Applications from the city of Chicago for Knox and Lake Forest College have grown exponentially due to the relationships built and established between admissions and high school counseling staffs.The panel will highlight building and maintaining collaborative relationships between high school and college counselors as well as community based organizations to effectively work with students and their families on developing successful applications and transitions to college from the city of Chicago.
Applications from the city of Chicago for Knox and Lake Forest College have grown exponentially due to the relationships built and established between admissions and high school counseling staffs.The panel will highlight building and maintaining collaborative relationships between high school and college counselors as well as community based organizations to effectively work with students and their families on developing successful applications and transitions to college from the city of Chicago.
This presentation provides an overview of YALSA's report, "The Future of Library Services for and with Teens: a Call to Action," and discusses opportunities that the report presents for libraries to increase their impact and visibility.
part of the Webinar: Putting Emerging LIS Competencies into Education and Practice: Challenges and Opportunities.
November 19th, 2020 15:00 - 16:30 CEST via Zoom.
Exploring Identity, Fostering Agency, Discovering How Students Benefit.pdfBonner Foundation
Join this session to learn and share best practices and emerging models for transformative education involving civic learning and democratic engagement. In a conversational format, presenters will share knowledge and personal experience about the ways in which colleges and universities, as well as faculty and staff, can design the spaces and intentional experiences that support students to develop civic identity. We’ll highlight innovations and point to supporting research and scholarship, while inviting you to do so. Presented by Marina Barnett (Widener University); Samantha Ha DiMuzio (Boston College); Ariane Hoy (Bonner Foundation); and Paul Schadewald (Bringing Theory to Practice) for the Feb 6-7, 2023 CLDE Forum: Bridging the Divides: Including All Students: Diversity, Equity, and High-Impact Civic Learning Pathways
Presentation delivered at 29 May STAND UJ Symposium, by Jolanda Morkel.
Presentation title: Learning in practice. Learning for practice. Learning through practice.
Seminar title: Socially Engaged Pedagogies in Art and Design Education
DESIGN TEACHING FOR RELEVANCE
This document is from my Experience Design class. We partnered with the Cal Poly Dream Center and put on an event raising awareness about the DACA students life at Cal Poly.
Developing Greater Impact with High-Impact Practices: Internships and Civic ...Ariane Hoy
Developing Greater Impact with High-Impact Practices:
Internships and Civic Engagement
A presentation at the 2015 Association of American Colleges and Universities Conference (Washington, DC) with
Jillian Kinzie, University of Indiana
Gregory M. Weight, Washington Internship Institute
Ariane Hoy, Bonner Foundation
Developing Greater Impact with High-Impact Practices: Internships and Civic E...Bonner Foundation
These are slides from the presentation given by Jillian Kinzie (Indiana University), Gregory Weight (Washington Internship Institute), and Ariane Hoy (Bonner Foundation) at the January 2015 Association of America Colleges and Universities annual meeting. It explores the elements of high-impact educational practices and how to link them with civic engagement, especially through internships.
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.
This presentation provides an overview of YALSA's report, "The Future of Library Services for and with Teens: a Call to Action," and discusses opportunities that the report presents for libraries to increase their impact and visibility.
part of the Webinar: Putting Emerging LIS Competencies into Education and Practice: Challenges and Opportunities.
November 19th, 2020 15:00 - 16:30 CEST via Zoom.
Exploring Identity, Fostering Agency, Discovering How Students Benefit.pdfBonner Foundation
Join this session to learn and share best practices and emerging models for transformative education involving civic learning and democratic engagement. In a conversational format, presenters will share knowledge and personal experience about the ways in which colleges and universities, as well as faculty and staff, can design the spaces and intentional experiences that support students to develop civic identity. We’ll highlight innovations and point to supporting research and scholarship, while inviting you to do so. Presented by Marina Barnett (Widener University); Samantha Ha DiMuzio (Boston College); Ariane Hoy (Bonner Foundation); and Paul Schadewald (Bringing Theory to Practice) for the Feb 6-7, 2023 CLDE Forum: Bridging the Divides: Including All Students: Diversity, Equity, and High-Impact Civic Learning Pathways
Presentation delivered at 29 May STAND UJ Symposium, by Jolanda Morkel.
Presentation title: Learning in practice. Learning for practice. Learning through practice.
Seminar title: Socially Engaged Pedagogies in Art and Design Education
DESIGN TEACHING FOR RELEVANCE
This document is from my Experience Design class. We partnered with the Cal Poly Dream Center and put on an event raising awareness about the DACA students life at Cal Poly.
Developing Greater Impact with High-Impact Practices: Internships and Civic ...Ariane Hoy
Developing Greater Impact with High-Impact Practices:
Internships and Civic Engagement
A presentation at the 2015 Association of American Colleges and Universities Conference (Washington, DC) with
Jillian Kinzie, University of Indiana
Gregory M. Weight, Washington Internship Institute
Ariane Hoy, Bonner Foundation
Developing Greater Impact with High-Impact Practices: Internships and Civic E...Bonner Foundation
These are slides from the presentation given by Jillian Kinzie (Indiana University), Gregory Weight (Washington Internship Institute), and Ariane Hoy (Bonner Foundation) at the January 2015 Association of America Colleges and Universities annual meeting. It explores the elements of high-impact educational practices and how to link them with civic engagement, especially through internships.
Similar to Solo Visual Resources Professionals (20)
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.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
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.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
1. Solo VR Professionals
March 23, 2021
Presenters: Meghan Rubenstein, Lael Ensor-Bennett,
Malia Van Heukelem, and Cindy Frank
Session Organizers: Lael Ensor-Bennett & Meghan Rubenstein
2. What is a Solo VR Professional?
Solo visual information professionals generally have no professional peers
within their immediate department. They often serve as the head of the
library or visual collection and may have temporary or part-time support
staff such as assistants, interns, student workers or volunteers. They are
found in all types of GLAM related organizations including special
libraries, art and architecture school libraries, museum libraries, branch
libraries, academic departments and independent art agencies.
3. Solo VR Professionals
VRA Annual Conference, March 23, 2021
The Results Are in: What the Solo SIG Community Is Today
Meghan Rubenstein, Colorado College
Delegation & Compassion during a Solo Covid-19: Recalibrating the Duties of
Student Employees
Lael Ensor-Bennett, Johns Hopkins University
Leveraging Collections Management and Student Learning in an Academic
Archive
Malia Van Heukelem, University of Hawaiʻi at Mānoa
Architects of Color: The challenges of finding images to document their work
Cindy Frank, University of Maryland
4. Land Acknowledgement
I am presenting this work from Colorado Springs, at the foot of Tava Mountain, on the
unceded territory of the Ute Peoples. The earliest documented peoples in the area also
include the Apache, Arapaho, Comanche, and Cheyenne.
An extended list of tribes with a legacy of occupation in Colorado is included here: Colorado
Tribal Acknowledgement List.
Indigenous people continue to live on this land and work in this area.
5. The Results Are in: What the Solo SIG
Community Is Today
Meghan Rubenstein
Visual Resources Curator, Colorado College
mrubenstein@coloradocollege.edu
6. ● Range of employers: private company/freelance, academic institution (community college,
university, liberal arts college, art school), museum
● Sampling of position/titles: archivist, visual resources for documentary project, librarian,
manager of library, visual resources curator, digital curator, visual resources technology
specialist, digital asset manager, manager of learning and visual services, art history instructor
● Types of responsibilities: collect archival footage and photographs, clear for copyright,
collect oral histories, meet with donors; manage library and VR collection; imaging, cataloging,
instructional support for special collections; processing archives and serials; managing digital
lab, Adobe assistance, documenting exhibits, archiving student work, provide assistance in
teaching students to create promotional materials; responsible for all institutional images, new
and legacy; perform collection inventories, clean metadata; support art history faculty with
visual resources related needs, manage and curate permanent collection in the university
galleries.*
*more than one person first year or so of being solo; many hold positions that used to be part of larger departments or
that shared current responsibilities with colleagues.
Please describe your employer and job situation.
7. ● cataloguing, curating, and other VR/"regular" work
deprioritized
● more time to work on cataloguing, curating, and other
VR/"regular" work
● more work because of hiring freeze
● more online learning duties continuously
● more online learning duties at first only
● unable to work with physical collections / in physical space
● no longer doing AV classroom support
● managing unrelated staff and building space
● time spent on learning new software for remote work
● more focus on video tutorials, LibGuides and other
documentation
● less student interaction
● fewer service requests
While some noted that not
much has changed, there also
seems to be a divide between
those who have been given
completely different
responsibilities, foregoing their
normal duties, while others
have had more time to work on
their normal duties/collection
development with remote work.
Have your job duties changed with the shift to online
learning in light of Covid-19? How so? Has Covid-19
changed your workflows?
8. Does your institution allow for professional
development opportunities? Do you feel that you have
the time to pursue such opportunities during work
hours?
The range:
● “We’re allowed to attend virtual conferences or seminars when our schedule allows and can
expense one travel conference per year (pre-COVID). I’ve always taken advantage of this
opportunity however now my boss is restricting this option because she feels they’re
redundant.”
● “This is the one place my office really excels. I have $10,000 in professional development, and
am highly encouraged to take any education I see fit. I've been able to take book repair courses
and learn more hands-on skills than I learned in school, as well as brushing up on what I
learned in school.”
Overall theme: limited time and funds prevent more extensive professional development
9. What are the main challenges you face as solo staff?
Summary:
● Not having reliable back up/someone else who knows how to do my job.
● Not having enough time to complete work.
● Hesitant to embark on lengthy or time consuming projects.
● Difficult to advocate for a unit of one. End up working across units and worried about
being merged with another.
● Justifying the job to co-workers who don’t understand nature of work.
● Concerned about budget cuts. Fear that position will be eliminated.
● No one to consult with on data standardization, nor time to focus.
● Left out of important conversations (IT, for example).
● Need to communicate what has been occupying work time.
● Isolation. Miss being part of a team. Lack of mentor. Only temporary employees/staff.
Common themes:
● No time, and not enough help, for long term projects.
● Co-workers/administration have no idea what I do. (Can lead to fear of elimination)
● No team, professional support, mentorship. Isolation.
10. What would you like to know about what other solo staff
are doing? What might you want to collaborate on? How
could this SIG help support you?
What do you want to know about other solo staff activities?
● How are other solo staff adapting services to meet changing needs of their institutions?
● If services are less, how do you continue to advocate?
● How do you stay relevant?
● Can you really freelance successfully?
● What VS services are still in moderate or high demand?
● What is everyone doing? Cataloging images? How are images being made available? Is
anyone else in charge of department communication?
● What projects are other VR Librarians doing?
● What do you wish you knew when you were first starting out?
● How are you using student staff?
● What is the balance between working by need versus long term projects?
● How are others trying to promote a sense of community remotely with students and
faculty?
11. What do you want to know about other solo staff activities? (continued)
● How are you advocating for yourself and prioritizing collections work? Promoting your unit?
● How are other solo staff dealing with the shift to digital images and technology?
What might you want to collaborate on?
● A cross-institutional online resource for Art students.
● Collection building.
How could this SIG support you?
● Brainstorming and problem solving.
● One-on-one meeting to discuss one of the main projects.
● A place to talk about how to increase visibility without overwhelming myself.
● Would love a network of people to reach out to when I have questions or don’t know where to
begin or whom to consult.
● Learning from others to be a better supervisor to students.
What would you like to know about what other solo staff
are doing? What might you want to collaborate on? How
could this SIG help support you?
12. Goals for the Solo SIG moving forward:
● Continue to build community among our members via bi-monthly meetings and
Basecamp conversations
● Maintain a list of our network highlighting areas of strength so we know whom to
contact when we need assistance or want to talk through an aspect of our work.
Share resources.
● Discuss ways we can advocate for our positions at various levels within our
institutions
Invitation to Solo SIG on Basecamp
https://3.basecamp.com/3499433/join/YSKECdcJat4g
13. Solo VR Professionals
VRA Annual Conference, March 23, 2021
The Results Are in: What the Solo SIG Community Is Today
Meghan Rubenstein, Colorado College
Delegation & Compassion during a Solo Covid-19: Recalibrating the Duties of
Student Employees
Lael Ensor-Bennett, Johns Hopkins University
Leveraging Collections Management and Student Learning in an Academic
Archive
Malia Van Heukelem, University of Hawaiʻi at Mānoa
Architects of Color: The challenges of finding images to document their work
Cindy Frank, University of Maryland
14. Land Acknowledgement
Because we will gather virtually from all over the country, it is also important to acknowledge the physical
land on which we are all individually located. We invite you to take a moment to reflect on the land upon
which you sit—geographically and digitally—and express gratitude for your ability to live, work, and enjoy
the land. (from the VRA 2021 Land Acknowledgment)
As a Baltimore City resident, Lael Ensor-Bennett would like to acknowledge that she is living and working on
the unceded land of the Piscataway, Lumbee, and Cherokee peoples. Please see the VRA 2020 Land
Acknowledgement and check out these links:
● A Native American Community in Baltimore Reclaims Its History
● “An Absence That Marks A Presence”: Mapping Baltimore's Historic Lumbee Community
● Repatriating the archives: Lumbee scholars find their people and bring them home
● Donate to the Baltimore American Indian Center here
● The History of Native Americans in Maryland
15. Some Brief Background...
● The JHU Visual Resources Collection has a
long tradition of both undergraduate and
graduate student employees.
● In June 2019, Curator Ann Woodward retired
from the VRC. Her position was eliminated,
leaving only one staff member in the VRC
(me!). Officially, services were reduced in
certain areas.
● Summer 2019 began another phase of the
deaccessioning of the remaining 35mm slide
collection in preparation for possible
renovations.
● As of March 1st 2020, the VRC had 10 active
student employees, 4 graduate students and
6 undergraduates.
● When the pandemic hit in Baltimore,
Maryland, I was still on the VRA Executive
Board and struggling to manage my time as
a newly (and unexpected) solo staffer.
16. The Campus Shutdown…
● As many others likely experienced, the JHU campus
shutdown was abrupt and initially believed to only be for a
few weeks. It was completely unclear whether students
would be paid and whether they could work remotely.
● After several days, the university decided that work-study
undergraduates would be paid through the Spring semester
whether they worked or not. Non-work study undergraduates
would have to work remotely or not get paid.
● A week later university decided that graduate students could
work remotely, but would only be paid if they did work
remotely.
● IT maintained that they could not give students any kind of
remote access to computers or servers.
● A month and a half after shutdown, IT revised their previous
statement and assisted the VRC setup remote access for
student employees.
17. Student Overview (for later reference/interest)
Pre-Pandemic VRC Students The Pandemic Strikes! Current VRC Students
6 undergraduates 1 undergraduate never replied to any of my emails; 1
undergraduate replied, but never worked again; 4
undergraduates elected to work remotely (1 graduated in May)
3 undergraduates
4 graduate students (History of Art,
Classics, Modern Languages and
Literatures)
All 4 graduate students continued to work with 1 additional
summer student. 1 graduate student was overburdened with
hybrid teaching and chose to stop working in Spring 2021
3 graduate students
Students scheduled from 9-5 M-F to
coordinate the use of 4 workstations
Initially, students could work at any time, but this changed with
gaining remote computer access. However, this was not set up
for all students until Fall 2020
Students may work any time, but each
student shares a remote computer with 1
other student and coordinates with that
student
~3 working on 35mm slide
deaccessioning project (evaluating,
cataloguing, scanning, editing images)
~6 working on VRC outreach/documentation projects and
collection development projects
~3 working on collection development
projects
~6 working on other VRC projects and
active requests
~2 working on active VRC requests, this gradually increased
as the summer continued
~3 working on VRC active requests
~5 students able to scan and edit images after remote access was restored, ~4 students able to partially
edit images
~4 students able to partially edit images
18. ● Flatbed scanner is my living room!
● Students report their hours working on
an Excel sheet in OneDrive. I remind
students about payroll and check in
weekly via email.
● Students meet with me once a semester
via Zoom as a group; I meet with other
students as needed one-on-one on
Zoom.
● Students used Teamviewer to remotely
access VRC workstation. Each student
shares with one other student.
● I use a combination of Microsoft Teams
and email to manage assignments.
Current Remote Measures
20. Project Management Solo Aside
At the start of the pandemic, we were still using an old binder for current
projects. I created a new project management database!
21. What are the students doing?
● Initially, before they had remote access, I gave all
of the students outreach/documentation projects
or collection development projects that could be
accomplished with the internet and OneDrive
alone:
○ Ex. writing a VRC FAQ guide for our
Libguide, writing blog posts about VRC
services
○ Ex. selecting an area of interest for
collection development--spreadsheet
template for locating images and image
sources (Islamic Decorative Arts, Women in
Ancient Greece, Coptic Textiles, Animals
and Color in Classical World, Russian
avant-garde)
● Summer: Several students had their internships
canceled, so I worked with them to give them
assignments that would allow them to add similar
skills to their CVs.
22. What are the students doing?
● With remote access:
○ Students were able to make next
steps on their collection
development projects, including
cataloguing.
○ Students have begun a collection
development project to grow the
African, African Diaspora, and
African American art history
teaching collection, allowing them
to complete more
curation/research than with
traditional VRC tasks.
23. What are the students doing?
● With remote access:
○ In the past students would scan images and
complete all editing, since only I have been
able to scan, I assign portions of the image
editing to the students and scan additional
sections to allow for remote cataloguing
○ Traditionally, I would delegate subjects of
particular interest to graduate students
whenever possible and non-art historian
undergrads would not catalogue, but using this
time to train all undergrads with additional
skills.
○ The students having broader and more
academic skills assists me in delegating and
completing assignments on time. Attempting to
meet in the middle of what is most helpful to
them for their future careers and for
completing VRC work!
24. What are the students doing?
Note: We saw an unexpected INCREASE in scanning
because of reduced access to physical materials and
equipment. Some student projects have felt like passion
projects, while other work has been completely relevant to
successful online semesters. The push to get more images
online also led to a collaboration between the VRC and the
university library Special Collections. Delegating other
projects to students, allows me to work on getting the Special
Collections materials online.
Note: What has the VRC not been doing? Scanning
and deaccessioning 35mm slides!
25. Compassion during the Pandemic
● Understanding when students do not
have the bandwidth to work
● Checking in regularly via email,
calling if necessary
● Expecting communication, but not a
set amount of work to be completed;
recalibrating my own expectations,
attempting to delegate, but always
having a back up plan
● Reminding/prodding students to
complete timesheets
● Always checking in during meetings
before jumping into the agenda;
making sure not to keep students on
the call longer than needed
● Allowing students to do reading
assignments and take notes at town
halls and webinars as low stress
assignments
26. Pros & Cons a Year into Remote Work!
● Pro: Remotely, students can work their own hours, reducing time spent
on managing the schedule and creating assignments to fit available
times and workstations. Students now self-manage their time.
● Con: Not seeing the students at set times can make communication
more difficult and sometimes email response times are poor.
● Pro: When an urgent project arises, I can poll the students to see who
can work on it the soonest.
● Con: I cannot always anticipate how much work will get done and when
or if students will remember to upload their work to the server.
● Pro: Using Teams has led to more effective delegation, for the students
to have greater ownership of their work and to always know what they
should be working on, and to a more streamlined tracking system.
● Con: Am I fairly delegating work? Are some students receiving easier or
more interesting assignments or more difficult and tedious assignments
based on their work styles, skills, and pandemic track record?
29. Solo VR Professionals
VRA Annual Conference, March 23, 2021
The Results Are in: What the Solo SIG Community Is Today
Meghan Rubenstein, Colorado College
Delegation & Compassion during a Solo Covid-19: Recalibrating the Duties of
Student Employees
Lael Ensor-Bennett, Johns Hopkins University
Leveraging Collections Management and Student Learning in an Academic
Archive
Malia Van Heukelem, University of Hawaiʻi at Mānoa
Architects of Color: The challenges of finding images to document their work
Cindy Frank, University of Maryland
30. Land Acknowledgement
Before I begin, I would like to acknowledge that I am giving this presentation in Kāneʻohe, on the island of
Oʻahu, on the ancestral lands of Native Hawaiians. I am honored to call Hawaiʻi my home and the place
where I was born, raised and nourished. I am not Indigenous to this place nor do I identify as Hawaiian. I
recognize and support the efforts of Native Hawaiians to restore and continue practicing their Indigenous
lifeways as well as their ongoing efforts to raise critical awareness around the illegal overthrow of the
Hawaiian Kingdom in 1893.
35. Students - Fall 2020
VRAF Intern:
Miriam Sappington
Museum Studies:
Kristi Cardoso
Student Assistant:
Josann Jenks
36. Solo VR Professionals
VRA Annual Conference, March 23, 2021
The Results Are in: What the Solo SIG Community Is Today
Meghan Rubenstein, Colorado College
Delegation & Compassion during a Solo Covid-19: Recalibrating the Duties of
Student Employees
Lael Ensor-Bennett, Johns Hopkins University
Leveraging Collections Management and Student Learning in an Academic
Archive
Malia Van Heukelem, University of Hawaiʻi at Mānoa
Architects of Color: The challenges of finding images to document their work
Cindy Frank, University of Maryland
37. Architects of Color:
The challenges of finding images of their
work, especially during a pandemic.
Cindy Frank, she|her
Librarian and Director of Visual Resources
School of Architecture, Planning and Preservation
University of Maryland
March 23, 2021
cfrank@umd.edu
38. Land Acknowledgement for the University of Maryland:
At the UMD Libraries, we believe it is important to
create dialogue to honor those that have been historically and
systemically disenfranchised. We acknowledge the truth that is
often buried: We are on the ancestral lands of the Piscataway
People, who were among the first in the Western Hemisphere.
We are on indigenous land that was stolen from the Piscataway
People by European colonists. We pay respects to Piscataway
elders and ancestors. Please take a moment to consider the
many legacies of violence, displacement, migration, and
settlement that bring us together here today.
39. What is my role as
Librarian and Director
of Visual Resources
in the 2020-2021
academic year?
40. Build book and image collections to
more accurately reflect the students
who attend the University of Maryland.
•University of Maryland undergraduate student profile:
•45% white,
•12% Black or African American,
•19% Asian,
•10% Hispanic
•.2% Native American, Native Hawaiian, Alaska, Pacific
Islander,
•4% unknown,
•10% international students.
41.
42. How many Black Architects are there?
“Of the 116,242 licensed architects in the United States and its
territories, just two percent are Black. Only 2,325 Black
architects are building the cities and suburbs, shaping the
skylines and creating the museums, housing, schools,
government buildings, places of worship and any other variety
of structures we live in or with every day. In a nation with a
population of nearly 330,064,000 people, solely 2,325 Black
citizens have the power and access to physically design our
built environment.”
https://www.culturedmag.com/15-architects-on-being-black-in-architecture/
Accessed January 20, 2021.
43. How many Black Women Architects are
there?
On Monday March 8, 2021, the American Institute of
Architects|DC hosted a webinar titled: Celebrating the
first 500 Black Women Architects.
Tiara Hughes, RA, NOMA, REALTOR, Senior Urban Planner at
SOM, Founder of First 500 Initiative
44.
45. Finding documentation via books and
journals while working from home.
•Myself and my 2 Graduate students, working from home, use
the following sources:
•Reading lists shared by students and fellow curators
•ArchDaily, Dezeen, Architizer
•Social media: @bipoc_in_architecture on Instagram
•Pascale Sablan’s Great Diverse Designers LIbrary
•NOMA National Organization of Minority Architects
•Search the library databases for articles.
46.
47. Finding the actual images
•Search Library databases
•Articles may not have plans,
sections, Elevations
•That journal is missing
•The citation takes me to something
different than what I am looking for.
48.
49. Helpful Links and Sources
• 15 Architects on being black in architecture.
• 16 Architects of Color Speak about the industry’s race problem
• AIA|DC Celebrating First 500 Black Women Architects
• Anti-racist resources for architectural education
• Anti-Racism Resources for Architects from AIA New York
• Be B.R.A.V.E. Dear White architects, be BRAVE not sad. Love NOMA
• SPACE/RACE
• Pascale Sablan’s Great Diverse Designers LIbrary
• UMD demographics by race and gender, UMD undergraduate student profile
• BIPOC Studios From Dezeen
50.
51. Solo VR Professionals-Questions?
VRA Annual Conference, March 23, 2021
And for discussion:
● What are the main challenges you face as solo staff?
● How has COVID-19 changed your workflows?
● Do you have other staff at your institution that you are able to collaborate with
to lessen your workload?
● What could this SIG do to help support you?