Showing posts with label collaboration. Show all posts
Showing posts with label collaboration. Show all posts

Thursday, October 24, 2013

30th Year Reflections/59: By Example


“The older I get the less I listen to what people say and the more I look at what they do.” — Andrew Carnegie

A few weeks ago I gave graduate students in my preservation management class an assignment. I asked them to watch a presentation given on September 30th at the University of Minnesota by Elliott Shore, Executive Director for the Association of Research Libraries (ARL) and James Hilton, Dean of Libraries and Vice Provost for Digital Education Initiatives at the University of Michigan. This joint presentation was made possible by University Librarian Wendy Lougee (who also serves as ARL president), and appeared under the general title “Research Libraries at Scale: Moving from 19th Century Origins to 21st Century Solutions.” While watching this presentation, I asked my students to keep in mind three questions and to write a 1,500 word short paper based on answers to those questions. The questions were these: What did Shore or Hilton say that relates to preservation? Does it make sense? Does what they said give you a roadmap to think about preservation planning in the future? Perhaps not the most profound questions, but intentional all the same. I wanted my students to: a) have a chance to hear two influential professional leaders speak about the future of libraries, and b) pull out and assemble thoughts on a topic not immediately apparent in the theme of the Shore/Hilton presentation, i.e. library preservation programs and planning.

My students handed in their papers last Saturday. Before reading them, I thought of another experiment (akin to my MLA pre- and post-conference experience of the last two posts): commit my own thoughts to paper, post them to the blog, and see how they stand up against my students. This, like my MLA reflections, is a bit risky (for me and my students). But why ask my students to do something if I’m not willing to do it myself? In my piece I spend more time than my students might at the beginning summarizing the Shore/Hilton presentation; I think it is necessary for context. I then wrap up with some observations on preservation. Here, then, are my reflections on the Shore/Hilton presentation as they relate to preservation programs and planning.

* * * * * * *

The long-term preservation of culturally and educationally important materials is a core function of libraries. Shore—in setting the table for Hilton—argued “that how we are acting now (or trying to react to what we are seeing) is deeply and inexorably rooted in a period of human history whose foundations are now crumbling” and whose practices and habits, developed across all cultures of the world, “mark our habit of thought and continue to be present in how we make our decisions.” He further argued that “the library is the central institution that bears the most marks of the thinking of the last century and a half” and that it was his firm belief “that if we understand our habits of mind better, we may be in a better position to make choices among a seemingly infinite number” of possibilities. Preservation, as a core function, bears some of these marks and habits of thought.

Shore assisted us in this historical introspection by noting, in essence, our bad habits, i.e. the things we need to break. He observed: “The penetration of the dynamic, changeable nature of digital, web-based, linked information technologies to universities and to research libraries has shown the fissures and exposed the assumptions in some of the fixed structures into which we have organized ourselves and how we think about our work.” These habits include (but are not limited to) a propensity towards reducing problems to discrete parts and tasks; creating (and continuing)—through classification and sorting activities—information silos; organizing ourselves and our work hierarchically; assuming that items in our care are, by their nature, discrete and finished. By breaking these habits (and perhaps healing our scars in the process), we can move from a discrete, contained, hierarchical, rigid, single profession mode of existence toward something that engages us in a fluid, ubiquitous, diverse, collaborative, and interprofessional reality.

Beyond introspection (to continue a psychoanalytic or religious metaphor), Shore asks us ostensibly to perform a professional confession, i.e. to acknowledge our current state: We have lost control; we need to get beyond our “binary oppositions” of centralization versus decentralization, control versus openness, fixed versus shifting categories; we are jolted by the rapid appearance and aggressive behavior of commercial, social, and personal entities in “our” domain; we are not alone; there is a way out; we need to seek a middle ground.

The confessional ends with the realization that there is a middle ground, but even here questions arise, the principal being: “Where do we differentiate ourselves from one another and where do we work together?” Is it, as Shore seems to say, that this middle ground, this new place of professional identity and activity is in both these areas of difference and collaboration? For examples, he points to aggregators and cultural commons, e.g. the Digital Public Library of America (DPLA) and Wikipedia, and quotes Charles Henry’s observation (“Higher Ground”) that the next two decades “could witness an extraordinary fluorescence of activity among universities and colleges focused on repositioning, consolidation, and convergence.” Is this the middle ground of which he speaks? If so, what does this mean for the core function of preservation?

Hilton, in response to (or continuing) Shore’s presentation, framed matters another way, i.e. if Shore’s talk was classical music, then Hilton offered free-wheelin’, pickin’, kinetic bluegrass sprinkled with the blood of a Baptist preacher. His presentation, like a preacher’s sermon, included three major points: the emergent nature of change, irresistible forces, and opportunities/imperatives (aka celestial navigation).

On the emergent nature of change, Hilton noted that “our notions of change don’t serve us well.” We think of change as calm waters punctuated by rapids, when in fact it is really rapids all the time, all the way. Viewed this way, change is disruptive, messy, not orderly, planned, or predictable. While Hilton did not adequately define what he meant by emergence (as understood, for example, in systems theory) he did point to it as a strategy for dealing with change. In this sense we have a known starting point and desired direction, but an unknown end point. Part of this strategy involves identifying and adjusting “fundamental conditions” so that “new opportunities will emerge.” It also entails instilling “a discipline of ‘fine-tune as you go’ and refinement based on experience. Hilton likened the process to sailing.

Taking up the sailing theme we might quote Seneca: “If one does not know to which port one is sailing, no wind is favorable.” Hilton might respond that the port is not important, just the direction. (We would hope he wants to hit land at some point, if for no other reason than to reprovision his ship—assuming the natives are friendly and their stores abundant.) We might also amend his earlier image of change (which included pictures of canoes or kayaks on calm water and rapids) to a sailing image that includes the natural forces of massive swells, towering waves, smooth seas, and doldrums. These maritime dynamisms would correspond (by name if not by nature) to the four irresistible forces, i.e. emerging conditions, outlined in his talk: higher education, consumerization/relevance, unbundling, and digital.

Under these conditions—adjusting the tiller—we might expect nearly continuous evaluation or redefinition of the purposes and meaning of education, who participates in education, and how it is financed. We might also expect incessant gusts from port or starboard in the form of commercial blowhards (I mean entities) telling us how they can do it better, cheaper, more efficiently, etc. As an example, Hilton gave us a charming thumbnail portrait of his colleague at Michigan, Paul Courant, and the interaction between Courant and the Elsevier publishing company on the topics of preservation and digitization.

Elsevier: “Look, we were Galileo’s publisher. Trust us. We’re going to be fine.”
Courant: “We have the hubris to be unimpressed with your track record of longevity.”
Courant: “Where did you go to get your backfiles for digitization?”
Courant: “You’re going to go to your board of directors and propose something with a perpetual, binding liability with no revenue stream behind it?”

Hilton’s conclusions, his celestial navigation, led him to five final imperatives: 1) re-orient around durable access, 2) tie our fate to collaboration, 3) harness economies of scale, 4) be Switzerland on steroids (i.e. neutral and highly engaged), and 5) double down on audacity.

Let me return to the three questions I posed to my students as they relate to preservation planning in libraries. If the five major components of preservation planning are environmental control, emergency preparedness, security, storage, and handling/use, then at first blush Shore/Hilton said little in specific terms about this core library function. But in broad terms, and as a roadmap to the future, they gave us plenty to think about.

First, Shore challenged us to examine those habits of thought and work that have become embedded in our professional consciousness. In terms of managerial planning and conservators’ treatments we might question the amount of time, staff, space, and money spent on treating individual items in loco. If we are collaborating, i.e. practicing what Hilton called an “intentional interdependence between organizations,” and working to scale it would seem we would want to invest more of our resources on regional treatment centers to which numerous institutions could send individual items for attention. Something like the Regional Alliance for Preservation might provide a model or a vehicle for this type of work.

This also argues for active, real-time discussions across institutions and among staffs/faculties of what should be sent for treatment to such regional centers, what can be done in-house, or ignored. Such a discussion overlaps Shore’s concern for a middle ground and the question: “Where do we differentiate ourselves from one another and where do we work together?” If we differentiate ourselves, in part, through our special and rare collections, then we are long overdue for a conversation (let alone collaborative work) about physical and digital preservation planning for these materials. This conversation, among regional or consortial curatorial staff, needs to happen sooner rather than later. The Committee on Institutional Cooperation (CIC) have a number of initiatives that address physical and digital preservation: the Shared Print Repository, Hathi Trust Digital Repository, the Google Book Search Project. But almost all of this activity addresses circulating or journal collections, not rare or special materials. It is time for curatorial staffs (and associated faculty) to gather, talk, and act.

Some might argue that digital humanities initiatives or cultural commons projects like the DPLA meet this need. This may be the case on the digital front, but I do not think it adequately addresses Hilton’s call to re-orient around durable access. Here he pointed to “traditional content,” (books and paper) as being less problematic, i.e. put it on the shelf in an environmentally stable, secure, place and we’ll be fine for five hundred years. This may be so, but we do not, at present, have the necessary capacity for such storage. The physical is being shortchanged in favor of the digital. We need to be collaboratively audacious on both fronts.

Friday, May 30, 2008

Red Baron Hotwheels and Accessories

I've been pondering what I posted last week and I'm not sure I'm comfortable with my conclusion. I wrote:
Maybe that's what we should do with all the cool stuff we have in special collections -- create the containers for the toys and allow our players to spill the stuff out on the floor and let them dream new things into existence.
Its the "creating containers" part of that post that's still bugging me -- what's the difference between creating a container and building a tree-house? Not much. Its creepy. So I need a different image.

But I kind of like the toy theme (special collection items as toys), so let me play around a bit. Lynne Thomas wrote in comment to my last post:
At least we have the old, cool materials to entice them . . . but I wonder if that comes across as creepy? Where is the line between friendly and creepy?
Good question and it reminds me of something related. Not to mix the toy image with television, but . . . are members of the Addams Family friendly or creepy? Remember the lyrics to the opening song?

They're creepy and they're kooky,
Mysterious and spooky,
They're all together ooky,
The Addams Family.

Their house is a museum
Where people come to see 'em
They really are a scream
The Addams Family.

(Neat)
(Sweet)
(Petite)

So get a witches shawl on
A broomstick you can crawl on
We're gonna pay a call on
The Addams Family.

How about the Munsters? (Both shows debuted within a week of each other, in 1964, according to IMDB.)

Maybe the image I'm thinking of is more along the lines of an accessory. (Not the kind of accessory that Sid Phillips, that nasty kid next door, had in mind in "Toy Story" -- or maybe so -- its an interesting cross-over with Pugsley Addams (or Uncle Fester) -- but I digress. At the same time, note this little bit of trivia from the IMDB site: "Sid Phillips is said to be inspired by a former Pixar employee of the same last name who was known to disassemble toys and use the parts to build bizarre creations." Isn't that what we do with mash-ups? But back to the toys for a moment.

When my brother and I were kids we collected Hot Wheels cars. Now, Hot Wheels cars begged to be accessorized. First we had the cars (which we ran down old carpet tubes or across the floor). But then we needed to buy the special track for the cars. And the clamp and starting gate to attach the track to a table or chair (for the necessary height so that gravity could power the car down the track). And then there were the special curves that attached to the track. And then there were the double curves so you can run the cars in an oval or figure-eight. But to do that you needed something called a "supercharger" because once you closed the system, i.e. didn't have a long length of track to just run out on using gravity, you needed some way to keep the car running around and around the closed loop of track. And of course, you needed somewhere to store your cars. The accessorizing from Mattel went on and on (and on; they learned a lot from Barbie).

Anyway, to get us back to the point, maybe what we're about is accessorizing our special collections and rarities. We're expanding the field of play, or allowing our "toys" to do more than they were maybe initially designed for. We're not building new containers. We're not creeping people out with our treehouses. We're just adding tracks and curves and superchargers so we (and our players) can have more fun. We're just taking all our cool stuff "to infinity, and beyond."

Wednesday, May 21, 2008

Creepy Treehouses

Barbara Fister had an interesting post the other day on the ACRLog. The topic was a new tech term she'd come across--"creepy treehouse." She defined the term this way:

A creepy treehouse is a place built by scheming adults to lure in kids. Kids tend to sense there’s something creepy about that treehouse and avoid it. Hence, a new definition: “Any institutionally-created, operated, or controlled environment in which participants are lured in either by mimicking pre-existing open or naturally formed environments, or by force, through a system of punishments or rewards.”

It’s an interesting take on that vaguely unsettled response we sometimes get from students when we try to be too cool, try too hard to seem fun and playful, when we make familiar toys unpalatably “educational.” Setting up an outpost in an attractive playspace with an ulterior motive is just . . . creepy.


That got me to wondering. . . what sites have I created (along with my colleagues) that might fit the creepy treehouse model? At the same time, in the same post, Barbara also brings in the notion of play.


[W]e learn by playing, and at its best, our learning is play. . . . Maybe the library itself is a place for that form of play, once students get clued into the fact they can join the conversation. Then we won’t have to build a creepy treehouse to entice them in.


The nub of the issue, as I read Barbara's post, was kind of a combination of "where do we play?" and a "Field of Dreams" notion of "if you build it, they will come." What created the "creepy treehouse" reaction was when the built environment got pushed to the student, as in the example Barbara gave of Blackboard Sync pushing readings and assignments into Facebook space. Happily, in my quick review of web sites I'm responsible for, I didn't find any examples of content being pushed out to students, into spaces that are their own. But I'm still wondering. . .



So what's a good model, instead of the creepy treehouse? For me, I'm thinking Tinkertoys, or Legos, or Lincoln Logs, or Erector Sets--all the toys my brother and I had as kids that provided hours of fun, hours of play and creativity. (We never had a treehouse, but loved to climb in trees.) We built things (and destroyed things) and had fun doing it, all because we could open the box (or the large can), spill the pieces onto the floor, look at all the possibilities, and dream something into existence. Maybe that's what we should do with all the cool stuff we have in special collections--create the containers for the toys and allow our players to spill the stuff out on the floor and let them dream new things into existence. And maybe we shouldn't worry about the stuff getting mixed up now and then. Every once in a while my brother and I would launch pieces of Lincoln Logs into our Lego creations to see how they stood up. Maybe we should allow that same sense of playfulness--and testing--in our own spaces. We might even has some fun in the process.

Wednesday, May 7, 2008

Clay Shirky at Web 2.0 Expo

When you're a newbie to this stuff, as I know I am, you have the sense that there's a lot of unpacking to do, or a lot of catching up with the curve, or. . . whatever. You get the gist. And so in my case, I'm spending a bit of time, here and there, tracking stuff down (kind of like I feel about my reading--I hated to read as a kid and now that I like reading, I'm constantly playing catch-up to get to to the stuff I should have read a long time ago). All of which is to say, I'm probably going to play catch-up (a lot) with some of these posts or at least track things down to the point where they make some sense to me (and maybe to you). We'll see. Feel free to skip if all of this is old news to you.

So, I see this comment on Peter Brantley's Twitter site: "clay's web 2.0 talk nice short sweet - make every librarian or publishers listen." I take that as a challenge, and so follow the link to clay's talk. First of all, I'm wondering, "who's Clay?" Turns out, its Clay Shirky. I still don't know who he is, but I've got the link and follow it. But first, before following any links, I watch the video. Here it is:



What did I take away from Clay's talk that might have some bearing on working in the world of special collections & rare books? (A question I'll probably repeat again and again as I find new stuff.) First, there was a great quote I snatched from his talk: "Media that's targeted at you, but doesn't include you, may not be worth sitting still for." We probably do a whole lot of targeting. Or maybe we just make people sick. (We "throw up" content on the web--a terrible way to describe what we do--especially if you've ever been sick with the flu). But we don't give them the chance to interact with that content, to collaborate on the content, to produce something new and useful.

That brings me to the second takeaway from Clay's talk: this concept of the cognitive surplus. Time is not an issue. How time is used, is. Gin was the response in the 19th century; the sitcom was the response in the 20th. Given the orders of magnitude Clay mentioned in his talk, there are enormous possibilities to share, produce, and consume new kinds of information or products (instead of watching another episode of CSI).

How might this play out in our own situations? For example, I have a couple of web pages that include scanned images and metadata for medieval manuscript leaves. As they're currently presented, there's no easy way for people to collaborate on those leaves, to add new content (translations, provenance, notes, etc.) except for them to send me an e-mail with their suggested content and then for me to ponder, edit, or whatever the fruits of their labors before I put it up on the web. Its a mediated situation that works, but maybe it could work better. To use another image from Clay's talk, people want to know where the mouse is. They want to be able to interact with the material, to be included in the material. Now, maybe we're nervous about a totally un-mediated situation. So, maybe we look for a middle way, something that might limit the community of participants, but still opens it up to a greater level of participation and production than is currently available.

Maybe we do something similar with photograph collections. Instead of spending a lot of time fussing around with metadata, we post the images and let people have at it. I don't know. Since I'm from the Hawkeye Pierce school of meatball surgery (as it might apply to archives and libraries), I tend to want to get the basics done at then pass the patient off to someone else who can attend to the niceties of care and recovery. (Maybe I'm just mixing too many metaphors here!)

In any event, I think Shirky's on to something here, something worth exploring in the production and sharing of things special and rare. A "lightly edited" transcript of his talk is here.

Friday, April 11, 2008

Thing 9

While I'm waiting for my presentation to be converted to the SlideShare format I thought I'd move on to the next Thing and see what's in store. Looks like its online collaboration. I can see a couple of possible advantages to this if you're working with someone on a jointly-written article or if you have some kind of committee or process document with which a lot of people are involved. So let me go explore this Thing and then I'll come back with some more comment.

OK, I'm back and a bit frustrated. I have a Google account, but I'm not being given access to the document that everyone was working on. I tried the link at the bottom to edit the page, but was told by the system that I didn't have access.

At this point, having looked at the Zoho site, and having problems with the Google site, I'm not going to take this Thing any further. I think the promise of collaboration is good, but it also seems to hinge on getting (or giving) the necessary people permission to work on a document. That might be a bit of a hassle.

As to what happened in Philadelphia during the summer of '76, I've always been a bit partial to the musical and movie, "1776." Every year, on or near the 4th, my family has made it a habit of watching the movie. I'd first seen the musical in Illinois at a dinner theater venue and then saw it again last year at the Guthrie in Minneapolis. Loads of fun, good music, and pretty good history.