“…we live on the energy of our imagination. Our imagination projects us to fulfill our work, and it’s the one sure measure of authenticity to use your imagination to explore realities.”
Spirituality of Imagination, On Being
“…we live on the energy of our imagination. Our imagination projects us to fulfill our work, and it’s the one sure measure of authenticity to use your imagination to explore realities.”
Spirituality of Imagination, On Being
For years I spent the Thanksgiving holidays alone. Solitude always has been a great comfort for me, a form of re-energizing. Thanksgiving weekend 1996 stands out and I oddly comeback to it year after year.
I usually avoided telling people I was alone on Thanksgiving in order to avoid the awkward invitation to the festivities of other families. In 1996 I lived in Norfolk, Virginia. The weather was a cool, damp, gray autumn (or so I recall). That Wednesday night before Thanksgiving I wanted to go to the movies, which I did quite often in that stage of my life. A movie starting that night was The English Patient. I drove out to the Regal Cinema in the suburban city known as Virginia Beach. I always arrive almost anyplace far too early. I sat in the parking lot in my Honda Accord, waiting an appropriate amount of time, probably fifteen to twenty minutes, which is why I remember the weather that evening, though I could very well be confusing it with some other evening in the cinema parking lot.
A few years before when I lived in Knoxville I had read Ondaatje’s novel The English Patient, which I enjoyed immensely despite the complicated plot structure. Upon completing the novel I remarked to myself, “This book can never be filmed.” Obviously I was wrong. But I did not have high expectations for the movie. And it seems on that first night few people did.
In those years I regularly read a glossy movie magazine that highlighted current films. A special edition highlighted movies coming out during the holidays. The English Patient was given small mention but greater attention was given to another period piece starring Chris O’Donnell and Sandra Bullock. I recall the magazine touting that The English Patient had little chance competing at the box office against the O’Donnell/Bullock In Love and War. Perhaps that was a fair assertion, though it seems ludicrous in hindsight. But In Love and War was directed by the acclaimed Richard Attenborough, based on writings by Hemingway, and starred two popular names at the time.
It must be pointed out that I avoid reading reviews of a movie until after I’ve seen the film. Movie reviews just reveal too much. At the Regal Cinema that night, only a small auditorium was allotted to The English Patient, again another hint that large crowds were not expected. But the tiny theater was packed. And now whenever I see that movie again, as the opening credits play, followed by the tinkling sounds of the bottles, I find myself mentally transported back to that night. Almost three hours later I left the theater, having stayed seated through the final credits. I walked out to my car alone and drove back to my apartment in Norfolk.
I would go see that movie again before the weekend was over. During the Christmas holiday I went home to Tennessee and took my mother to see the movie at the old Belcourt theater in Nashville. Back in Virginia I would see the movie even more. I never watch a movie more than once on my own, but that fall and winter I went to see The English Patient at least a half-dozen times. Maybe I had fallen in love with Juliette Binoche.
Now that I’m back in the non-profit world of libraries and academia my efforts are no longer slanted towards that simple question of survival, “How do I make money?” A salary is a remarkable thing (as is a job with benefits). And that frees up my thinking and efforts.
For eight years I lived in Argentina and for the first several years of that period I kept a blog about Buenos Aires, which mostly delved into the cultural heritage of that city. The aims of that blog were never commercial. However, I did repurpose the content for a couple of very money-making purposes because, quite frankly, I needed to pursue every form of income I could manage. Around 2006 – 2008 the blog was quite popular and received a large number of incoming link and corresponding traffic.
A few of the ways I repurposed selected content:
Of course, in the end, I never did make much from these efforts and ended up opening these initiatives and making the products free to all.
With almost 500 blog postings about Buenos Aires I have quite a set of content, only parts of which have found their way into other products. In fact, my Buenos Aires blog has over 125,000 words. That’s the equivalent of a lengthy, though unedited book. In book form the blog would be over 400 pages (not counting images)!
I’ve often thought of closing out the blog but I’m not quite done with what I have to say about Buenos Aires. Besides, though I may no longer live there, I will go back for a visit every year. With my renewed focus on the ways that digital content is represented on the Web and in apps I will be using my Buenos Aires blog as a testbed for exploring topics in the digital humanities.
Over the past few months I’ve been using Evernote extensively as a way of organizing thoughts relating to my research. I like that it’s cloud based, so I don’t have to worry about syncing data as I move from computer to table to phone and back again. I like the simplicity of creating notes and organizing those into folders. I do wish for a more hierarchal folder structure other than one level deep. But I’m working around that, a bit, with the use of tags. Evernote has become the place where I keep my research. Also, it’s a great way to keep notes about potential blogging topics. Indeed, I’m writing this post in Evernote rather than composing it in the WordPress editor. (But it does strange things to the formatting when I paste into the WP editor. Hmm, have to look into that.)
Having spent most of the last decade in a book design studio I’m fascinated at the ways that an understanding of the historical traditions of printing, typography, and page layout can inform the means by which we structure and present narrative in digital media. Underlying these visual narratives are digital archives. As a librarian also, I recognize how the profession has excelled at establishing metadata standards and best practices for digitizing artifacts. Just as the production of books is largely a team effort (author, editor, proofreader, designer, printer, publisher), a new set of collaborators is emerging to produce digital works. Fundamental to digital humanities projects is bringing in the expertise of those who understand visual communications.
The highly insightful book Digital_Humanities (note the underscore) emphasizes the role of design in producing scholarship: “Digital Humanities implies a reinterpretation of the humanities as a generative enterprise: one in which students and faculty alike are making things as they study and perform research, generating not just texts (in the form of analysis, commentary, narration, critique) but also images, interactions, cross-media corpora, software, and platforms.” (Digital_Humanities, p10)
Design is one of those overarching terms needing a qualifier. It’s not always what you think it means. When we talk about design in the digital humanities we must include not just graphic design (which too often has been left out of many projects) but also information models, rhetorical patterns, interactive gestures, and systems architectures. These are all aspects of designing a scholarly resource whether that work be an archive of digitized material, an analytical tool, or a visual narrative.
It’s naive to assume that even graphic design is primarily about decorative ornaments, color palettes, or even minimalist grids. Design at the conceptual level (in all its variations) is the interrelated structure and presentation of content: “design can be also seen as a kind of editing: It is the means by which an argument takes shape and is given form.” (Digital_Humanities, p18)
Design of digital humanities projects goes hand-in-hand with developmental editing. While an author is an expert in a specified knowledge domain it’s a rare case that the scholar also possesses detailed experience in crafting digital narratives that best leverage the capabilities of the medium. Design is much more than knowing how to use tools. “In generative mode, these designers shape structural logics, rhetorical schemata, information hierarchies, experiential qualities, cultural positioning, and narrative strategies. When working analytically, their task is to visually interpret, remap or reframe, reveal patterns, deconstruct, reconstruct, situate, and critique.” (Digital_Humanities, p10)
An essential element of any digital humanities project is that the participating students gain exposure to these generative and analytical aspects of design. Ultimately, through design is how we view the world.
While living in Argentina for eight years I missed out on a lot of American TV shows. Foremost among those is Mad Men. A couple years ago I was able to catch a bit of an episode from season three. After a few minutes I stopped watching. I liked the show but I realized this was a series I needed to watch from the beginning to grasp the storyline.
Now that I’m living in the U.S. again I’m going through a Mad Men marathon via Netflix. I was born at the end of 1965. Certainly the show is making me think differently about the early 1960s, a period that I’ve hardly considered before as being remotely interesting. Clearly the roles played by the actors in Mad Men are not fully representative of the era. But I keep thinking about these characters, their ages in the show, and projecting forward 20 or 25 years to the 1980s and later.
I remember the ’80s very well. That’s the time of my youth: high school, college, and a couple years at the end hunting (unsuccessfully) for a job. As a twenty year old I viewed the early 1960s as a distant era far removed from the reality of my life in 1985. All young adults probably have that perspective as it’s difficult to imagine a time before we were born.
Now, when I look back on the early 1980s I wonder about those characters in Mad Men. What is Peggy Olson doing in 1985 in her mid-forties or even in 1995 in her mid-fifties? Where is Don Draper in his late fifties? (Still living or dropped dead with cirrhosis of the liver from all that drinking or lung cancer from smoking constantly.) In my twenties I often worked with people who, I now realized, spent their young adulthood in the late 1950s and early 1960s. That’s my parents generation but I’ve never understood the passage of time as a generation ages from youth to middle age to the later years of life. (Part of this recognition stems from reflecting on my own aging.)
Attitudes and behaviors don’t change as easily as society would like to imagine. We do evolve and become different people over the decades. At least, many of us make those steps. But some don’t. We see this in one episode of Mad Men where Roger Sterling still holds resentment towards the Japanese even though War World II was twenty years in the past. Twenty years is not that long. If you don’t believe that, then wait a few more years till you look back in astonishment thinking about your own life twenty years ago.
Events of twenty years ago, for those of a certain age, represent recent history that is a part of our lives. We hold onto those things (maybe longer than we should). I can never really relate to the early 1960s, the era of Mad Men. More fascinating, though, is imagining those people a bit older…how people become who they are.
Of all the books I’ve read in the last few years Gramophone, Film, Typewriter has stayed in my mind the most. In my notes I find the date 4-12-11 as my first reading. The book’s author Friedrich Kittler was still living then. I was living on the coast of Argentina, which seemed much longer than two years ago. But my daughter was a mere baby then and I stayed up late many nights, unable to sleep, knowning she would soon wake and cry to be picked up. I stayed awake so that my wife could sleep as much possible. (Anyone who has had a baby knows the preciousness of sleep at that stage.) In those periods while my family slept at night I read Gramophone, Film, Typewriter. During the day I worked on developing an iPhone app that told the story (in the form of a walking tour) of Recoleta Cemetery in Buenos Aires. I took up Kittler’s book as part of my ongoing interest in narrative through digital media.
The book opens with carefully constructed, brief sentence: “Media determine our situation.” Seems so obvious that one wonders why that is a controversial statement to many unless they’re living in denial of contemporary life.
I’m reminded of a phrase from Roland Barthes that appears in The Preparation of the Novel: “typography determines reading.”
Our ideas and thoughts are shaped and influenced. Even with words the way we absorb and understand the text may be influenced by the layout of the writing on the page (or screen). The same with websites and e-books. With apps like Flipboard we’re influenced by the algorithms. Our patterns of behavior (what we buy, how we amuse ourselves) are determined by apps. The app determines.
Most of my adult life has been spent working in academic libraries. In 2005 I took a different path and moved to Buenos Aires, Argentina where I lived the expat life while writing and starting a design studio with my wife. It was a fun eight years. I loved exploring the city of Buenos Aires and many of my experiences there, particularly from 2005 – 2007 are reflected in my blog Buenos Aires, City of Faded Elegance.
In addition to the design studio, along the way I co-founded a company to publish travel guides but that didn’t quite work out for me. I taught myself Objective-C and made a good living developing iOS apps for iPhone and iPad. During that time I also became a father. That was a good life but something was missing: the excitement of being part of a larger profession that I enjoyed as a librarian.
As a librarian in higher education I always felt that I was doing more than just trying to make my way through the world however I could. When my mother passed away last November I returned to the U.S. for the first time in five years. Maybe it was the loss and grief but I felt a sense that I wanted to return to America to live. And if I was going to live and work in the U.S. then returning to librarianship was a natural thought. Upon returning to Argentina I set those thoughts aside.
One Saturday in January I casually checked the job ads for librarians and saw a position about “innovative media” that intrigued me. That triggered the thought process and soon I knew this next phase of my life would be about libraries. I wondered if I could pick up my career again after an 8 year absence. Turns out that it wasn’t difficult at all. After sending out a set of applications I had three interviews scheduled in early March. I flew up to the U.S. and embarked an exciting period of interviews and catching up with colleagues that I had worked with in the past. Last week I started my new job as Associate Dean of University Libraries at Seton Hall.
I’m very excited to be a librarian again. Actually, I always considered myself a librarian even when I did not work in a library. This profession is a major part of who I am. I will always be a librarian.
First posted in 2006 during the first incarnation of this blog. Thought it was time for a re-post.
A librarian I once supervised is now heading the systems and digital services department at a mid-size academic library. I’ve recently been e-mailing him some suggestions and things to keep in mind for managing technology in an academic library.
Over a ten-year period of managing library technology, I learned some of these the hard way. Some are rudimentary, some are more subtle. I thought that I would share these items (not necessarily listed in any order) for others to take or leave, as they find useful:
1. Hire good people and stay out of their way.
2. Hire for aptitude, the ability to learn new skills and not just based on a person’s current capabilities.
3. Don’t expect every person to work the same way that you work.
4. Don’t make assumptions (remember the first three letters of that word).
5. Encourage systems staff to learn a new skill every 6 months.
6. Ensure that learning time is built into everyone’s work schedule.
7. Have a white board by the department door that staff can use to indicate if they’re out of the office, at a meeting, working on the 2nd floor, or at lunch.
8. Everything a person needs to know about technology can be found through reading a book or on the Internet.
9. No one is born knowing everything about technology.
10. A Unix wizard (or any other kind of techno wizard) is not someone who knows everything there is to know but someone who knows how to find what he or she needs to know when needed.
11. Make sure there is a backup plan for servers and desktops.
12. Backups of servers should be stored off-site, preferably with a data storage service and not in someone’s bedroom. Test the backups to make sure that files actually can be recovered and loaded onto the system again.
13. Desktop support is a critical function that must receive higher priority than any digital project.
14. Have a multi-year plan for upgrading, replacing computers throughout the library. Not planning this in advance is a huge oversight.
15. Providing the best desktop support will help gain support from others in the library for more exciting digital projects.
16. Occasionally, you may have to remind people that the library is not a hospital; lives will not be lost if a system crashes. But, if the OPAC or Web site goes down, make it a priority over everything else.
17. Follow the lead of the campus IT division.
18. Become friends and supporters of campus IT and not their adversary,
19. Let campus IT handle the core functions, such as security and networking.
20. Encourage the systems staff to meet regularly with their counterparts in campus IT.
21. If campus IT has a standard configuration for desktops, then use it unless the library has extraordinary desktop support staff of its own.
22. But even if you use the campus IT desktop configuration, have your own dedicated desktop support staff who can respond immediately to problems within the library.
23. Use the campus e-mail system rather than an e-mail server managed entirely by the library. (Is any academic library still going it alone with their e-mail?)
24. If the campus has a centralized file storage service, then use it rather than having the library manage its own Windows/Novell file servers. (Is any academic library still using its own file servers? Novell NetWare: now that’s a technology from the past.)
25. Consolidating certain services with campus IT allows library systems staff to focus on technologies specific to the library.
26. Work hard to build collaborations with whatever academic technology center exists on campus.
27. Many academic departments will have a negative opinion of campus IT; the library can be a bridge between those two areas, liked and respected by both.
28. Remember that you are not in a competition. You are not competing with other computing groups on campus or with other libraries in the country. You’re just trying to provide the best library services to the faculty and students at your institution.
29. There are always new users.
30. The systems department exists to support the needs of the library, providing a support function to other library departments.
31. Develop a staff training plan for each person.
32. Find projects where staff can incrementally develop their skills.
33. Setup a developmental server, a sandbox.
34. At conferences spend more time in the exhibit hall speaking to vendors and other librarians than sitting in a dark room listening to a presentation that you can download from the Internet.
35. Invest in your own development, including using some of your own personal funds for travel so that you can attend more events. (Priceline is really useful for hotels).
36. Don’t always stay at the conference hotel; enjoy walking a few blocks from your hotel to the conference hotel so that you have a bit of time to appreciate the town you’re visiting.
37. Learn about project management but don’t obsess over project management tools.
38. Process is important but don’t let a process get in the way.
39. Old but faithful: Treat people the way you want to be treated.
40. Be prepared for your library director to have questions and new ideas whenever he or she returns from a conference.
41. Don’t ever let anyone tell you there is not money; there is always funding if you know how to ask for it. You must justify it within the context of competing needs within the library. Plus, remember, that the library director must justify it before the provost within the context of competing needs within the university.
42. Learn to say no.
43. The library director doesn’t want to see more than a 1 page report. Learn to summarize, write in bullet points, outlines that can be scanned quickly.
44. Don’t bring problems to the director, bring solutions.
45. Three of the most important people in the library: the director’s secretary, the business officer, and the person who orders equipment, software, supplies.
46. Learn the names of the senior university officials and what they look like.
47. Develop plans for strategic accomplishments, think in terms of 18 – 24 months.
48. Have an excellent understanding of the university’s budget cycle.
49. Know in which month the library director makes his or her case to the university administration for the following fiscal year’s budget. (Usually in January or February).
50. June and July is too late to be thinking up ideas for new initiatives for the upcoming academic year. (Prepare those proposals before the budget requests are due).
51. But, sometimes new ideas come along: it’s easier to get funding very early in the fiscal year, but don’t wait too long.
52. Around March always be prepared for the availability of end-of-yearing funding for one-time purchases.
53. In the 2nd half of the fiscal year recognize that the budget is tight, so don’t make many unexpected requests.
54. Understand the difference between one-time and recurring costs.
55. Understand personnel costs, including the fringe percentage that is added to salary (often between 24% – 30%).
56. Prepare for budget presentations to the library management.
57. Present realistic budget requests but include throw aways since administrators always want to cut something from the budget. (Just don’t be extravagant and overload the request with things that are clearly not needed.)
58. Be ready to explain the purpose of every item on a budget request.
59. Realize that your budget requests are not the only concerns of the library; you have to share the funding with other library departments.
60. The objectives and goals of the systems department follows those of the library, which follows those of the university.
61. Read the university’s strategic plan.
62. Try to get involved in the university’s strategic planning process.
63. Become a leader in the library’s planning process.
64. Meet regularly one-on-one (formally or informally) with every department head within the library.
65. Learn to bounce ideas off other department heads and managers before approaching the director (or assistant director).
66. Never make a proposal to the library management group before you already have acquired the support of at least two other department heads.
67. Old but useful: carefully choose which battles you want to fight.
68. Leadership comes from a person’s quality to inspire and motivate, not from one’ position.
69. Practice leadership from below.
70. Don’t lead by intimidation.
71. Don’t refer to people who work for you as my staff. (They have names).
72. Don’t ever refer to yourself as someone’s boss, especially in front of that person.
73. On the first day of work for a new employee in your department, take him or her for lunch to a nice place that is off-campus. You pay.
74. On an employee’s first day give him or her a tour of the library and introduce each person by name.
75. Listening is a very important skill.
76. Ensure that the people in the systems department have a good workspace, good chairs, furniture, and that there are always plenty of office supplies.
77. Reference is a key department within the library; work to keep the head of reference on your side, regardless of your personal opinion of him or her. (Apologies to heads of collection development, cataloging, acquisitions, circulation, and every other department head. You’re important, too.)
78. No library can do everything. Carefully decide which services and technologies that you want to pursue and make those decisions in collaboration with other stakeholders in the library.
79. It only takes a couple of good people for a library to do remarkable things with technology.
80. Encourage the library to develop professional positions that takes the technologists out of the systems office and into other parts of the library.
81. Your authority has nothing to do with the number of people you supervise.
82. Foster awareness of digital technologies through regular seminars, presentations, or discussions to everyone working in the library.
83. Plan for redundant responsibilities among staff (i.e., the in case someone gets hit by a bus scenario).
84. Learn to let go, especially if you delegated a task to someone.
85. Not everyone will do a task the same way you would have done it, but he or she will usually do a good job.
86. Some people just need more structured supervision than others and that’s okay.
87. Even talented employees occasionally need more structured supervision on some assignments than others, particularly if the tasks are in an area that is entirely new to the person. (Don’t fault him or her for that).
88. For some people, working in the library will simply be a job and not a career. Learn to accept that and value their contribution.
89. Help your colleagues understand the possibilities of technologies for developing new library services but also keep their expectations close to what can be accomplished.
90. Look for best practices at other institutions.
91. Work yourself out of a job. You know you’ve been successful when you’re no longer needed.
92. Don’t stress over organizational conflict.
93. Most organizational problems stem from miscommunications.
94. Staff sometimes will need to meet with you in order to vent and express their frustrations with a co-worker. That’s necessary but also encourage the person to think about the work at hand, the objectives and not personality issues.
95. Never make a decision or take an action based on hearsay; second-hand information is the most dangerous element in an organization.
96. All of us are always learning how to do our jobs, even library directors and assistant directors. Don’t agonize over every word spoken by a library director. Sometimes, he or she is just thinking aloud.
97. Likewise, the systems staff will pay attention to every utterance you make and may at times misconstrue an innocent remark.
98. When socializing with people in your department remember that they never forget that you are their supervisor. So socialize but don’t expect them to be your buddy.
99. Read the Path of Lease Resistance: Learning to Become the Creative Force in Your Own Life. Read it twice.
100. As a librarian you’re making a wonderful contribution to the world, but remember to find time for enjoying your own life.
Remember that the word TV is used in many ways. This is about how we use TVs: we watch TV & quite often we watch informative, learning channels.
Lynda.com is a subscription-based site providing software training through video tutorials structured in courses that are mostly several hours in length. I’ve used the site off-and-on for over ten years, and it’s a great way to learn how to use software from either a beginner level to advanced, in-depth techniques. With over 83,000 videos packed in more than 1,300 courses lynda.com is truly a fantastic way to learn. Course is not quite the right word. Considering that a topic may be covered in anywhere from 25 minutes to 15 hours the terms class or workshop is more appropriate.
A couple years ago Lynda.com branched beyond software training with additional content that includes creative skills (e.g., design, photography, video production) and even soft business skills (e.g., leading a productive meeting, becoming a thoughtful leader). Even more intriguing are the documentaries with typographic artisans, children book illustrators, and other creative topics.
Lynda.com has evolved into an entertainment channel, like those specialized channels on cable TV. But with Lynda.com you have the choice of which series to watch & when to tune in. Lynda.com even keeps track of what you watch in case you want to go back and view an episode again. Lynda.com isn’t available through any cable TV package. You subscribe directly on the Website, and it’s not inexpensive with a starting rate of $25 per month.
Lynda.com has entered the future of TV without ever promoting itself as such. Lynda.com is a definitive model that can form the basis for other vertical niches. The potential is enormous.
This is the future of entertainment for those who entertain themselves by wanting to learn about the world. Its mixture of educational and documentary programming surpasses anything found on today’s cable TV packages. One step further: Lynda.com is the future of many non-fiction books, particularly the how-to type of book.
Evidence that Lynda.com is onto something big: after many succesful years they just accepted their first round of external funding. With over $100 million to expand, keep an eye on how Lynda.com is transforming online learning into an educational entertainment product.
To get a glimpse as to how Lynda.com plans on utilizing this funding take a look at Robert Scoble’s interview with the founders of Lynda.com, Lynda Weinman & Bruce Heavin. A few highlights:
Lynda Weinman describes that the new funding will be used in three ways:
Online learning is a hot market. Lynda says, there are “lots of flavors of online learning….We think we’re in the infancy of this industry & there is a lot of room for a lot of different angles on how to attack the problem, and part of the problem is that we don’t all learn the same way, that we don’t all have the same learning needs. (5:33 mark in the video).
Lynda Weiman had been involved in teaching since the late 1980s. She says it’s all about teaching but now there are different form factors for delivering the instruction. Her partner Bruce Heavin says, “The business model may have changed over the years from writing books, to renting classrooms, to selling VHS cassetts and DVDs, to eventualy making this online library, but the constant was teaching and education.” (23:00)
Note how the starting of Lynda.com rose from Lynda publishing the first book on Web design in 1996, which also was a time when people traveled to attend conferences to learn about new techniques in Web design and development. Scoble describes the quasi-entertainment factor: “Something’s going on here. We used to go to conferences…now we watch TV on our big screens and we can get the same quality. I personally like it a lot better, I have a comfortable seat here, I can stop a video, go get a drink.” Then he glances over to a line of books, “You’re competing with these things. Used to be a I brought a lot of O’Reilly Books.”
Bruce responds, “I don’t know if we’re really competing against books. I think we’re a splinter, kind of like how radio and TV splintered..just splintered different ways to get information….We’re seeing the change where people are going into video and want to see things in their living room and we think that’s huge.” (17:40)
Lynda describes their content that is not training specific, and I suspect this area will get a significant push with their new funding, “Sometimes it’s not the tool at all. It’s how you tell the story, how you make a composition, how you create emotion around something, how you negotiate, how you make something compelling. We’ve actually gotten into these soft skills as well as the tools, as well as inspiring documentaries. We’ve made 30 of them…our members just love that kind of material.” (20:45)
That material fulfills an entertainment need for many us. Learning and entertainment are not incompatible.