Questions for Laurel Thatcher Ulrich

Whoops. I sent these in by email and forgot to post here. So here are my questions:

I’m interested in the interaction between course design and web design. The web site for “Inventing New England” has a cohesive design on most pages, but the ‘Tea Museum’ seems much more like its own module. In fact, you also use it for the “Pursuits of Happiness” course. Could you comment on how the Tea Museum was developed and on the idea of designing courses by online modules?

Memory and memorials play an important role in both these courses. How important is the metaphor of a “museum” (as in the Tea Museum again) in your course web sites?

Wikipedia editing 101

I’ve experimented with editing wikipedia a little bit before this point. I added  some links to biographical entries for people whose papers are held at the Lilly Library. Last time I did that, I got slapped on the hand a little bit by wikipedia editors, for unlawful adding of links or something. I had replied on the “talk” page to explain what I was trying to do, and oddly enough I had a response waiting for me now (six months later) with very helpful and understanding advice from another editor. A very cool web 2.0 interaction.

For this exercise I chose to work on an already existing article on Mason Locke Weems, aka Parson Weems, a travelling book seller and minister and author of a best-selling biography of George Washington: http://en.wikipedia.org/wiki/Parson_Weems

The entry had some inaccuracies and was based mostly on oldish reference sources (now freely available on the web) and a few citations from Weems’ books. The edits I have done so far have fixed some errors (year of birth; he was described as a printer, which isn’t true, etc.) I also added some information to the biographical sketch and cleared up his relationshiop to the parish church that Washington once attended.

Ideally, the article should talk more about the relationship between Weems and prominent Philadelphia printer and publisher Mathew Carey. Weems worked as a traveling salesman for Carey for more than 30 years, and the correspondence between the two men (published in 1929) paints a vibrant picture of the publishing world and of reading habits of rural Americans in the early republic. Weems pitches the idea for his Washington biography to Carey, who rejects it, much to his later regret. (Common-place has an interesting summary of Weems’ life and work as part of a piece on Dick Morris’ biography of Ronald Reagan, with a great quote from Weems’ pitch, http://www.historycooperative.org/journals/cp/vol-01/no-01/dutch/index.shtml). In short, Weems is a colorful character of some significance, and the article doesn’t reflect any of that.

Considering a wholesale reorganization of the article brings up some interesting questions in a communal creative environment. How much change it too much? Do I have to keep section headers that I don’t like (i.e., “the exaltation of Washington”)? These questions are why I haven’t edited past the first few paragraphs. I think the right thing to do would be to post my plans to the “talk” page and then have an editor respond with advice. I don’t have a problem adding new sections, but the additions will have an effect on the other parts, too. It seems obvious that these kinds of considerations contribute to the sometimes choppy and disjointed nature of Wikipedia articles. How to mesh a writer’s desire to control with respect for the work of others?

And what about changes that are mostly stylistic? I have made some changes like this, mostly when they are intertwined with new information that I’ve added. Will I get a warning from Wikipedia editors? Who knows? Maybe I am a being a bit wimpy about some of this, but there are different responsibilities in this kind of venue.

Digital pedagogy

Some weeks this semester, I have puzzled over how I might use the tools or methodology under discussion in my own work. Not this week. The use of digital tools for teaching is an extremely accessible topic. It is easy to get excited about ways to use new media in teaching.

Of course “digital pedagogy” is not a panacea. In fact, I think there are some examples on our “explore” list that don’t use the media well. But done well, course websites and digital tools have a great potential to engage students and to open up communication between teachers and learners in new ways. David Pace’s “Amateur in the Operating Room” is a great reminder that the digital is not an end in itself. His argument doesn’t necessarily have anything to do with digital pedagogy. Digital tools can be used in the pursuit of expertise in teaching, but other methods may be just as useful.

I wonder if it is accurate to say that the history web and the scholarship of teaching and learning history are two areas that have grown up together, intertwining and in conversation, but not the same thing. Cohen and Rosenzweig’s “No Computer Left Behind” certainly asserts that the internet puts increasing pressure on more traditional pedagogies. Dissatisfaction with multiple choice assessments did not begin with the internet age, but the ready access the web provides to factual information further discredits learning that focuses on the recital of facts. Their article doesn’t say that the solution is teaching with digital media. In fact, it concludes with a call for increased human effort in assessment. So, the key is to use the technologies intentionally as part of a thoughtful plan with specific goals.

One clear advantage of using the internet in teaching is the ability to provide convenient access to a variety of texts, images, and audio/visual media. From the earliest examples from our readings to the newest—all provide easy access to texts, if you have a computer handy. And the online environment is great for images. The reproduction of images always suffered in the era of photocopied course packs, and I remember hours standing in a hallway studying review images  tacked on the wall for art history exams. Convenience and fidelity of reproduction are clear assets to the online environment.

Interactivity is more recent element that is becoming important in teaching in the digital environment. We’ve already talked in class about the fuzziness of the word ‘interactive’, and this post is not going to clear up the issue. The exercises on the  World History Matters site are technically interactive. You click on something, then something else happens. But the exercises don’t seem to encourage much thought. The “what can maps tell us?” exercise uses a classic example (Snow’s Broad Street Fountain), but the information given is so circumscribed that it is hard to see what t learning is encouraged. Very little reflection is required to think that a map might be most useful for organizing information about location. And if you did perhaps choose another category, say ‘family wealth’, the response tells you that you are incorrect and then cites information that you did not have access to. This exercise is worlds away from the intention and scope of the Who Killed William Robinson? website, but  I think you could improve the exercise by making it more open-ended. You could provide primary sources to illustrate the information available to Snow or summarize data about the age, gender, and household wealth of the victims so that students could look for patterns (or the lack of patterns) themselves. Then, use the map and ask students to explain their reasoning.

Of course, I am basically describing an entirely different site. One that probably has some element of human interaction behind it, perhaps something like Pace’s online assignments in his J300 course. The human aspect seems key to supporting the kind of learning we want to encourage. I don’t see how one can teach historical reasoning exclusively through machines. That way leads to the same Scantron-style frustrations described by Cohen and Rosenzweig. Using new media to provide resources, set up exercises and facilitate communication — these areas seem ripe for continued exploration. Technologies that connect students and teachers in new ways are very interesting to me, but there is so much more to learn about their efficacy. The HASTAC blog posts included people talking about having office hours online (via IM, Facebook, etc.). This sounds like it could be useful, and at least one person had anecdotal evidence that this kind of interaction encouraged greater participation in face-to-face office hours. Jeremy Boggs’ class site includes Twitter feeds from his students. That could encourage camaraderie among the group, but does it have a real learning objective (beyond familiarization with a popular web 2.0 tool)?

I believe the promise of digital pedagogy is completely intertwined with plain-old pedagogy: in the design of online tools and archives, in the way digital tools are used to connect teachers and learners online, and  in the way digital tools and methods are combined with more traditional forms of interaction such as classroom discussion and written evaluations.

Copyright mood swings

I’m pretty familiar with the dismal copyright situation we have right now, but this week’s readings (combined with Lessig’s TED presentation) left me feeling pretty down. Lawrence Lessig is so sensible, and U.S. legislation is so stupid.

I really like Lessig’s diagrams and the way they help visualize the imbalance in the way intellectual property is regulated. Lessig’s defense of limited copyright is also interesting to look at in relation to the more radical giving away of rights in Pilgrim’s post. Some of the comments on that post show just how hard it is to wrap one’s brain around why someone would give away all their rights to a creative work. Pilgrim does a good job of explaining why he gives away rights, but I think Lessig is proposing a more realistic approach in acknowledging limited property rights. And yet Lessig’s view is like a pipe dream– how do we get from where we are now to what Lessig describes? Which brings me back to my point about being somewhat depressed by the readings.

I was cheered up a bit by a proram I attended virtually today called, Undue Diligence: Seeking Low Risk Strategies for Making Collections of Unpublished Materials Accessible (program at http://www.oclc.org/research/events/2010-03-11.htm). This was an all-day program to talk about how we can make libraries less timid about digitizing unpublished materials, even (maybe especially) in situations where rights are unclear or where it is impossible to find rights holders.

Our readings include some stuff about orphan works, and this program focused on archival and manuscript materials (unpublished materials) that are in the same situation. One speaker described a research study in which they tried to follow a very strict interpretation of copyright in the digitizing of a collection of political papers that spanned the late 19th and early 20th centuries. They worked with about 8 cartons of correspondence and tried to identify all the people whose letters were included in the collection, figure out when they died (to determine whether their works were in the public domain)  and then find the authors or their heirs and request permission to digitize. Their results are going to be published this fall but the end product was about as ridiculous as you could imagine. They managed to complete the whole process for about 4 authors and were able to post just a few documents with “proper” documentation.

But of course they were just doing this rights research to test a hypothesis– not to actually guide what they would display online. The were asking the question: is trying to clear rights this way as pointless as we think it is? And the answer is yes, it is. Their digitization project was going ahead full strength anyway. They weren’t really waiting to clear rights this ‘strict’ way before displaying their digital content. And, you know what, noboday has asked them to take anything down and the digitized collections has been up for years.

So, the dismal copyright situation is real, especially for pop music, film, and other works that allegedly have strong commercial potential. But other kinds of content don’t pose the same risks. And as librarians, archivists and scholars we have the duty to take some risks. Documenting that you have made a reasonable decision to digitize/display is important, but we shouldn’t be so afraid. Of course, one speaker also said we should be setting aside money for litigation, too. A few court cases would build case law that could be useful for individuals and institutions in deciding what level of risk is tolerable.

Prospectus: Work Experience Database

Scope/genre

My final project will be a proposal for a database to manage evidence related to the work experiences and perceptions about work of U.S. residents during the 18th and 19th century. The database will be for my own research use, though I am modeling it (to some extent) on a public project, the Reading Experience Database (RED), http://www.open.ac.uk/Arts/reading/.

Rationale

My research interests revolve around the history of the question, “What do you want to be when you grow up?” When did this question become a legimate inquiry and for what segment of the population?  I am interested in the way people thought about employment and how it may have changed over time.  My proposed database would be a way organize what I expect will be a wide variety of data, some of which I expect to be relatively fragmentary. If I structure the data well, I expect to be able to mine it to track changes in behavior and perceptions surrounding work in the United States. This is a very brief explanation of what I hope my project will do, but I need to develop and refine my research questions much more fully to be sure I am collecting the right data in the right way.

Content

The data to be managed will include information about people (names, gender, age, location of residence, social status, nation of origin)and the types of employment they experienced. It will also need to track perceptions of different types of work, for example, advice about work or aspirations expressed by individuals. The database should hold excerpts from the source texts, and it should track the citations for the sources from which the data is extracted. Sources could include primary and secondary sources, published and unpublished works  (biography, history, newspaper articles, ads, advice manuals, immigrant’s guides, letters, diaries).

Audience

I am the principal audience for this work, since I am designing it as a personal research database. I could conceptualize it as a public project like the RED. I would have to have a much better idea of the potential audience before making this a public project, especially if it were to depend on user submissions for data,as the RED does.

Questions

Am I casting my net too widely? Trying to accommodate too many kinds of sources?

Are there bodies of evidence that I could mine using machine learners instead of inputting information manually?

Questions for Jeff Gould

Scholars who work in traditional paper-based archives often remark on the power of serendipity to suggest new avenues of inquiry or new perspectives on a problem. In oral history and film, what role does serendipity play? Obviously, in oral history, you are interviewing a person so there is a potentially high probability of being surprised or led into a new area. Perhaps a better way to phrase the question would be, in collecting oral history, to what extent does the researcher seek to structure the interchange and to what extent is the conversation left open-ended?

In this course, we have talked about scarcity and abundance in historical evidence. With the current wealth of online archives, there seem to be more scholars interested in ways of examining and processing an abundance of evidence rather than focusing on selected examples. Do scholars working with oral history and film feel the same need to scale up their body of evidence or process it in new ways?

Reflections from Kokomo

Sorry I won’t be in class this week, but here are my thoughts on the revival of the Victorian Women Writers project and my own final project.

VWW was a great project and it still has tons of interesting content. One way to update it could focus strictly on the presentation. Better graphic design, getting rid of the need to choose between HTML and SGML, a more comprehensive search– changes to these areas could very quickly make the project seem “fresher”. This a relatively modest goal in some ways, but also hard to justify in other ways. Putting a new front end on a project can be hard to justify, especially if the content isn’t being developed in any way. This points up some interesting questions about sustainability. The VWW has had a stable institutional home from its inception, but changes in staffing and priorities had left it hanging. You can see this as a design flaw, in that it was a project that had no defined “end”. This is a good question for Angela (sorry I didn’t post it on Tuesday)– will there be a defined end state for the new revived project?

Of course, we’ve also talked a lot about older sites and whether the fact that a site looks dated really matters. The look and functionality of the site may be much less of a factor in the revival of the VWW than the desire of librarians and faculty and students to continue to add to the content and acquire/refine digital humanities skills.This seems the more compelling reason to resurrect a project, and I know it is an important reason for renewing work on VWW. Adding content also raises questions about how closely the format of new content will match the old. Are page images going to be added, or would this just confuse things? Will texts be encoded to the same level as they were at the beginning of the project? Will you have to reinvent the project plan and the processes that help track work on the project?

Many factors can influence the answers to these questions. One project that I help coordinate for the Lilly Library is centered on the Frank Hohenberger photograph collection, http://www.dlib.indiana.edu/collections/lilly/hohenberger/index.html. It was a very early Digital Library Program project that digitized selected images from a collections of around 18,000 images. Work on the project petered at some point in the early 2000′s, leaving hundreds of scanned photographs out of the production site and thousands more unscanned. This is a finite collection, so it was a no-brainer to pursue reviving the project in order to complete the digitization. The site will have much more content and a newly designed look and feel. Eventually, it will also haves subject descriptors applied to all the images. Right now you can either search the sketchy titles supplied by Mr. Hohenberger himself or browse by the size of the negative– not that helpful!

I am also responsible for sustaining of a number of online exhibitions with dated designs (e.g., America in Caricature, http://www.indiana.edu/~liblilly/cartoon/cartoons.html). But since I have had no need or desire to change the content, I have held off on redesigning. Now that I’m implementing Omeka in my work, I am considering redesigning America in Caricature to be hosted in Omeka’s exhibit builder function. It would improve navigation and allow an easy way to present larger images without coding a bunch of HTML. I haven’t decided yet whether this redesign would be cost-effective, but this exhibition is one of our most popular and it would be great to be able to see the detail in the images.

On to thoughts on my final project. I haven’t really decided on what I want to do (this is bad, I know). I’d like to push myself to really learn something new, like doing some programming or spidering/scraping. I’m just not sure what to focus on yet. I’m interested in representations of work in juvenile literature of the 19th century. I could work on a database to track the representations that I find. That doesn’t push my skills very much though, and I don’t think there is a sufficient quantity of such texts to warrant any real text mining. If I look at government reports on trades and occupations, I would probably encounter more masses of data that I could potentially manipulate, but I’m not sure about what questions I want answered. I think a lot of my problem stems from the fact that I’m just not very far into my research. I’m sure I can find something useful to work on, while also pushing myself to learn new skills. I just have to figure it out– soon.