The Color Film Emergency Project
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A brief history of the CFEP, and how it has developed into a unique partnership between the Society of Architectural Historians and the Visual Resources Association, particularly through the Slide and Transitional Media Task Force. The goals of the CFEP are to identify significant 35mm slide collections of the built environment which are in danger of loss or environmental damage, finding them new homes, and facilitating documentation, digitization and wide online sharing.
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We’ll share a recap of 2020, including how we helped institutions and students meet the challenges of remote teaching, a roundup of the new content we released (much of it free), and share findings and future plans for our pilot program of Artstor images on JSTOR.
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Jason Przybylski is Associate Director of Primary Sources and Community Collections at JSTOR. He is working as part of a team focused on developing JSTOR’s Open Community Collections initiative, with the aim of making digitized special collections more discoverable and accessible. Jason lives in Beacon, NY, with his wife and dog.
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Hindi varnamala | hindi alphabet PPT.pdf
हिंदी वर्णमाला पीपीटी, hindi alphabet PPT presentation, hindi varnamala PPT, Hindi Varnamala pdf, हिंदी स्वर, हिंदी व्यंजन, sikhiye hindi varnmala, dr. mulla adam ali, hindi language and literature, hindi alphabet with drawing, hindi alphabet pdf, hindi varnamala for childrens, hindi language, hindi varnamala practice for kids, https://www.drmullaadamali.com
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UP
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
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This document summarizes an art history course titled "Pattern & Representation: Critical Cataloging for a New Perspective on Campus History" taught at Oklahoma State University. The course examines major developments in American art across different media from European contact through the mid-20th century. As part of the course, students are divided into groups to create digital exhibitions cataloging artworks from university newspaper archives between certain years. Students must include contextual information and link their entries to related articles. Their entries and a reflective essay are graded individually based on their work plan. The course introduces the concept of "critical cataloging" to bring social justice perspectives to archival and metadata work.Stories from the Stop (and Re-Start?): Visual Resources Professionals Face Re...
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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.Crowdsourcing Collection Development
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CCO (Cataloging Cultural Objects) is a content standard that provides guidance for formatting and entering metadata values and terms to create shareable metadata for cultural heritage collections. It was developed in the late 1990s/early 2000s in response to questions from catalogers using the VRA Core standard and Getty vocabularies about how to properly format terms. While inspired by these standards, CCO can be used with any controlled vocabulary or data structure. It aims to improve discovery, retrieval, and access of cultural heritage collections through common practices and support for linked open data. The general guidelines also provide advice on structuring local databases and defining hierarchical relationships in controlled vocabularies.
CCO (Cataloging Cultural Objects): Structuring and Storing Data with CCO
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This document discusses approaches for introducing efficiency and automation to cultural object cataloging workflows using Cataloging Cultural Objects (CCO) standards. It provides examples of using microthesauri, controlled vocabularies, functions, formulas and other tools to automate data creation and repurposing for indexing and display. Methods like spreadsheets, databases, XML and other technologies can help transform and map data for interoperability while following CCO best practices.
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The document discusses the ten key principles of Cataloging Cultural Objects (CCO) for cataloging objects in museum collections. It focuses on Principle 1, which is to establish logical relationships between work, collection, and image records. An example is provided of a stereoscope card depicting the Taj Mahal that would have collection, work, and image records linked together. Relationships can be indicated through record links or controlled vocabularies. Principle 2 is also covered, which is to include all required CCO elements in records, such as title, creator, and date. CCO elements are aligned with standards like VRA Core.
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Hilary Wang - Findings: A Survey on the State of Web Accessibility in Archives and Special Collections
Cassie Tanks - “Can You Hear Me OK?”: Launching a Story Based Archive During COVID-19
K. Sarah Ostrach - Photos from Taipei in Washington, DC: Processing a Chinese Collection at the National Gallery of Art
Allie Scholten - Remediating Records: Critical Cataloging and Keywork Reparation
Jack O'Malley - Protecting Employment and Building Capacity During a Crisis
VRA 2021 JSTOR Forum User Group
We’ll share a recap of 2020, including how we helped institutions and students meet the challenges of remote teaching, a roundup of the new content we released (much of it free), and share findings and future plans for our pilot program of Artstor images on JSTOR.
Karen McKeown is Director of Product Marketing at ITHAKA. In her role she manages a team devoted to connecting libraries and their patrons with the products and services provided through JSTOR, Artstor, and Portico.
Jason Przybylski is Associate Director of Primary Sources and Community Collections at JSTOR. He is working as part of a team focused on developing JSTOR’s Open Community Collections initiative, with the aim of making digitized special collections more discoverable and accessible. Jason lives in Beacon, NY, with his wife and dog.
Deirdre Ryan is the Solutions Owner at JSTOR, where she performs a variety of activities in support of connecting the platform, business, and contributor community. Previously she was Director of JSTOR Forum and led JSTOR’s Primary Source collections at ITHAKA. Since the start of the pandemic she has been living in the beautiful state of Vermont with her father and two cats.
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The Color Film Emergency Project
- 1. The Color Film Emergency Project Jackie Spafford University of California, Santa Barbara and The Society of Architectural Historians
- 2. Originally the Kodak Moment project
- 4. VRA’s Slide and Transitional Media SIG http://vraweb.org/resources/special-interest- groups/slide-and-transitional-media-special-interest- group/
- 5. VRA and SAH partnership •Regional storage partners •Joint funding proposals •Processing collaboration: collection assessment, digitization, cataloging, sharing via SAHARA, Shared Shelf Commons, other local and open online venues
- 6. Color Film Emergency Project (CFEP) •Next Steps? •Continue the search for institutional partners •Clarify agreements with collection owners •Explore more funding opportunities
Editor's Notes
- Introduction of the Society of Architectural Historians, and the SAHARA project. SAH’s members include architectural historians, historical preservationists, architects, and others who study and appreciate the built environment. The Color Film Emergency Project, which was initially called The Kodak Moment Project, was conceived in about 2012 as a response to the realization that many SAH members had created slide collections of great research value and which were now at risk. Members had recorded all aspects of the built environment and often documented difficult to access, greatly changed or even destroyed buildings or sites. The urgency was primarily based on the need for a collection home as older members retired, moved to smaller homes, or had died and their collections were left without a plan with children or their institution’s staff. Members or custodians were contacting the SAH office and asking if they could send their slides there, but this was not an option from any angle. It was perceived as a problem with an end, as eventually these slide collections which were all created in the 1960s through the early 1990s would stop appearing. But we knew we had several busy years of trying to accommodate the problem before the bleeding stopped. We decided to survey our members to get a better sense of the number and size of collections out there, and in 2013 sent out a survey which identified over 60 collections, ranging from 100 slides to 50,000
- These are the 90,000 slides from the estate of a prominent architect – we have been trying to find a home for them with great difficulty The 2013 survey results provided useful data that helped us determine which collections were at the greatest danger of loss due to several factors: - Lack of proper storage (often stored in an area without temperature or humidity control, or vulnerable to other environmental threats) - Lack of a “custodian” (which could be the collection owner, a willing family member, or collection or library staff at the owner’s institution) - The pending loss of space or custodian Some collections were at great risk, in other cases the survey response was a pre-emptive action by the owner to get a plan in place We realized without an existing storage facility to offer, or funding to process the collections in any way, there was a huge limit on any triage
- Around this time the VRA formed the Slide and Transitional Media Task Force, which has since become a Special Interest Group, and of which I am a member. Its aims are to provide advice and information that can assist managers of visual resources centers and other image collections on the latter stages of our long transitions from analogue to digital collections. Some of the functions are to provide: - guidelines on culling, deaccessioning and/or retaining 35mm slides in teaching and research collections - case studies from institutions that have dealt with large scale slide collection culling and disposal - suggestions for the reuse or recycling of 35mm slides
- A natural partnership has been formed between the SAH’s Color Film Emergency Project and this VRA group. In 2015 the VRA SIG had sent out a survey to VRA members to learn about the status of their facilities: how many had been downsized or closed, or repurposed, how many still had an analogue collection, and so on. This survey revealed that some collection managers were still open to taking on slide donations so in 2016 we sent out a follow-up survey to get more information on these facilities and are using this to try and create partnerships, ideally in reasonable proximity to collection owners to reduce transportation costs. Our first project is now being set up with Linda Reynolds at Williams College, who is taking on the collection of deceased architectural historian William Pierson.
- Of course many questions remain, such as - How do we determine which member collections are of great value as a whole and should be stored together, vs - Which collections are of value for parts only, which can be digitized and shared - How long is a facility required to store a member’s slide collection - Where can we find more funding support?