This document summarizes an interview study of graduate history students' use of images in their coursework, teaching, and research. The study found that students used images primarily for coursework to illustrate concepts and analyze meanings and sources, and for research to discover new information and ideas. Students also used images in their own teaching. While students found images on their own, they were open to outreach from the library on image guides and instruction to help them find and use images more effectively.
Libraries in the Sun: Presentation on ARL internship at the University of Ari...Camille Thomas
My presentation on my ARL internship at the University of Arizona Libraries. I am a Association of Research Libraries fellow and this is my experience. This was presented to various UA Library staff to give them more informaiton about me and what I did during my time there.
Libraries in the Sun: Presentation on ARL internship at the University of Ari...Camille Thomas
My presentation on my ARL internship at the University of Arizona Libraries. I am a Association of Research Libraries fellow and this is my experience. This was presented to various UA Library staff to give them more informaiton about me and what I did during my time there.
A Dozen Ways to Incorporate Technology in the History ClassroomEric Langhorst
This presentation was first given at the 2010 MCSS Conference in St. Louis - February 19, 2010 by Eric Langhorst.
www.speakingofhistory.com/historytech
NAEA Ignite 2014- The Flipped Museum by Michelle Harrell Michelle Harrell
What would happen if we flipped the museum experience? As a former teacher, field trips were a neccessity for my curriculum but.. such a pain! I spent hours of research ahead of the field trip to best engage students. My students research artists and presented to each other but I always imagined doing more. In this 5 minute Ignite presentation, I will share why I'm so passionate about "flipping the museum" and a blended learning pilot project that is currently in progress at the North Carolina Museum of Art (NCMA). This is part of the Ignite Supersession at the National Art Education Association (NAEA) Conference in San Diego, March 30, 2014.
This presentation was given at the 2007 National Council for the Social Studies conference in San Diego - December 2007. Presentation created by Eric Langhorst - 8th grade American History teacher at South Valley Jr. High in Liberty, Missouri.
Media and Information Literacy (MIL) - 5. Media and Information SourcesArniel Ping
I- Media and Information Sources
A. Sources of Information
Indigenous Knowledge
1.Library
2. Internet
3. Mass Media
B. Pros and Cons of the Different Types of Media as Sources of Information
C. Evaluating Information Sources
Learning Competencies
1. compare potential sources of media and information (MIL11/12MIS-IIIe-13)
2. assess information quality by studying the pros and cons of different types of media as sources of information (SSHS)
3. interview an elder from the community regarding indigenous media and information resource (MIL11/12MIS-IIIe-14)
A Dozen Ways to Incorporate Technology in the History ClassroomEric Langhorst
This presentation was first given at the 2010 MCSS Conference in St. Louis - February 19, 2010 by Eric Langhorst.
www.speakingofhistory.com/historytech
NAEA Ignite 2014- The Flipped Museum by Michelle Harrell Michelle Harrell
What would happen if we flipped the museum experience? As a former teacher, field trips were a neccessity for my curriculum but.. such a pain! I spent hours of research ahead of the field trip to best engage students. My students research artists and presented to each other but I always imagined doing more. In this 5 minute Ignite presentation, I will share why I'm so passionate about "flipping the museum" and a blended learning pilot project that is currently in progress at the North Carolina Museum of Art (NCMA). This is part of the Ignite Supersession at the National Art Education Association (NAEA) Conference in San Diego, March 30, 2014.
This presentation was given at the 2007 National Council for the Social Studies conference in San Diego - December 2007. Presentation created by Eric Langhorst - 8th grade American History teacher at South Valley Jr. High in Liberty, Missouri.
Media and Information Literacy (MIL) - 5. Media and Information SourcesArniel Ping
I- Media and Information Sources
A. Sources of Information
Indigenous Knowledge
1.Library
2. Internet
3. Mass Media
B. Pros and Cons of the Different Types of Media as Sources of Information
C. Evaluating Information Sources
Learning Competencies
1. compare potential sources of media and information (MIL11/12MIS-IIIe-13)
2. assess information quality by studying the pros and cons of different types of media as sources of information (SSHS)
3. interview an elder from the community regarding indigenous media and information resource (MIL11/12MIS-IIIe-14)
In our media-driven age visuals have a direct and frequent presence in our society and their role across academic disciplines is growing. This makes it essential to prepare visual literate learners and justifies the need for teaching visual literacy skills. Currently, several educational approaches exist undertaken by universities, faculties and academic libraries.
Museums Work: Success Stories from Students and Faculty in the ArchivesRobin M. Katz
Katz, Robin M. with Eric Platt, Leah Dilworth, and Robin Michals. "Museums Work: Success Stories of Students and Faculty in the Archives." Conference organized by Baruch College-Rubin Museum of Art Project: "Museums and Higher Education in the 21st Century: Collaborative Methods and Models for Innovation." Baruch College. New York, NY. April 25, 2013. Panelist.
Thinking Critically About Social Issues Through Visual MaterialThe Wolfsonian-FIU
This article addresses an arts integrated social studies curriculum for grades three through five entitled Artful Citizenship, designed by The Wolfsonian-FIU.
Funded by the U.S. Dept of Education's Arts in Education Model Development and Dissemination Grant program.
Teaching Through Space Design: The Symbolic Power of Academic Libraries in th...Kelly E. Miller
These slides were presented at the CLIC: Cooperating Libraries in Consortium event on April 12, 2016 at Hamline University's Anderson Center in Minnesota.
Abstract of Talk:
Miller discusses the ways in which our beliefs about learning and research — and the role librarians can play in those processes — are symbolized in the ways we choose to plan and design library spaces. Drawing on her experiences at UVA, UCLA and the University of Miami, she will share examples of library space planning and renewal that are creating new opportunities for librarians to engage in new ways with faculty and students. In particular, she will offer practical tips on how library space can embody key concepts in the new Framework for Information Literacy for Higher Education (http://www.ala.org/acrl/standards/ilframework) and spur growth and transformation of library reference and instructional services. By teaching intentionally through space design, libraries — and librarians — can increase the significance of their roles in the learning and research processes at their colleges and universities.
American Ukrainian Project "Learning Together: SSU & PMBSSU"Tatyana Zubenko
Second international American and Ukrainian project between Salem State University and Petro Mohyla Black Sea State University: "Learning Together: SSU & PMBSSU" took place in January-April 2014. Additional link: cenincom.blogspot.com
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.
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?
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.
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.
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.
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.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
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.
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.
A Strategic Approach: GenAI in EducationPeter 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.
VRA 2013 Pedagogical Studies in Visual Literacy, Smith
1. Kelly Smith, Visual Resources Librarian, Lafayette College, Easton, PA
VRA Annual Conference – Providence, Rhode Island
April 5, 2013
IMAGE SEEKING & USE PRACTICES BY
GRADUATE HISTORY STUDENTS
Avenues to Incorporating Visual Literacy
Session #13: Pedagogical Studies in Visual Literacy
2. What roles do visual resources play?
What are the methods and motives
for image retrieval?
What are the opportunities for
outreach?
4. Years in
Program
ABD
Previous M.A.(s)
from Other
Institutions
Fields of Study
5 Yes 3 in History
Early Modern European and History of
Art
5* Completed None Modern European History
3 Yes 1 in History
Early Modern European and Intellectual
History
2 No 1 in History
Russian/Eastern European Cultural
History and East Asian History
5 Yes None
United States Women’s and Gender
History and African American History
8 Yes None United States African American History
*Participant 2 recently completed a dissertation before the interview.
6. Use – Course Work
Standard Three:
The visually literate student interprets and analyzes the
meanings of images and visual media.
Standard Four:
The visually literate student evaluates images and their
sources.
Standard Five:
The visually literate student uses images and visual
media effectively.
7. Use – Teaching
Children in Classroom in Keene New Hampshire. Keene Public Library and the
Historical Society of Cheshire
County, http://www.flickr.com/photos/keenepubliclibrary/5445795535/
12. Outreach Preferences
Handout available in print, online, or both.
Image guides hosted on the library’s webpage.
Visit classes and Teaching Assistant training.
13. Dog Riding a Tricycle. National Media Museum,
http://www.flickr.com/photos/nationalmediamuseum/3084876560/
smithka@lafayette.edu
14. (2011, October 27). "ACRL Visual Literacy Competency Standards for Higher
Education”. American Library Association.
Retrieved from:
http://www.ala.org/acrl/standards/visualliteracy
Burke, P. (2001). Eyewitnessing: The use of images as historical evidence. Ithaca,
NY: Cornell University Press.
Stafford, B.M. (1996). Good Looking: essays on the virtue of images. Cambridge,
MA: The MIT Press.
http://dc.lib.unc.edu/cdm/ref/collection/s_papers/id/1540
Editor's Notes
I decided to do this study because I wanted to tie-in my interest in history with my career in visual resources and investigate the extent of visual literacy instruction in the History field. With this study, I explored graduate history students’ image seeking and use behaviors. I believed they would offer insights into not only their own behaviors, but also those of faculty and undergraduate students because of their unique positions as both learners and educators. The core questions driving this exploration were:What roles do images play during the course of study for graduate history students?What are their methods and motives for image retrieval? Are there opportunities for outreach by visual resources specialists and other information professionals to serve this population better?There is a “pictorial turn” of historic methodologies underway and this, mixed with the current generation of new historians raised using computers, offers a unique opportunity for visual resources professionals. The results of exploratory interviews with six graduate history students provided valuable insights on how we, as visual resources professionals, can meet the most immediate needs of this population followed by suggestions on how we can collaborate with other university personnel to best serve this albeit self-reliant group of researchers that want more information regarding how to find images for a variety of purposes.
When the “pictorial turn” of historic methodologies began, this initiated a scholarly atmosphere that accepts images as an equally viable source material for historical analysis. This “post-Gutenbergian” pedagogical method rooted in the visual is partially due to a new generation of historians raised in the age of computers and living in a world saturated with visual media.However, the difficulties and conceptions that images are harder to analyze than texts persists. Much of the presentations this week discussed visual literacy skills. I believe that these skills are not necessarily more difficult to teach, but do definitely require a different skill set that can parallel information literacy standards, skills that can be incorporated into graduate history courses.
As I mentioned before, I conducted exploratory interviews with six graduate history students from a program notable for supporting diverse fields of study and various theoretical methods for historical analysis. As part of the flexible degree requirements, each graduate student chooses one primary field of study and one secondary field of study. Students may either complete an MA within the graduate program or be accepted with an MA from another institution. Students entering the program without an MA, must take History 700 Thinking Historically and History 900 Crafting a Historical Project during their first year. History 700 introduces students to a variety of historical methods and the sources used by said methods, whereas History 900 charges students to write a research paper utilizing the methods and skills taught in History 700.To give a sense of the diversity of the participants, this slide displays each participants progress in the program, including number of years and status as “All But Dissertation”, as well as the number of Masters Degrees held previously to entering the program and their respective fields of study. From this we see that three of the participants entered the program without an MA in History and therefore definitely took History 700 and 900 as part of their course requirements. Although the interviews were largely free flowing, main topics discussed with the participants included:The methods used to find an image;The intended purposes for images retrieved;The role of images in each participant’s work as a graduate history student;Image retrieval instruction;And awareness of image resources available to students and faculty.
Large portions of the interviews focused on the motive or purpose for finding an image. From these discussions, I identified three primary roles of use for visual resources by graduate history students: course work, teaching, and research.Course work use refers to the use of images in the graduate level courses each participant must take as part of their program.Teaching refers to the use of images during courses taught solely by participants or when participants acted as Teaching Assistants or guest lecturers for a faculty member or another graduate student’s course.Research refers to each participant’s use of images in his or her dissertation, whether these sources are part of the finished dissertation, the prospectus, conference presentations, or as a memory tool.
Overall, participants described course work focusing predominantly on writing assignments including: book reviews, historiographical papers, source criticisms, and online discussion postings. Assignments and class discussions centered around textual sources to produce “oral and written digests” and all participants stated images did not play a prominent role (if at all) in the majority of their courses.However, the three participants who took the previously discussed History 700 course stated this class in particular discussed images as another type of source to evaluate and analyze, similar to textual and oral counterparts.Intended to be an introduction to the graduate course format and seminar class style, History 700 examines a variety of historical methods and teaches students how to critique and use sources effectively, including images. The “pictorial turn” in the field is discussed and an “in-defense of images” tone commonly takes hold. One participant expressed the general debate common in the course, quote “just because [it is] an image, doesn’t make it any less important”.Although I am unsure if in the design of the Hist 700 course the ACRL’s Visual Literacy Competency Standards for Higher Education were consulted, it is clear that Standards Three, Four, and Five are met throughout the class. Questions regarding interpreting and analyzing “the meanings of images and visual media”, evaluating “images and their sources”, and using “images and visual media effectively” are asked as part of the “pictorial turn” discussion.
Unlike the faculty members teaching the graduate history courses, all of the participants used images often in their lectures, albeit most commonly as illustration. But four of the participants replicated the visual literacy exercises taught in History 700 and asked their undergraduate students to evaluate and analyze images. Regardless of whether the images were discussed at length during class or used simply as illustration, all of the participants felt that undergraduate student engagement increased during lectures when using images. Participants expressed the need to grab and keep the attention with the aid of images. One participant described his visual literacy exercises as being a way to get undergraduate students in the right mindset for class. At the beginning of every class, a slideshow of images was projected as students entered the classroom and then the class would spend a few minutes analyzing one image. The participant noticed a change in student engagement and hoped to avoid any bored or glazed over expressions like the children here.
All participants used images in some aspect of their research to produce conference presentations, publications, and the dissertation. But the level of use relied on the level of comfort with interpreting, analyzing, and evaluating images and the amount of relevant images found to support an argument. Four participants described their use of images in their research as quote “the bad way of using them”, as illustration for the argument bolstered by textual sources. And if the images do not make it into the final draft or conference presentation, two of the participants stated they were useful as a memory tool by allowing them to humanize content and form a “personal connection” with names and events read about over and over again, helping to keep chronology, faces, names, locations, and events in order. One participant anticipated primarily using images in the dissertation, but this participant was also most comfortable with quote “the close reading of an image” because while working on an MA at a different institution, she took a course focused entirely on the use of images as historical evidence. The course required students to write historiographical essays based on visual resources and present an image or series of images with a lecture analyzing them. This example of in-depth visual literacy training was developed by a faculty member with experience and extensive knowledge of using images as historical evidence.
Although the faculty’s use of images is not the focus my study, it is important to note that gleaned from all of the interviews was that the use of images in the three roles of Course Work, Teaching, and Research relied heavily on faculty influence. For Course Work, most of the participants could name several faculty members that used images extensively as historical evidence, but attributed the seminar style of classes as the primary reason for the rare use of images during instruction. Additionally, incorporating visual literacy instruction is at the discretion of the faculty member teaching the course. For Teaching, participants often acted as Teaching Assistants for faculty members’ classes, where the scope and the content is decided largely by the faculty member. Input from the Teaching Assistant is of course welcome, but the ultimate decision to include visual literacy instruction lies with the faculty member teaching the course.For Research, all participants noted that comfort with using images as historical evidence came from learning by example from faculty. The participant primarily using images as sources in her dissertation was heavily influenced to do so because of her advisor’s use of images in their own work.
When speaking generally about the methods of finding image collections and individual images, all participants described happenstance discovery as the method or quasi-method where new resources were found all the time regardless of if there is a current need. Participants expressed that the real challenge was organizing newly discovered resources to easily access them when needed for Course Work, Teaching, and Research in the future. When searching for individual images, participants prioritized search criteria by subject, date, and geography of the image, then browsed results until finding a specific image or images that met their needs. All participants described themselves imagining an image of a particular subject and then seeking it, relying on happenstance searching of select resources to produce the desired results.One of the last questions I asked each participant was What do you find most confusing or difficult about finding and using images? I hoped to get a sense of what is most problematic for this population when it comes to visual resources. Surprisingly, five participants all said they found how images were cataloged to be most confusing and difficult to understand since it can vary based on the resource. This was why participants reverted to the search criteria they most commonly used when searching for textual sources: Subject, Date, and Geography in their online search for images and accounted for the happenstance discovery of useful images. This struck me as a clear opportunity for visual resources professionals to reach out to this population and provide image access instruction.
I asked each participant about their knowledge and experiences with outreach by libraries, archives, or other similar institutions regarding visual resources and to share their preferences in how they would like to be approached with visual resources information. These responses were most revealing about what direction visual resource professionals should take when serving this user group. Four of the participants attended a seminar, workshop, or class hosted by an information institution such as a library, archive, historical society, individual department of a higher education institution, or any other similar institution that provided access to and instruction on finding images. Content focused solely on scope of the image collections and the “nuts and bolts” of accessing the collections, leaving how to evaluate, analyze, and contextualize an image collection or individual image for subject specialists. The three participants that entered the program without an MA toured the university library and attended a session on available resources relevant to history, including image resources. When asked about their awareness of information professionals around campus that could assist with visual resource needs, four participants consulted with library and archive staff not specifically associated with visual resources, one contacted the university photo archivist, and one contacted the Art History Department’s Visual Resources Curator. All participants assumed there would be one or more people on campus that specialized in visual resources, but most could not directly name who to contact for assistance. Although online Subject Guides are not a new invention in libraries, it does seem that subject guides devoted entirely to images and hosted on the library’s website are new and growing increasingly common in higher education institutions. Image resources are often tucked into a relevant discipline-specific Subject Guide, but the participants believed that although helpful, this produced “very fragmented” information. Just previous to conducting this study, the university library created an Image Guide featuring only image resources. None of the participants were aware of this new guide, but when I informed them, all six participants saw great value in the guide and were very interested in utilizing it in the future.
When I asked each participant if they would want to learn more about accessing and using visual resources, all of the participants resoundingly said “Yes! Of course!”, but time available and energy to do so play important roles in the decision. All stated that because of time constraints and strenuous schedules, it would be impossible to attend a seminar or class devoted entirely to visual resources. One participant stated “in a fantasy world, it would be great, but also thinking about our daily lives, would we want to spend another day, another afternoon in a course when we have four courses, TA loads, [and] everything else we do?”Keeping their extremely busy schedules in mind, I asked each participant for suggestions on how to effectively deliver information about visual resources to graduate history students and came away with three:A handout available in print, online, or both with introductory information about available visual resources and contact information for suggested people to contact for assistance. All participants emphasized brevity though, because of the mass amounts of information they ingested every day. Create and publicize Image Guides to be hosted on the library’s webpage. Once created, share this information with departments that might find it relevant and do not wait for graduate history students to discovery it by happenstance. Visual resources specialists talk to faculty teaching courses like History 700 and organizing TA training to see if you can introduce yourself to the students during a session. One participant summarized in saying that if information is simply and concisely given to graduate history students, then visual resources specialists have done their jobs; graduate students will take it upon themselves to seek further information.
So what are the general lessons we as visual resources professionals can take away from this information?We know that a “pictorial shift” continues in the field of history where images are being elevated to a new level of use. They are being evaluated, analyzed, and interpreted by historians using similar methods as their textual and oral counterparts to bolster arguments. As a result, Faculty members are incorporating visual literacy concepts into at least their introductory graduate-level courses and while I believe instruction regarding the contextualization of images should remain at the discretion of historians, visual resources professionals have an opportunity to reach out to graduate history students through collaboration.Visual Resources Professionals should take this “pictorial shift” as welcomed news. Our job descriptions are changing. Shrinking use of slide collections and increasing use of digital resources have brought many of us into the purview of the library and left us exploring avenues to broaden our reach to new disciplines. We know that graduate history students want more information about finding images and we provide a unique set of skills to help them. Faculty influence weighs heavily on graduate history students so perhaps the best way to reach them is not directly, but through faculty members. Knowing all of this, I met with a member of the history department at Lafayette College to not only introduce myself and what I did for the college, but to also ask if there were specific faculty members that discussed the use of images in their courses. Not only were there several faculty members that used images in their own research, but two faculty members in particular developed a course similar to Hist 700 for undergraduate students and devoted an entire section to interpreting, evaluating, and analyzing images. After meeting with the two faculty members, I now participate in the image section of the History 206: The Politics and Practice of History. This allows me to introduce myself and the visual resources available to them. The students now know me as someone they can contact to learn about accessing images. I also created an Image Resource Tool for the library’s page and although still early, I have received positive feedback from several departments and know that this tool has been shared with many students. This enabled me to collaborate further with my library colleagues, but overall elevate my presence on campus because more students and faculty now know who I am, how to contact me, and what I can do for them.