relevant to Virginia Tech's Oris Glisson Historic Costume and Textile Collection. The expanded Costume Core resulting from the project offers a more comprehensive way of describing fashion collection holdings/artifacts. It has the potential to be adopted by the fashion collections to produce metadata that is findable, accessible, interoperable, and reusable.
VRA 2023 Adventures in Critical Cataloging session. Presenters: Sara Schumacher and Millicent Fullmer
This paper will cover the results of a research study looking at visual resources professionals' perceptions of the visual canon at their institutions and their actions confronting biases in their visual collections. This research is innovative because the "visual canon" as a concept is often evoked but rarely defined, and there has not been research into perceptions and practices that span different types of cultural heritage institutions. The researchers seek to focus on the role of the visual resources professional as a potential change-maker in confronting bias and transforming the “visual canon.” In our presentation, we will discuss the analysis of our survey and interviews around three key research questions: What barriers do visual resources professionals perceive in remedying the biases in the visual canon? What authorities, past and present, do they identify in shaping the visual canon? How do they approach teaching users to identify and critically confront these issues? We will highlight trends as well as unique concerns and solutions from our research participants and engage our audience with how these issues impact their own collections, policies, and instruction.
VRA 2023 Beyond the Classroom: Developing Image Databases for Research session. Presenter: John J. Taormina
The Medieval Kingdom of Sicily Image Database project collects historic images of the medieval monuments of South Italy, from the so-called Kingdom of Sicily dating from c. 950 to c. 1430, during the Norman, Hohenstaufen, Angevin, and early Aragonese periods. The project was begun in 2011, as part of a 3-year Collaborative Research Grant from the National Endowment for the Humanities, under project investigators Caroline Bruzelius, Duke University, and William Tronzo, University of California, San Diego.
The site features over 8,000 historical images in a range of media, including drawings, paintings, engravings, photographs, and plans and elevations culled from museums, archives, and libraries in Europe and America, often from the Grand Tour, as well as from available publications. The value of the database lies in making accessible to scholars the visual documentation of changes to historical sites because the medieval monuments of South Italy have been damaged, changed, and restored on many occasions, with tombs and liturgical furnishings often destroyed, dismantled, or removed. In fact, many of the 600 monuments no longer exist, often bombed during World War II or destroyed in earthquakes, or obscured by modern buildings and urban sprawl.
VRA 2023 Archives Tools and Techniques session. Presenters: Maureen Burns and Lavinia Ciuffa
The Ernest Nash collection documents ancient Roman architecture in pre- and post-World War II Italy. What made Nash's work significant, beyond capturing the present state of the ancient Roman monuments at a volatile historical moment, was the primacy of the topographical photography and the systematic order he brought to this subject. The American Academy's Photographic Archive contributed Nash's images to an open access, interactive website called the "Urban Legacy of Ancient Rome." It reveals the city in stunning detail and uses geo-referencing to provide the viewer with a better understanding of the overall contextual and spatial logic. These Nash images and metadata are also IIIF compatible. As the Academy continues to digitize and describe the full collection of about 30,000 images, thanks to the generous support of the Kress Foundation, a new partnership has developed with Archivision and vrcHost. Current high quality digital photographs of the same ancient Roman monuments are being added to compare with the historical images documenting architectural changes--whether conserved, restored, altered, reconstructed, re-sited or destroyed. This presentation will provide a progress report about what it takes to move new digital photography into IIIF and the various tools available for close examination and presentation. Finding ways to provide ready access and juxtapose historic and contemporary photography online, builds upon the legacy of Nash's quality curation and scholarship to create 21st century, accessible, online educational resources of great interest and utility to scholars, students, and a wide audience of ancient Roman enthusiasts.
VRA 2023 Exploring 3D Technologies in the Classroom session. Presenter: Amy McKenna
Amy McKenna (Williams College) discusses her project that uses Photoshop and cardboard 3D glasses to recreate the 19th-century spectacle of a historic glass stereo collection.
VRA 2023 Keynote. Presenter: Melissa Gohlke
A historical record that focuses on white, heteronormative society and events obscures many facets of San Antonio history. Peel back the veneer of normalcy and one can find rich, diverse, and unexpected strands of the city’s past. From female impersonators of the early 1900s to queer life in derelict spaces during the 1960s and finally, gay and lesbian bar culture of the1970s and beyond, the hidden threads of San Antonio’s history reveal themselves. In this presentation, LGBTQ Historian Melissa Gohlke explores these hidden histories and stitches together an alternative interpretation of the city’s historical narrative by examining a wealth of primary sources found in archives and personal collections.
About the speaker:
Melissa Gohlke is an urban historian who specializes in San Antonio LGBTQ+ history. For over a decade, Gohlke has been researching queer history in San Antonio and South Texas and sharing her passion for this history through extensive outreach activities such as presentations, media interactions, exhibits, and written work. Gohlke is the Assistant Archivist for UTSA Libraries Special Collections.
About the VRA:
The Visual Resources Association is a multidisciplinary organization dedicated to furthering research and education in the field of image management within the educational, cultural heritage, and commercial environments.
VRA 2023 Beyond the Classroom: Developing Image Databases for Research session. Presenter: Mark Pompelia
Material Order is an academic consortium of material sample collections (including wood, metal, glass, ceramic, polymers, plastics, textiles, bio-materials, etc.—any material that might be used in or considered for art, architecture, and design disciplines) founded by the Graduate School of Design at Harvard University and Fleet Library at Rhode Island School of Design and now comprising several more institutions in the US. It provides a community-based approach to management and access to material collections utilizing and developing standards and best practices. Material Order created the Materials Profile that serves as a shared cataloging tool on the LYRASIS CollectionSpace platform and can be further developed as the different needs of consortium members are identified. Open Web searching across all collections occurs via a front-end discovery portal built with Wordpress at materialorder.org.
The Material Order project was born from the acknowledgment that resource sharing and collaborative catalogs are the most promising approach to exploration and implementation. It was always the intent, now actualized, for partner institutions with different mission and scope to compel the project to consider and accommodate criteria such as material health ecologies, fabrication possibilities, and overlap into adjacent fields such as engineering and archeology. Thus, Material Order represents not just items on a shelf but a knowledge-base of compositions, uses, forms, and properties. No longer in its infancy, Material Order provides a shared and adaptable framework for managing collections across the consortium and optimal facilitation of materials-based research and exploration for art, architecture, and design applications.
VRA 2023 New Frontiers in Visual Resources session. Presenters: Meghan Rubenstein and Kate Leonard
The Art Department at Colorado College is piloting a Personal Archiving program in select undergraduate studio courses that combines visual and digital literacy instruction with personal reflection and professional development. Meghan Rubenstein, Curator of Visual Resources, and Kate Leonard, Professor of Art, will discuss the drive behind this initiative to develop student competencies within a liberal arts setting. We will share our ongoing iterative process as well as select student activities and learning outcomes that may be adopted to various institutions.
VRA 2022 Teaching Visual Literacy session. Presenter: Molly Schoen
Our everyday lives are more saturated in images and videos than any other time in human history. This fact alone underscores the need to implement visual literacy skills in all stages of education, from pre-K to post-grad. Learning how to read images with critical, analytical eyes is crucial to understanding the world around us as we see it represented in the news, social media, advertisements, etc. New technologies have exasperated this already urgent need for visual literacy education. Synthetic media, deepfakes, APIs, bot farms, and other forms of artificial intelligence have many innovative uses, but bad actors also use them to fan the flames of disinformation. We have seen the grave consequences from this age of disinformation, from undermining elections to attempts to delegitimize science and doctors, undoubtedly raising the death toll from the COVID-19 pandemic. What do we need to know about these new forms of altered images made by artificial intelligence? How do we discern between real, human-made content versus fakes made by computers, which are becoming more and more difficult to discern? This paper aims to raise awareness of how new forms of visual media can manipulate and deceive the viewer. Audience participants will learn how to empower themselves and their peers into being more savvy consumers of visual materials by understanding the basics of AI and recognizing the characteristics of faked media.
VRA 2022 Individual Papers Session. Presenter: Malia Van Heukelem
This case study of a large artist archive at a medium sized academic research library will connect the success of the artist serving as his own archivist and the collection's broad research appeal locally, nationally and internationally. Like many artists, there is so much more than his own work represented. There is correspondence, fine art prints, ephemera of other artists and writers hidden in the collection. The foundation of organization is in place; now the focus is on creating online access points through finding aids and image collections. The presentation will explore the use of ArchivesSpace, Omeka, and other software to increase access. It will also demonstrate how a solo archivist can leverage interns, student assistants, and volunteers for collections management projects that benefit both the institutional priorities and desired learning outcomes. This talk will delve into the challenges of 20th century visual resource collections such as copyright and engagement with donors. Featuring a local artist has brought other art and architecture collections to the library, without clear boundaries which has led to questions of sustainability, who and what is collected. There is definitely a need to balance the historical record and yet, there are already more archival collections accessioned than can be responsibly managed by one person. The primary collection does include works by women and artists of color, yet much descriptive work remains to forefront the diversity contained within. As an archivist and librarian at a public university, there are many competing demands for collections management, support of researchers, and instruction plus the added interest for exhibition loans and the desire for other artists and architects to be represented. This artist archive is both interesting and complex.
VRA 2022 Critical Cataloging Conversations in Teaching, Research, and Practice session. Presenters: Megan Macken, Louise Siddons
Prior to the fall of 2020, the historic record of art exhibitions held at Oklahoma State University (OSU) was available only in incomplete, unprocessed archival materials. Students in Louise Siddons’ fall 2020 History of American Art course conducted research in the digitized student newspaper archive to begin documenting OSU art exhibitions since 1960. The resulting database was shared with the public with the intention of building on the project in future courses. Throughout the project both students and faculty engaged in critical cataloging.
Using the exhibition dataset they had created, students completed two analytical assignments: a traditional art history essay in which they considered one exhibition closely, and a critical reflection prompting them to consider their new understanding of the university’s history based on the aggregation of exhibitions. As gaps and surprises in representation appeared, students developed a more nuanced picture of institutional culture in the latter half of the 20th century.
After the course concluded, art history and library faculty standardized the student-generated data in preparation for sharing on other platforms such as Wikidata. Some artists who have exhibited at OSU also have interviews in the OSU oral history collections, and intersections between these projects and the questions raised by surfacing this metadata were explored. In the process issues emerged around artists’ preferred ways of identifying themselves as well as the difficulties of achieving a balance between increased representation of artists on the margins and respect for the privacy of living artists.
VRA 2022 session. Organizer/Moderator: Allan T. Kohl. Speakers: Virginia (Macie) Hall, Christina Updike, Marcia Focht, Rebecca Moss, Steven Kowalik, Jenni Rodda
During the past year, the “Great Resignation” (aka. The “Big Quit”) has roiled the world of employment nationwide in the wake of the COVID-19 pandemic, which had already caused job losses among our membership. While many institutions and individuals now hope for a “return to normal,” others anticipate that the past two years mark a watershed necessitating further transformational changes in the years ahead. These larger employment trends have come on top of quantum shifts in the visual resources field itself, as traditional tasks give way to new responsibilities, and siloed image collections are replaced by interdisciplinary projects.
For several years, our annual conferences have featured the perspectives of newer professionals in “Stories from the Start.” Looking at the opposite ends of their career arcs, this session brings together the perspectives and experiences of two pre-pandemic retirees, two of our members who made their decisions to retire during the past year, and two currently active professionals whose retirements are pending in the near future. When and why did they make their decisions to retire? What was/is the actual process? Concerns? What comes next after we leave our offices for the last time?
VRA 2022 Digital Art History session. Presenters: Melissa Becher and Samuel Sadow
In 2019, the art history program at American University gave its masters students a new option for the capstone project that is the culmination of the degree: create a digital project on an art historical topic using Omeka S or Wordpress. Initially, only a single student chose to complete a digital capstone over a traditional thesis, but within two years there was near parity between the two options, meaning seven digital capstones for the 2021 cohort. To support these projects, a close partnership quickly developed between the University’s library, the visual resources center, and the archives. This session covers how three campus units coordinate that support for these innovative digital humanities projects, including administration of the platforms, instruction, technical support, preservation, and access to the final projects. The session will also showcase examples of student work to demonstrate the variety and creativity of projects that can be accomplished using these platforms, as well as their contributions to the field of art history. The outcome of this initiative is clear: the best of digital humanities, weaving design and technology with rigorous art historical research, and finished projects that have already resulted in successful job applications in the field.
VRA 2022 Material Objects and Special Collections session. Presenters: Allan T. Kohl and Jackie Spafford
Materials-based collections represent a challenging new mode of information management in terms of subject specialization, physical description and accommodation, and institutional mission. Building upon the successful introductory meeting of this Group in Los Angeles at the 2019 Conference, the goal of this SIG is to provide a forum for open discussion of Material and Object Collections and their relationship to various library/visual resources tasks. The Material and Object Collections SIG provides an opportunity for individuals working with a variety of materials and objects collections – including those that support art and art history courses, those that support architecture and design courses, and those in cultural heritage organizations – to share ideas, issues, and potential solutions in regard to tasks similar to common library/visual resources activities (including cataloging, documentation, staffing, outreach), as well as more specialized concerns relating to the management of physical objects (security, storage and retrieval, the design of user spaces, etc.).
By continuing to offer an opportunity for participants to share brief introductions and profiles of their collections, we hope to encourage networking and exchange information about sources for specialized items; to display sample items and share surplus samples with other collections; and to provide examples of successful solutions to typical problems. Our long-range goal is to maintain an ongoing support group that can be of particular benefit to those professionals who are in the beginning stages of building or organizing physical collections.
VRA 2022 Digital Art History session. Moderator: Otto Luna
Exploration of visualization tools in the Digital Humanities/Digital Art History realm. Presenter: Catherine Adams
Assessing the use of Qualitative Data Analysis Software (QDAS) by Art Historians and Archaeologists. Presenter: Kayla Olson
Supporting Art History Students’ Digital Projects at American University. Presenters: Samuel Sadow and Melissa Becher
VRA 2022 Digital Art History session. Presenter: Kayla Olson
This paper discusses a study (completed in the spring of 2021) which explores how common the use of Qualitative Data Analysis software (QDAS) is among two kinds of object-based researchers: art historians and archaeologists. Surveys were disseminated in a snowball fashion and contained open and closed questions. The questions sought to give participants a platform to describe if, why, and how they use programs like Atlas.ti, NVivo, Dedoose, and MAXQDA throughout their research process. While not QDAS, the image management application Tropy was also included. The author hopes that the anonymized responses will prompt discussion among professionals in academic librarianship and visual resources management about the possible impact of these digital tools on researchers in these disciplines. The question remains on whether researchers in art and material culture disciplines would benefit more from QDAS if participants were aware of: 1) Their existence and 2) Their ability to help organize artifact data and to assist in performing image-based analysis.
VRA 2022 Critical Cataloging Conversations in Teaching, Research, and Practice session. Presenter: Ann M. Graf, Assistant Professor of Library and Information Science, Simmons University
In the field of information science, we strive to provide access to information through the most efficient means possible. This is often done through the use of controlled vocabularies for description of subjects, and, in the case of art objects, for the identification of styles, processes, materials, and types. My research has examined the sufficiency of controlled vocabularies such as the Art and Architecture Thesaurus (AAT) for description of graffiti art processes and products. This research is evolving as the AAT is responding to warrant for a broader set of terms to represent outsider art communities such as the graffiti art community. The methods used to study terminological warrant by examining the language of the graffiti art community are helpful to give voice to artists who work outside the traditional art institution, allowing the way that they talk about their work and how they describe it to become part of the common discourse. It is hoped that this research will inspire others who design and supplement controlled vocabularies for use in the arts to give priority in descriptive practice to those who have been historically underrepresented or made invisible by default use of terminology that does not speak to their experiences.
VRA 2022 Session. Presenter: Douglas Peterson
In 2021, the National Archives of Estonia engaged Digital Transitions’ Service division, Pixel Acuity, to build an Artificial Intelligence (AI) tool to analyze part of its historic record. The objective was to use this tool to enhance their collection with descriptive metadata that identified persons of interest in a collection of over 8,000 photographic glass plate negatives, a task that would ordinarily take years of human labor. In this presentation, we discuss our approach to accurately detecting and identifying human subjects in transmissive media, our initial findings using commercially available AI models, and the subsequent refinements made to our workflow to generate the most accurate metadata. In addition to working with commercially available AI models, we developed strategies for validation of AI-generated results without additional human supervision, and explored the benefits of building bespoke, heritage-specific AI models. By combining all of these tools, we developed a highly customized solution that greatly expedited accurate metadata generation with minimal human oversight, operated efficiently on large collections, and supported discovery of novel content within the archive.
VRA 2022 Community Building Session. Presenter: Dacia Metes
Queens Memory is an ongoing community archiving program that engages with our local communities in our two-fold mission to (1) push local history collections out to the public through programming and online resources, and (2) pull new materials into our collections from the diverse communities of Queens, NYC. The COVID-19 pandemic forced us to close our buildings, cease all in-person work and programming and shift our work to the virtual world. Our team quickly modified our processing workflow and asset tracking with the high volume of crowd-sourced donations coming through new online submission forms, set up in a rapid response to capture the stories coming from the pandemic’s first epicenter in the U.S. In my proposed conference session, I will discuss how we planned and managed the shift to fully online collection development. I will talk about our virtual outreach efforts to engage with the community and get them to contribute their materials, and how we developed the online tools and processes that allowed us to collect photographs, oral history interviews and other audio/visual materials, while also capturing the necessary metadata and consent forms. New internal communications channels, roles for volunteers, and triage processing for publication resulted from these efforts and are now essential parts of the team’s practices.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Normal Labour/ Stages of Labour/ Mechanism of LabourWasim Ak
Normal labor is also termed spontaneous labor, defined as the natural physiological process through which the fetus, placenta, and membranes are expelled from the uterus through the birth canal at term (37 to 42 weeks
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
Azure Interview Questions and Answers PDF By ScholarHat
Learning About Learning Spaces
1. Learning About Learning Spaces 1 Elisa Lanzi, Smith College elanzi@smith.eduPresented at the Visual Resources Association Annual Conference, 18 March 2010 Opening slide images from JISC infonet'sphotostream http://www.flickr.com/photos/jiscinfonet/
2. Learning Spaces support a diversity of learning styles versatile comfortable and attractive information rich & technologically reliable maintained continuously ubiquitous in space and time used effectively sufficient resources allocated 2 Denison University Learning Spaces Checklist http://www.denison.edu/academics/learningspaces/checkl.pdf
5. Learning Environments “The first dimension is spatial: the redesigning and weaving together of classrooms, libraries, labs, informal spaces, and virtual/mobile spaces to form a coordinated, institutional learning web that offers students and faculty new opportunities before, during, and after class. The second dimension is organizational: the call for campus stakeholders to unite in designing, developing, and sustaining these disparate yet cross-functional spaces and places.” http://www.educause.edu/Resources/LearningEnvironmentsWhereSpace/188507 5
6. Learning Spaces at Smith College 6 Ford Hall http://www.smith.edu/fordhall/
11. 11 The sun is setting on the little house of slides
12. Now a suite of services and spaces throughout the visual arts building Integrated staff from two departments Activities are creative, production, pedagogical Participants are faculty, students and staff Partner projects filter in and out 12 Imaging Center http://www.smith.edu/imaging
13. 13 Convergence of opportunities Campus Strategic Plan Decennial Review for Art Department Self-Study New Campus Classroom Committee Grant possibilities Learning Space awareness on campus Hillyer Hall survey on spaces
14. 14 Experiencing, Making, Learning, Describing, Teaching, Connecting Virtual and Real Smith College Art Department, Janotta Gallery http://www.smith.edu/art/
20. 20 More Resources EDUCAUSE Learning Space Design Constituent Group A forum for the exchange and archiving of information and for discussions of key issues in the field. http://www.educause.edu/cg/learningspace Learning Environments: Where Space, Technology and Culture Converge, Tom Warger, Eduserve and Gregory Dobbin, EDUCAUSE http://www.educause.edu/Resources/LearningEnvironmentsWhereSpace/188507 Entering the Interaction Age: Implementing a Future Vision for Campus Learning Spaces By Andrew J. Milnehttp://www.educause.edu/EDUCAUSE+Review/EDUCAUSEReviewMagazineVolume42/EnteringtheInteractionAgeImple/158107 Learning Spaces, edited by Diana G. Oblinger, an EDUCAUSE E-book http://www.educause.edu/LearningSpaces Opening up Learning: From Spaces to Environments By the EDUCAUSE Learning Initiative Advisory Board http://www.educause.edu/EDUCAUSE+Review/EDUCAUSEReviewMagazineVolume44/OpeningupLearningFromSpacestoE/171784
When a colleague asked me to be on this panel she noted, “We think your experience with the Imaging Center as an already established learning space would add a unique viewpoint to our panel.” Ten years ago I was here presenting a paper called, “Imagining an Imaging Center,” noting that we had created a state of the art environment. Today I’m here to share with you why we need to “re-imagine” our spaces and environment. I call this paper “Learning about Learning Spaces” because we are in the exploration phase. First, I’d like to introduce the topic of learning spaces and the emerging theme of learning environments. The concept of learning spaces in academia is part of a larger social phenomenon often-called “The Interaction Age.” All of us are familiar with contributing factors such as: mobile computing, social networks, global access to information, and the blurring of personal, community, and work boundaries, among many other factors. These factors, together with the ubiquitous insertion of technology in every discipline across our campuses have impacted pedagogical methods and supporting infrastructures like visual resource centers. A scan of recent strategic plans from colleges and universities shows that active engagement in the learning process and providing for a diversity of learning styles is a fundamental precept.
Today I’ll use a helpful checklist from the Denison University Learning Spaces project as a brief general overview of Learning Spaces. Learning Spaces should:- support a diversity of learning styles, e.g., both independent and social activity dynamics at the same time.- be versatile, for example include movable furniture and flexible technology- be comfortable and attractive, or what I call the Barnes and Noble effect, i.e., creating aesthetics that motivate learners. - be information rich and technologically reliable, e.g., appropriate and consistent hardware.- be maintained continuously, e.g., staffing, back-ups, spare parts.- ubiquitous in space and time, e.g., consider ad hoc areas as learning spaces and equip them.- be used effectively, e.g., there may be special spaces for discipline specific activities like visual arts labs.- sufficient resources must be allocated, e.g., long-term holistic approaches vs. short-term ad hoc silo-ed fixes.
Because learning spaces are heavily dependent on innovative design and furnishings, supporting industries such as educational furniture companies are now offering a range of options at various price points. For example, Herman Miller, Steelcase, and K1Education. In addition, such companies are partnering with education by publishing white papers that help us to better understand Learning Space Design concepts.
There are many more vendors, plus, you can find plenty of inspiring images from organizations such as the Joint Information Service (better know as JISC) info_netPhotostream in Flickr. JISC’s mission it to inspire UK colleges and universities in the innovative use of digital technologies. For the visual resource community it is especially important to understand how our spaces are part of a larger concept called Learning Environments.
The concept of Learning Environments moves beyond space planning into a broader dimension. This distinction is best described in a recent EDUCAUSE Learning Initiative paper by Tom Warger and Gregory Dobbin. Fortunately the literature on learning spaces and learning environments is rich and mostly online. I’ve included a few moreresources on the last slide of this presentation. One of the best places to start is the “EDUCAUSE Learning Space Design Constituent Group” web pages, full of bibliographies, blogs and model projects.
I want to take this opportunity to acknowledge my colleague, Tom Laughner, Director of Educational Technology Services at Smith College. One of Tom’s research interests is making learning spaces more effective and he is leading that effort at our College. Tom and I are part of a team working on strategic planning for spaces in our Visual Arts building. I want to show you a few examples of new learning spaces on the Smith campus that demonstrate some of the key concepts from the Denison checklist. I present these as a backdrop for our discussions on learning spaces in the Visual Arts, underscoring that we need to coordinate this effort across the institution in order to be viable. This space is in our new engineering building, Ford Hall. It shows the concept of a learning space in a simple form: a pleasant, semi-private space, informal seating, wireless, and adjacent and accessible to other types of learning spaces.
Ford Hall provided an opportunity to create an organic structure with formal and informal settings as an integral part of the design from the beginning. There’s even a roof top green space for outdoor study and group meetings. The image on the left shows another informal learning space with on-the-fly projection for mobile devices and café style seating. The right side shows a multi-use seminar-conference room with tiered seating, smart desks and boards surrounding it.
But, of course, not every building is a new at our College. And most of our efforts are targeted at transforming existing spaces, many times at minimal cost. On the left is one of our most used classrooms in the visual arts building, Hillyer Hall. Just ten years ago this was considered state of the art. But today faculty find the oversized tech booth in the back, originally for both slides and digital equipment, is a barrier to student engagement because it divides the room in half. This is supposed to be a colloquium room, but the desks prevent the students from working together and the podium is immovable and bulky. The Seminar room on the right is very attractive but it has it’s own pedagogical drawbacks. The table with wired ports down the middle is overly large for conversation, it has that same large podium and the oversized equipment booth in the back. Faculty want the freedom to use technology outside of the podium and to sit at the table with students in a seminar.
Fortunately, Smith faculty have the opportunity to “try out” possible solutions in a newly created “Incubator Classroom,” located in a central part of campus. The Incubator allows them to experiment with and provide feedback on classroom design configurations. Primarily for use by early adopter faculty, various furniture configurations, emerging technologies, and other classroom aesthetics can be evaluated in this room as a means to consider their use in other Smith College learning spaces. Because of its purpose, those using the incubator classroom agree to allow staff to observe classes through a variety of methods, including but not limited to direct observation, or a web cam.
Like many institutions Smith College has applied learning space concepts in the creation of “Commons” such as the Information Commons in the main library and this Media Commons, which was a former lab. I don’t have the time today to show you more examples at Smith, but I chose this one as a segue into my next part of the talk on the Imaging Center. This space demonstrates how one space can support a diversity of learning and work styles in a comfortable setting. Where does an Imaging Center fit in to the campus wide learning environment and which concepts can we apply in our settings?
As Peter Brantley so aptly pointed out in our opening session, all of us are part of a “networked mediated social environment.” Lately when we talk about how we go about our business in the Imaging Center we use words like collaborative, creative, interactive, flexible, and mobile. Years ago faculty and students had to come to the old “slide room” in order to teach, now they don’t. Courses are built by virtual teams composed of faculty, staff, and students. No longer the only teaching content provider in town, the 21st century visual resources center needs to articulate how we remain central to the pedagogic process. This means integrating our spaces within the context of the campus learning environment, no matter which unit administers our VR facility. When we first began converting to digital teaching there was a push to transform VR centers from slide factories into digitization production facilities. But now we need to think more broadly and “emphasize interactivity over mere content delivery.” [p. 14 Milne, see last slide].
In fact, today it’s difficult to talk about the Imaging Center as a single physical space because of several factors. The older idea of the Imaging Center as a separate confined space with a discreet staff is no longer a reality. Today the Imaging Center is but one part of the building’s technology resources. One of the reasons is the insertion of technology into all of the visual arts curriculum; art history, studio art, and architecture. Our 3rd floor staff serve other areas of the building and are often on site in classrooms or labs.
Our exploration of the learning spaces concept as it applies to the Imaging Center is timely and fortuitous. At this time there are several college and department initiatives and activities where the topic can be addressed and distributed to administrators and partner units. As we gather information from faculty and students we are beginning to see that learning spaces for the visual arts may be different from other disciplines.
Our first step in the exploration process was a survey about all of the possible spaces in Hillyer Hall. We started with these questions:From your experience with teaching in Hillyer, please identify what you liked and what you haven’t liked?What improvements would help you in your pedagogy?The survey was conducted in focus groups with the goal of bringing the various wings of the art department together to think holistically about spaces. It also gave the staff an opportunity to link the broader pedagogical needs to service spaces and to introduce the concept of learning spaces to all of us. Fortunately, aesthetics is not an issue in our well-designed building. Rather the survey noted ways to improve functionality. For the Imaging Center we’ve identified several key goals:1. Better integration with other teaching and learning spaces in the building2. Create collaborative work spaces for faculty, students, and staff3. Leverage current space for collection storage and access Furthermore, today’s Imaging Center and the associated areas have various functions characteristic of both digital libraries and multi-media creation labs. One of our challenges is to create efficient hubs of activity that work for all of the activities of a visual arts curriculum.
What is the message we convey to patrons when they walk into the 3rd floor Imaging Center? For example, patrons usually ask about how to connect to wireless and not how to check out slides. We are examining our signage and workspaces with this in mind. Users need to know what types of activities are possible when they walk into our space, that is.replace how to file slides with “entering wireless zone, mobile devices welcome.”On the right is our former Student Slide Study Room. It is completely transformed into anEquipment Check-out Room andit’s now bursting at the seams. But, this space is very convenient because it is adjacent to our central service desk. We’re thinking about how to accommodate more specialized equipment in another area.
Collection storage of analog materials takes up over half of the real estate in the Imaging Center. Today almost all faculty are using digital images and the slide collection is mostly used as a source for scanning. Actually, the photo collection is used more often, especially by the studio faculty and students. Some of the best natural light in the Center is blocked by these little used collections. Our strategic planning will include a phased approach for more appropriate storage and access for these materials.
The Visual Communications Resource lab (VCRC) is a specialized lab on the 2nd floor of Hillyer Hall. While it was intended as a place for students to work on creative assignments, today it is booked solid with classes and can no longer can accommodate drop ins. The dual monitors, the instructor station that allows faculty to project any monitor in the room, and a suite of high-end output devices are special features that are critical for pedagogy. But, otherpedagogical needs such as pin-up display for critiques, a combination of daylight and controlled light, and mobile furniture for small groups are not available in this space. These factors plus others have been a catalyst for exploring possible conversions of other spaces in the building.
The 3rd floor Imaging Center rates high in terms of aesthetics. The attractive maple paneling, the light-filled space overlooking the rest of campus, and the overall design is truly impressive. But, the older slide room idea of enclosed carrels for each faculty member is no longer how many of our faculty work. Most of them work in their offices and when they do work with staff and students they gravitate to the public access areas. These carrels as configured take up a large swath in the middle of the Imaging Center. Are there ways that we can re-adapt some of these carrels to serve new styles of learning?
On the top right we see a lab that was envisioned as a public access lab. But, today this space is needed for staff to launch new hardware and software, administer databases, and coordinate the tech support services throughout the building. The bottom images show another public access area that allows for solitary work, but is not very effective for the collaborative work that often takes place. For example, all of the computers are facing a wall, the counter does not have space for other materials, and the original wooden chairs, while attractive, are not as comfortable as they could be. We’re learning about learning spaces - how these concepts can be applied to the Imaging Center and how we can connect to the larger Learning Environment in our building and beyond.