What happens when you layer an art experiment on top of a science project on top of a walking tour on top of an archival map on top of demographic data on top of a memoir? What if the archives of multiple universities could be accessed on one platform and layered with the projects, stories, and data from researchers, teachers, students, and community groups?
Stadiumville project site as of November 25, 2014. Screenshot credit: Adina Langer
The concept of deep mapping comes from a literary tradition focused on interdisciplinary exploration of small rural areas, but new technologies in GIS and database-driven visualization tools now allow for incredibly rich explorations of cities. The Polis Center, based on its National Endowment for the Humanities (NEH) summer institute on deep mapping, defines the concept considering these new possibilities: Continue reading →
Our suspicions about the too-great-to-be-true Moms at the “Mich” album cover led us back to the Wikipedia entry that had started our quest for details about this little-known moment in LGBT (Lesbian, Gay, Bisexual, and Transgender) history. When we looked at the edit logs, however, we saw that that important bit of historical information had been added quite recently. In August 2010, someone edited the entry to include the festival as well as the tidbit that Moms was one of the first XXX-rated comedians on the circuit, with a footnote that led to–you guessed it–Queers in History. Who made this addition? Did he or she have a secret archive of documents in the attic? We tried reaching out to the person who edited the Wikipedia entry, but the email address was dead. Continue reading →
Moms at the ‘Mich’: Cover of the mysterious “lost” Moms Mabley album. Photo credit: Rateyourmusic.com
There are layers of history contained in the album cover for Moms at the “Mich.” Jackie “Moms” Mabley’s career ran from the queer Harlem comedy clubs of the 1920s to early race films, from the mid-century “chitlin’ circuit” to the family-friendly late-career movie Amazing Grace (1974). But this… this is a doozy, closer to the porn-comedy LPs of Blowfly than the lyrics of earlier lesbian entertainer Gladys Bentley. Continue reading →
Homepage of the “Slavery at South Carolina College” website.
In the final post of this series, we consider how the “Slavery at South Carolina College” project has been received. The most important effects have been local. The website has acted as a catalyst that has increased awareness of slavery at the university and an interest among students and faculty in speaking plainly about that history. The Richland County Public Library invited the team that created the site to present the research to community members in February 2012, and individual students have guest-lectured on the topic in university classes. Responses from students and members of the community seem to reflect a desire among at least some in the public to learn about and discuss tough issues in our shared history. Continue reading →
As well as trying to convey a sense of these enslaved workers as people, the team of graduate students working on the “Slavery at South Carolina College” website also sought to connect this history to the physical landscape. Harnessing the power of place to tell the story of slavery, we emphasized the built environment of the historic college. The antebellum section of the campus, referred to today as the Horseshoe because of its shape, survives as the historic heart of the modern university. But the most important reason to emphasize the built environment is that slaves physically constructed it. Continue reading →
This 1820 watercolor shows an early view of the campus. Photo credit: South Caroliniana Library of the University of South Carolina
Written on the landscape of the University of South Carolina is an untold yet well-documented story of slavery. Enslaved people constructed the buildings of the university’s antebellum predecessor, South Carolina College, attended to the wants of white students and faculty, and performed countless tasks essential to running the college. This story is not unique in the history of American colleges and universities. Even in places where slavery was not widespread, the profits from slavery helped fund institutions of higher learning. Scholars have been slow to examine American universities’ historical association with slavery, and universities have been even slower to acknowledge it. The current momentum, however, favors expanding the discussion of these complicated topics. Continue reading →
On October 23rd, the University of Amsterdam will be hosting the first conference of the International Federation for Public History (IFPH), “Public History in a Digital World: The Revolution Reconsidered”. Several years in the making and spearheaded by the tireless efforts of Manon Parry and Paul Knevel of the University of Amsterdam and Serge Noiret, Chair of the IFPH, public history practitioners from Europe, the Americas, and Asia will come together for three days to discuss and debate what digital media brings to public history and where public history is headed in a digital world. Continue reading →
Creative Commons offers several levels of easily-applied licenses to facilitate digital publishing of images while offering some protections to owners and creators.
Navigating copyright for images is tricky and presents one of the biggest challenges in my work as an Exhibitions Researcher at the Indiana Historical Society. Although I admit to only a rudimentary understanding of copyright, this is where open access comes in very handy. While it is certainly important to support other cultural institutions and individuals by purchasing images, the back and forth involved in determining copyright, ensuring a file is a high enough resolution, or waiting for a physical copy to be delivered doesn’t always fit into a production schedule. That is why I increasingly rely on sites with hassle-free permissions and files I can download immediately. We still always credit the source of photos used in our exhibits even if they are open access.
Issues of copyright become even more complex with online materials, and new legal conventions are emerging along with digital collections. Continue reading →
Digital collections like those of the Internet Archive have drastically expanded the resources available to exhibit creators. Photo credit: Internet Archive
Thanks to the exponential increase in availability of digitized collections, possibilities in exhibit research have drastically expanded. Digital collections have become essential tools that help ensure the success of projects with limited budgets and tight deadlines, which most public historians might agree is just about every project. At the same time, it is often overwhelming to sift through the wide range of options. How can researchers, curators, and designers best utilize and understand the many resources provided through digital repositories and open access collections?
I recently responded to a tweet by Mary Rizzo asking for examples of people using the Internet Archive, an open access digital collection, in their public history work, and she suggested I write a blog post about using tools like this. As an Exhibitions Researcher at the Indiana Historical Society, my initial reaction was to think “I don’t know much about open access collections, I just use them.” Considering again, however, I realized that even though I was trained during the era of digitization and I use these resources as second nature in my work, I’ve still gone through a learning process in my job. Continue reading →
Euclid Beach Park conjures fond childhood memories for many participants in the Cleveland Regional Oral History Project. Photo credit: Cleveland State University Special Collections
Many of us have discovered what promised to be an exciting oral history project through a Google search, only to be crestfallen when the linked web page was nothing more than a description of a trove of interviews kept in an ivory tower hundreds or thousands of miles away. It’s a given that oral history can’t be public history if it’s a cache of CDs or transcripts squirreled away in a drawer. Is it any less clear that an interview collection—no matter how voluminous, historically significant, or methodologically rigorous—also falls short of the mark when it rests in a library? A project’s outcomes should be publicly visible and audible. Continue reading →