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Panel 15, June 18, 2012, 3:30pm-5:00 pm
Moderator: Teresa Chapa (University of North Carolina, Chapel Hill)
Presenters: Denise Stuempfle (Indiana University); Sara Levinson (University of North Carolina, Chapel Hill); Teresa Chapa (University of North Carolina, Chapel Hill)
Rapporteur: Brenda Salem (University of Pittsburgh)
The presentations in this panel discussed collecting artist’s books from Latin America at an academic library from the perspective of librarians in acquisition, collection management, and cataloging. The moderator, Teresa Chapa, started out by introducing herself as well as the other two presenters.
The first presentation, titled, “Latin American Book Arts: Challenging Tradition and a Challenge to Collect” was given by Teresa Chapa, the librarian for Latin American, Iberian, and Latino/Latina studies at the University of North Carolina, Chapel Hill (UNC). Chapa started out by relating how she acquired her first (Ediciones) Vigía book as a new bibliographer in 2001. Each of the Vigía books is hand-made by artists in Matanzas, Cuba. The purpose of Chapa’s presentation was to inform others about the challenges of collecting Vigía books, which she was unaware of as an inexperienced bibliographer. She clarified that she would be using the general term “book arts” to describe books that come from Vigía and other books of an artistic nature because she does not have a background in art librarianship to confidently differentiate among the different kinds of artist’s books. Using that term also allows her to include the more inexpensively made “cartonera” books, as well as works of art, such as “Todos Los Mares Del Mundo” by Venezuelan artist Ricardo Benin, which cost $1,000. Throughout the presentation, she passed around several examples of book arts.
Chapa explained that book arts in Latin America are different from book arts in other countries in that Latin American book arts are more socially and politically engaged. As such, convention is disregarded, so alternative or everyday materials are used to create these books as opposed to the fine material used in conventional book arts. The structures of these books are also unconventional. She named a number of publishers throughout Latin America that specialize in book arts and described their different approaches to making books. She mentioned Eloisa Cartonera in Argentina, Ediciones Vigía in Cuba, Taller Leñateros in Mexico, and Ral Varoni in Argentina. Their unique and unconventional approaches to creating book arts create special challenges in the storage and preservation of these items in libraries.
Among the things she wishes she had considered before deciding to collect Latin American book arts were the high cost of the books, whether the books would be housed in the art library or rare book room, and whether the rare book curator or librarian would even accept the care of these books. In her case, the rare book librarian was hesitant to accept the books but was eventually won over. Still, whether or not care of these books will be accepted is something to consider when taking on such a collection. There are also the costs of housing, preserving, and cataloging the books to consider, which are significant. As an example, she talked the book titled “Altar Maya Portátil: Hechizos Mayas de Bolsillo” that consists of a miniature altar with candles, incense, figurines, and three small books. She described the creative solution to storing this collection of items devised by the preservation department. Other things to consider are how funding for the acquisition and care of these books can be justified; how these books fit into an academic curriculum; and how the collection can be promoted in order for it to be used. She went on to list possible reasons that would justify having a collection of book arts at an academic library as well as the challenges in acquiring these books. At the end of the presentation, Chapa talked about her experience in organizing an exhibit of UNC’s book arts and the activities related to the exhibit. The exhibit was named “Hecho A Mano: Book Arts of Latin America” and focused on the book arts of Cuba, Argentina, and Mexico. She stated that it was a lot of hard work, but it paid off because she now receives a lot of requests for the books. She also showed the searchable exhibit website as well as the Artist’s Books resource page in the UNC Libraries website.
The second presentation was titled, “Voices from the Margin: An Exploration of Themes in the “Libros Cartoneros” of the Indiana University Libraries Collection” and was given by Denise Stuempfle, a catalog librarian for Latin American, Iberian, and Latino Studies materials at Indiana University. In this presentation, Stuempfle discussed the subject treatment of “Libros Cartoneros” held at Indiana University (IU). She started her presentation by defining “Libros Cartoneros” as chapbooks manufactured by alternative publishing houses, known as “cartoneras.” The books have covers of corrugated cardboard that are hand-painted with unique designs. She then went over a brief history of the cartonera publishing houses and provided background information on the cartonero book collection at IU, which was started in 2004 and contains approximately 500 cartonero books. Stuempfle previously presented on this topic at the SALALM conference in Providence. In that presentation, she gave an overview of IU’s collection and described how they were being processed. The objectives for this particular presentation, however, were to explore the themes in the works that make up IU’s cartonera collection and to demonstrate the creation of subject access to these works using the Library of Congress’ special provisions for increased subject access to fiction.
Stuempfle talked about the practice of many academic libraries to not add subject headings when cataloging works of fiction, opting to have author and title as the main access points. The disadvantage to doing this, she asserted, is that works cannot be searched for by similar themes. Also, it is assumed that the searcher knows the exact titles and authors he or she is looking for. While this practice works for established authors, it makes cartonero books harder to find because their authors are not well known within mainstream publishing and do not have an established canon. An example of such an author is Washington Cucurto. Omitting subject headings when cataloging works of fiction, particularly cartonero books, is often a time-saving measure for catalogers dealing with a large backlog, but it puts the burden on the researcher when it comes to discovering these works. The Library of Congress has a provision for allowing the addition of subject headings when cataloging works of fiction, but these apply only to certain works, such as biographical and historical fiction, as well as animal stories. She then cited several academic articles that emphasize the importance of subject headings in works of fiction for improving discoverability. She also said that many users have expressed the same sentiment. In order to promote and improve access to the works in the cartonera collection, which the Special Collections Department already spent money in acquiring, it made sense, she concluded, to invest the time and money in providing subject access to them.
Since 2001, the Library of Congress has had special provisions for increased subject access to fiction. However, these provisions were made with public libraries in mind as a way for patrons to more easily search for recreational reading. With the exception of the New York City Public library, no public libraries have cartonero books, so cataloging and providing subject access to these books should fall upon the academic libraries, because many of them have cartonero books. Besides helping the recreational reader, subject access to fiction, she asserts, would also help save the time of the academic researcher, particularly those who might be conducting a literature research. Also, it is important to provide enhanced access to these works because the Library of Congress classification numbers for works of literature correspond to the author, not the subject matter of the work. Moreover, these provisions were aimed at English-language works, but it stands to reason that they can be applied to non-English works as well.
When it comes to providing subject access to the cartonero books at IU, certain subject headings and form subheadings are commonly used. For example, to indicate the country of publication, the subject heading “chapbooks” is used with the country of publication as a subheading. The works found in the cartonero books cover a large range of literary genres and themes. Stuempfle went on to list many of the titles held in their collection. She then made a subject analysis of three works of fiction found in the collection. The examples included La asesina de Lady Di by Alejandro Lopez, Barrio Miseria 221 by Daniel Hidalgo, and Trento by Leónidas Lamborghini. Subject headings were assigned according to the work’s individual characters, class of persons to which the primary character belongs, and settings in the story, all according to certain considerations such as the Library of Congress special provisions for subject access in works of fiction. Headings for topical access and genre headings were also assigned. In some cases, new subject headings are proposed through Subject Authority Cooperative Program (SACO).
Stuempfle ended her presentation by concluding that the thematically diverse libros cartoneros are a rich resource for literary researchers, particularly those in the field of Latin American Studies. As such, institutions with strong comparative literature, linguistics, and Latin American Studies programs should ensure that access to these works is enhanced so that scholars can benefit from them. Subject access to the humanities has been historically difficult but the problem is compounded when it comes to literature from Latin America. Stuemple considers creating enhanced access to cartonero books part of a larger effort to expand knowledge and use of Latin American and Caribbean literature.
The third presentation, titled “Creating Access to the Vigía Collection of Artists’ Books at the University of North Carolina at Chapel Hill” was given by Sara Levinson, a catalog librarian at UNC. In her presentation, Levinson talked of the challenges of the descriptive cataloging of UNC’s collection of Vigía artists’ books. Unlike regular books that are in roughly the same physical form in relation to each other, what sets artists’ books apart is what they look like. But to be cataloged, words can only be used to convey something that is mainly visual. The Vigía artists’ books at UNC are housed in the Rare Book Collection section of the library. They are not available in the open stacks and cannot be checked out, so the only way to access them physically is to go to the Rare Book Collection section of the library and request to see them individually. In order to give library patrons a good idea of what these books look like before they see them, Levinson tries to provide as much description as possible in order to “paint a picture” with words. She tries to imagine who would be searching for these books, what they would be searching for, and how they would search for it. She uses genre headings from the Rare Book and Manuscript controlled vocabulary, as these headings are familiar for those who work with rare book collections and those librarians who provide rare book-related reference help. She also uses headings from the Art and Architecture Thesaurus, as these books are considered art works and would be familiar to students and researchers of art, as well as to art librarians. However, these terms are not searchable in all of UNC’s catalogs, so when cataloging each item, Levinson uses long descriptive notes, which are keyword searchable. When possible, Library of Congress subject headings are also used. The materials and techniques used to create the book are often included in the description. Levinson read examples of the descriptive notes she writes in the records for these artists’ books.
Levinson ended her presentation by saying that she hoped that in providing a large number of potentially searchable words in her descriptions, patrons would be more easily able to find the records for these books. She also thanked the people who helped her in putting together her Powerpoint presentation, which included beautiful photographs of the artists’ books she described.
Questions & Comments:
Meiyolet Mendez (University of Miami) asked Levinson if she is the only cataloger who writes such detailed descriptions of artists’ books in bibliographic records and how long it takes to catalog such a book.
Levinson replied that bibliographic records for some of these books already exist, but she enhances those records by adding subject headings, genre terms, and searchable headings. The cataloging takes a while so she tries to spread the work out, but she wants to make them as complete as possible because she wants patrons to be able to find the records for these books. She ventures that in the future, when the Art and Architecture subject terms are searchable in all catalogs, such detailed descriptions won’t be necessary.
Stuempfle then asked Levinson if these record enhancements are done at the local level or if she applies them to OCLC records as well.
Levinson replied that it depends on whether she is doing original or copy cataloging. She contributes her original records to OCLC with all enhancements but if she makes any significant changes to existing OCLC records, she makes them only at the local level.
Wendy Pedersen (University of New Mexico) commented that at her institution, the catalogers have worked on artists’ books, adding detailed description as well. She then asked Stuempfle if IU’s cartonero books are special collections and what considerations are taken in shelf-listing them.
Stuempfle said that IU’s cartonero books are individually put in special preservation boxes and placed in the library’s storage. If patrons want to look at them, they can be requested and sent to the patron within half a day.
Martha Preddie (University of Trinidad and Tobago) asked Chapa what the print run for artists’ books usually are. Chapa replied that depending on the publisher, the print run might be as little as 20 to as many as 200.
Chapa added that she had not been able to bring any Vigía books to the conference because they cannot be checked out of the UNC library, but that she does have some books in her office to use as examples when she does presentations in classrooms.
Preddie then asked if the books are digitized and Chapa replied that they cannot be digitized as her institution does not hold the copyright for these books. Moreover, getting the permission to digitize the books has not been a priority for the library as they are busy digitizing other material. But for the artists’ books exhibit website, images of the featured books were digitized.
Stuempfle disclosed that she ended up with the responsibility for a box full of artists’ books that had not been cataloged when the previous art librarian had moved on to another position and that she is currently trying to figure out how to catalog them.
Sarah Leroy (University of Pittsburgh) asked whether the multiple copies of artists’ books are meant to be identical in spite of a small print run. Having them being identical, she added, would make it easier to use a bibliographic record for different copies.
Chapa replied that usually, copies in a print run are identical. Leroy said that it would be useless to write a detailed description of a cartonero book in an OCLC record since each cover in a relatively large print run of a cartonero book is different.
Stuemple and Chapa explained how the creation processes of cartonero books and artists’ books like the ones at Vigía differ from each other. Levinson added that artists’ books, unlike cartonero books, are numbered.
Luis A. González (Indiana University) asked Chapa if she had ever been challenged to justify the acquisition of artist books.
Chapa replied that putting together the exhibit on artists books helped to get support from the library director. The library’s new rare book curator is a bit resistant about accepting the care of the books, but the assistant art librarian, who is a book artist, has been very supportive and promotes the materials.
The panel concluded with the moderator thanking the rapporteur and the presenters.
Saturday, June 16, 2012 9:00-10:00 a.m.
Flamingo Room, Hilton-Trinidad Hotel, Port-of-Spain, Trinidad & Tobago
** Thanks to Sarah Leroy (University of Pittsburgh), for kindly offering to take notes for the minutes. **
Attending: Claire-Lise B’enaud (University of New Mexico), Peter Bushnell (UFl-Gainesville), Nancy Hallock (Harvard), Ellen Jaramillo (Yale, Chair), Sarah Leroy (University of Pittsburgh), Sara Levinson (UNC-Chapel Hill), Ferolyn Meyer (Library of Congrses), Carlos Olave (Library of Congress), Wendy Pedersen (University of New Mexico), Stephanie Rocio Miles (IADB), Brenda Salem (University of Pittsburgh), Cecilia Serc’an (Cornell University), John Wright (Brigham Young University)
At last year’s meeting, John Wright described the RDA beta testing at Brigham Young University Library, including how they prepared staff and equipment for RDA implementation. When we asked on LALA-L for agenda items for today, several members suggested that we use this meeting to find out what each of our institutions’ plans are for moving (or not) to using RDA. They asked to hear specifics—what training plans they may have, when they hope to begin, etc.
- Yale has been participating in the numerous ALCTS webinars and very recently, the Library of Congress webinars. A home-grown training program began in late April 2012 (4-6 hrs/wk, 8 weeks in duration). Catalog librarians are beginning to create RDA records, which will be reviewed and then exported to OCLC (they catalog in Voyager). They’ve just begun RDA NACO training. RDA training for non-Roman alphabet catalogers will take place during the summer.
- University of Florida has had a few webinars already and will switch when the time comes. (P. Bushnell has been learning RDA by reading the manual).
- Cornell has a training committee that has watched and edited the ALCTS webinars, then showed them to staff. They catalog in RDA one day per week. The training committee revises the work of others and has their own records revised as well. Everything will be cataloged using RDA as of September or October, once the NACO training is done.
- University of North Carolina – Chapel Hill has had webinars for a year or so and has been discussing RDA. NACO training will take place this fall, after which all authority records will use RDA. After that, everyone will be trained to do bib records using RDA.
- Library of Congress training began in June with supervisors and reviewers. Once trained, a person works in RDA and everyone’s work is reviewed. Training involves classes three days a week, and those being trained can’t take leave for the entire month of July. It has been quite stressful.
- Brigham Young training started early, as they were an RDA test site. They never stopped using RDA after the test phase, and production is back up to normal now. The learning curve is several months in duration. Everything is cataloged in RDA except the occasional special project, such as the Chiapas anthropology project of around 5,000 items.
- University of New Mexico cataloging staffing has diminished steadily over the years. Many of their catalogers will be retiring within the next few years, and will not be replaced. Plans for RDA are unclear.
Ellen brought up the possibility of hosting/creating a pre-conference workshop at next year’s conference to explain RDA to our non-cataloger colleagues. This will be discussed in the Libreros Workshop taking place this afternoon.
Committee members then said whether they were still doing priority cataloging of materials from assigned countries. Harvard is still concentrating on Colombia; Cornell on Peru and Brazil; the University of Florida on the Caribbean; and the University of Pittsburgh on Bolivia, Brazil and Cuba. There was discussion about how in all of our institutions, catalogers are generally not being replaced as they retire/depart, and cataloging staffing is diminishing at an alarming rate everywhere.
Brenda Salem (University Pittsburgh) has agreed to serve as Subcommittee Chair for 2012-2015.
p>Panel 17, June 1, 2011, 9:00-10:30 am
Moderator: Héctor Morey, Library of Congress
Presenters: Melissa Gasparotto, Rutgers University; Diane Napert, Yale University; Craig Schroer, University of Texas at Austin; Anton du Plessis, Texas A&M University; Alison Hicks, University of Colorado, Boulder
Rapporteur: Brenda Salem, University of Pittsburgh
The presentations on this panel described initiatives that made use of the latest information technology to provide better library service and to enhance access to information.
The first presentation, titled, “Search Engine Optimization for the Research Librarian, or How Librarians Can Beat Spammers at Their Own Game” was given by Melissa Gasparotto, a librarian at Rutgers University. Citing a project on search engine optimization she worked on, Gasparatto demonstrated how assigning appropriate high quality metadata can be placed in online academic works in order to place them higher on the results lists of search engines such as Google. She started out by explaining that Search Engine Optimization, or SEO, is a set of practices that modify elements of a web page in order for the page to have higher visibility among the results of particular search engine queries. All search engines have guidelines and best practices for SEO in order to make website more readable for both search engines and humans. However, SEO has gotten a bad reputation because it is something that spammers have long taken advantage of by means of inaccurate metadata and link farms to promote low quality content.
Gasparotto acknowledged doubts about whether SEO is appropriate for academia, but asserted that indeed, SEO is something that can be used to academia’s advantage, whether it’s for online journal articles, a database, an institutional repository, or an open access journal. Some of the reasons for the importance of applying good SEO practices in online academic work are the growing importance of open access and the higher probability that such work will be indexed by Google Scholar web crawlers. The practices that apply specifically to making academic works more accessible on the open web through search engines like Google Scholar is known as Academic Search Engine Optimization (ASEO), which is of particular use to librarians.
She continued by describing her project on optimizing her online bibliography of U.S. Lesbian Latina History and Culture. She mentioned that this was a particular good case study because searches for “lesbian latina” often result in links to pornographic sites, which make legitimate academic studies on lesbian Latinas hard to find. The project goals and methodology were based on an article written by Martha Kelehan about her project with two colleagues at SUNY-Binghamton on optimizing the SUNY-Binghamton website. These goals were to 1) increase the bibliography’s page rank for a targeted set of search terms, 2) increase the number of search engine referrals, and 3) increase the number of page views. She outlined the methodology of her project, which included first measuring the natural ranking of the online bibliography, then using analysis tools to select target keywords, optimizing the bibliography using those keywords, and finally measuring the page ranking after the optimization. This took her about six months, noting that SEO is a long-term process. Among the analysis tools she used were Google Trends, Google Insights Keyword Tool, Google Adwords, and Topicmarks. It turns out that the bibliography’s ranking was surprisingly high to begin with for many of the keyword searches she had chosen for the study, so no optimization was needed for half of the target keywords. To optimize the keywords, Gasparotto added some metadata to the site’s HTML code. At the end of her project, the site’s ranking improved significantly for her chosen keyword search strings. Gasparatto concluded her presentation by listing best practices for those wishing to optimize their online academic works, as well as recommended reading on SEO.
The second presentation was titled, “Digging for Treasure: Zarzuelas and Other Gems in the Historical Sound Recording Collection at Yale University” and was given by Diane Napert, a catalog librarian at Yale University. In this presentation, Napert described a grant-funded project that she participated in to catalog the large number of 78 rpm recordings that make part of Yale’s Historical Sound Recording Collection (HSCRC), focusing on their collection of zarzuela recordings. She started out by giving a short history and overview of the HSRC, which is strong in Western classical music, as well as American musical theater and spoken word recordings. She then described the project, which was funded by a $789,000 Mellon grant. The institutions that participated in this project were Yale, Stanford, New York Public Library’s Rogers and Hammerstein Archives of Recorded Sound, and later Syracuse. In the end, the project contributed over 24,000 records to OCLC, which, she noted, is small compared to the number of 78 rpm recordings that remain uncataloged, but is a significant number nonetheless. In a typical cataloging record, she added access points for people and groups who contributed to the recording and was successful in connecting arias to the correct opera and excerpted songs to the correct musicals. The recordings that were cataloged came from over 360 recording labels, particularly Columbia, Edison, Decca, Gramophone, among others.
Napert gave an overview and history of the zarzuela, which is a lyric-dramatic genre that comes from Spain and originated in the mid to late 1600s. When cataloging zarzuelas, Napert used The Zarzuela Companion, written by Christopher Webber. Napert went on to play several samples of 78 rpm zarzuela recordings. The samples included: 1) a 1906 recording of “Vals del Caballero de Gracia” from La Gran Vía, written by Federico Chueca and sung by baritone Luigi Baldassare, 2) a 1924 recording of “Al Pensar en el Dueño de mis Amores” from Las Hijas del Zebedo, written by Ruperto Chapí and sung by soprano Elvira de Hidalgo, 3) a 1906 recording of “Ven Rodolfo” from El Anillo de Hierro, written by Pedro Miguel Marqués and sung by soprano Carmen Fernández de Lara and 4) a 1905 recording of “Granadinas” from Emigrantes, written by Tomás Barrera. One of the success stories of the project was that the great-granddaughter of famous soprano Paquita Correa was able to hear recordings of her great-grandmother for the first time. The great-granddaughter had been unable to find her recordings in Spain but was made aware of the collection at Yale. Napert played a sample of one of Correa’s recordings, which was “Brindis” from Apolinar Brull y Ayerra’s Ángel Caído.
Napert ended her presentation by mentioning the fairly new Library of Congress’ National Jukebox website (http://www.loc.gov/jukebox), which provides access to many American recordings made between 1901 and 1925. She also showed a screenshot of the HSCR project website, and mentioned that there are some non-zarzuela recordings on the site. She thanked Richard Warren, the curator of the HSRC and Nicole Rodriguez, who is a Library Services assistant at HSRC. She concluded by mentioning other types of Latin American recordings that are part of the HSRC and might be of interest to SALALM members.
The following presentation, titled “Primeros Libros: A Working Model of Institutional Collaboration” was given by Craig Schroer, an electronic resources librarian for the Benson Collection at the University of Texas, Austin and Anton du Plessis, a curator for the Mexican Colonial Collection at Texas A&M University. In the presentation, they described the “Primeros Libros” project, which is a collaboration between their institutions and certain Mexican institutions to digitize the earliest publications in colonial Mexico. Schroer started out by giving an overview of the “Primeros Libros” collection, which is an online digital collection of books printed in Mexico between 1539 and 1601, also known as Mexican incunabula. Representative of the earliest output of the printing press in the New World, these books include doctrinas and vocabularios, as well as mathematical and scientific works. The goal of the project is to acquire at least one copy of the 115 titles of early Mexican publications that are still believed to exist today. Ideally they would like to acquire more than one copy because of the variations found in individual copies, such as marginalia and other owner-specific marks. Currently, they have 41 distinct titles and 65 total copies, but hope to have 84 distinct titles and 174 total copies after completing phase 2 of the project. This is a substantial number considering the relatively small number of items still in existence.
Schroer then gave a brief history of the project, which was begun by Texas A&M University and the University of Texas, Austin. Their website was launched in August 2010 and is maintained by UT Austin. There are various institutions in Mexico, Spain, and the United States that are partners in the project. Schroer stated that the purpose of their presentation was to promote the project and encouraged anyone at an institution that held similar material to consider contributing. Another purpose of the presentation was to give an example of an international and intercultural collaboration between institutions. Technological issues in digitizing, storing, and making available large amounts of data can often be a barrier for many institutions, so Schroer considers this collaboration a sharing of strengths and weaknesses, and a look at how the different partner institutions can contribute. They have addressed the issues of lack of technology and infrastructure in creative ways, such as lending out portable, preservation-quality scanners or having an institution with high-quality scanning capacity digitize another institution’s books. Establishing contacts with institutions also raises awareness of holdings that may not appear on OCLC or any listing at all. Digitizing these books promotes these institutions and raises awareness of the scholarly value of the books themselves. Also, in checking the condition of the books before scanning, curators are alerted to the need for repair of some of these books. Collaboration with certain institutions has helped them to understand the Mexican rare book trade, as well as the political structure among institutions and individuals in Mexico. This has helped them find opportunities and establish connections that would otherwise not have been possible.
They have backup copies of the digitized books stored at institutions such as the Texas Digital Library, the Universidad Autónoma de San Luis Potosí, and Fresnet. They currently have about 2 TB of information. They are constantly learning new things and finding new applications for the project. Du Plessis then described an unfortunate situation in which a package of CDs of digitized books arrived damaged from Spain, with some of the CDs missing. Schroer concluded the presentation by urging anyone at an institution with material to contribute to contact him or du Plessis.
The final presentation was given by Alison Hicks and was titled “QR Codes en Español: Point of Need Mobile Library Services.” In her presentation, Hicks, who is a Romance Languages librarian at the University of Colorado, Boulder (UCB), described how she has used QR codes to better serve and reach out to students. She started out by stating that she feels that mobile technology is the next big thing in information access. She then asked how many people use a mobile device to connect to the Internet, how many people know what a QR code is, and how many people have actually scanned a QR code. Hicks explained that there is a growing number of people using mobile devices with access to the Internet. Librarians need be aware that these devices are used in different ways than laptops. Two things that need to be kept in mind are that these devices are ubiquitous and that they’re constantly connected to the Internet. Hicks feels that this ubiquity and connectivity allows librarians to provide “point of need” library services and to connect the physical and the virtual. Ultimately, the result would be a larger return on investment. Hicks then showed a clip from the television show CSI that explains QR (quick response) codes, which can be scanned by a mobile phone, which then opens up a specific web page. In order for the mobile phone to convert the code to a web address, a QR code reader application needs to be installed on the phone. There are also many programs for creating QR codes. The codes can link either to a URL, to text, to a digital business card, or they can connect you by phone to a specific phone number.
In the Fall of 2010, QR codes were introduced at UCB’s Norlin Library and in the Spring of 2011, they were introduced at the language departments that Hicks serves. Microsoft Tag was used to create the codes because of its interface, its good statistical functionality, and because other places at the UCB campus used it. Posters with QR codes that linked to maps of the library, tutorials, the catalog, and other help options were placed all around the Norlin Library and dormitories. In the language departments and library stacks, she placed QR codes that linked to her business card so students could contact her for research help. She felt that the results at the library (500 total scans) were successful enough to continue with the initiative. However, the statistics for the language departments weren’t so good (only 8 scans). Among the lessons learned from this project were the importance of educating users on QR codes and having other ways of accessing library information besides QR codes, since not everyone uses them. She concluded by giving tips and advice on implementing QR codes to those who would want to do so at their own institutions.
Questions & Comments:
Gasparotto asked Hicks if there had been any vandalism of QR codes. Hicks replied that there had been no vandalism.
Peter Stern (University of Massachusetts) asked why the QR codes Hicks used were in color. Hicks replied that it was the style of the proprietary Microsoft Tag QR code.
Peter Johnson (Princeton University) asked Schroer and du Plessis how their “Primeros Libros” project differed from a similar endeavor taken by the Gale Cengage company (a digitized collection based on Sabin’s bibliography). Du Plessis responded that “Primeros Libros” is a scholarly project and that participants get to keep the digital files of their holdings. Also, PDF files of the books can be freely downloaded. However, he hadn’t heard of the Sabin project and didn’t know how many of the books in their project are already in the Sabin project. Schroer emphasized that one of the advantages of “Primeros Libros” is that it’s open access and not commercial.
Lawrence Woodward (Government Printing Office) asked Napert what preservation efforts have been made for the 78 rpm records and whether there had been efforts to digitize the recordings. Napert replied that they were placed in acid-free boxes and kept in an appropriate environment. The reason they have not been digitized is that Yale wants to take an inventory of the recordings and determine which are the rarest, and therefore highest, on the priority list to digitize, but has not yet done so. Woodward then suggested to Schroer and DuPlessis that they visit the Rosenberg Library where they have on exhibit copies of some of the earliest books printed in the Western Hemisphere.
Napert asked Hicks to clarify what “QR” stands for.
Peter S. Bushnell (University of Florida) stated, regarding digitizing the 78 rpm recordings, that there may be difficulties regarding copyright and public domain. He also asked Napert how she was able to determine the dates of the recordings. Napert replied that she used certain books and discographies as references and acknowledged that there are difficulties in navigating around copyright.
The panel concluded with the moderator thanking the rapporteur and the presenters.
TagsAdán Griego Alison Hicks Anne Barnhart archives art audiovisual cataloging Committee Report David Block digitization documentaries Ellen Jaramillo Executive Board Meeting Minutes Fernando Acosta-Rodríguez Fernando Genovart Finance Committee Report Human Rights Interlibrary Cooperation Committee Report John Wright keynote Lisa Gardinier Lluis Claret Lynn Shirey Marisol Ramos Meiyolet Mendez Melissa Gasparotto Melissa Guy Mexico Paloma Celis Carbajal Paula Covington Peter Johnson rapporteur reports Richard Phillips Roberto C. Delgadillo SALALM56 SALALM57 SALALM 58 SALALM58 SALALM59 SALALM60 SALALM61 Sarah Buck Kachaluba Sarah Yoder Leroy Suzanne M. Schadl Teresa Chapa