As I continue to re-order the seven points of the ARL Task Force Final Status Report list, my version would group point 4, information sharing on digitization efforts, as a subset of point 6, data gathering on special collections operations. Digitization is indeed worthy of its own separate category, but I think it has a place in the larger concept of operations information gathering.
I have found the task force discussion on improving the means to measure the "depth and quality of unique and rare collections" of interest. This is certainly an intriguing concept. The nature of special collections is their uniqueness. Creating a "profile" that would categorize unique collections will certainly be a delicate procedure. I will enjoy learning more about this process.
Questions remain in my mind regarding the "ongoing statistical program designed to track status and progress of special collections in ARL libraries." What is the status of a collection? What exactly is "progress" in terms of a special collection and how is it determined?
The report then turns to the uniqueness of collections and a means to capture value. The term "value" can be defined in many ways. Certainly it can be financial value, such as an appraisal represents. Value can also be associated with meaning. What does a collection say about an idea, an individual, society? These will be interesting concepts to explore.
Digitization of primary source materials will continue to be a hot topic for years to come. As we all know, this particular form of outreach is a spectacularly successful way to introduce the public, on a worldwide platform, to important collections. This subject has been explored extensively for the past ten years resulting in recognized rules for standards and best practices. Digitization of special collections is a subject I have explored at length, developing a powerpoint poster on best use practices as well as an annotated bibliography. Given the information already available on this subject, I too, along with the task force, place this issue lower on the priority ladder.
The issues discussed in the final status report will become part of future agendas, standing committee operations, activities and discussions. Some of the latter, I'm sure, will take place in class next week.
Showing posts with label ARL Task Force Final Status Report. Show all posts
Showing posts with label ARL Task Force Final Status Report. Show all posts
Thursday, July 17, 2008
Wednesday, July 16, 2008
Points to Ponder
We're picking up where we left off a couple of days ago with the ARL Task Force Final Status Report. To review our progress, I've re-ordered the seven point action plan provided by the Task Force a bit to suit the way I see the priorities. See the post on July 12th for a list of the seven point action plan in ARL order.
For the moment I'm skipping over the discussion on hidden collections. I'll pick up on that point when the Task Force's recommendations are discussed later this week. Hidden collections figure prominently in the recommendations section.
Since I'm re-organizing the final report to suit my own ends, I'll go straight to number 5 on the list: "Co-ordinate planning for collecting 19th and 20th century materials and those in new formats. "
I am all over this one! 19th and early 20th century publishers' bindings are my passion. I've had the good fortune to initiate and develop a special collection of publishers' bindings for my institution. I actively search the general library collection for examples to be transferred to the rare book room. It is absolutely astounding what can be found in wonderful condition, library markings aside, on the open stacks! To date over forty bindings designed by Margaret Armstrong have been located. Many other binding designers, both known and unknown, take their place on the rare book room shelves beside her work.
The opportunities for scholarship abound when these bindings are collected and examined. When a collection is assembled bindings can be identified as design similarities become apparent, the rise and fall of art movements can be studied, cloth patterns examined, titling styles studied, and all manner of other joyous activities made available.
As an example I'll post this link to Mark Schumacher's website devoted to the designs of Amy Sacker. http://library.uncg.edu/depts/ref/staff/mark/documents/FortunesoftheFellow.htm.
Familiarity with styles utilized by designers can lead to some wonderful collaborations. When I discovered this binding I had a hunch it was a Sacker and contacted Mark. He was able to provide clues that pinpointed Sacker as the designer of this unsigned binding. Ah, the thrill of the chase! Working with a colleague was not only a great deal of fun, but also rewarding. Together were we able to determine the binding designer and add scholarship in this area.
Randy Silverman's "Connoisseurship of Nineteenth and Early Twentieth Century Publishers' Bookbindings," is one of the best papers I've read on the subject. The article can be found on the Project Muse web site. Sue Allen's course at RBS on publishers' bindings is one of the most popular. Apply early! Allen's book, Victorian Bookbindings: A Pictorial Survey (Chicago: University of Chicago Press, 1972, 1976. Rev. ed) is another excellent resource.
The introduction of cloth as a binding material is, to me, every bit as revolutionary as Gutenburg's press. Observing the development of cloth bindings throughout the 19th century conveys the rapid technological advancements in the book industry. These advancements, in conjunction with the rise and fall of art movements throughout this time period, culminate in the dramatic designs of the 1890's and early 20th century.
To paraphrase Randy Silverman, much was lost before librarians realized the value of 19th century books. 20th century books are often treated with the same disdain as those of the earlier century. Tastes change. What was valued fifty years ago is very different than what we find important today. Not only is it time to pursue books of the 19th century but we must aggressively pursue those of the 20th before items that were once common become scarce. Just as it is difficult to uncover information on binding designers of the 19th century it will become challenging to uncover information on individuals of the 20th century if we do not take heed and act now.
This is true for books in new formats as well. However, the term "new formats" is not defined in the report and there are several possible definitions. I hope to learn more about this during class next week.
For the moment I'm skipping over the discussion on hidden collections. I'll pick up on that point when the Task Force's recommendations are discussed later this week. Hidden collections figure prominently in the recommendations section.
Since I'm re-organizing the final report to suit my own ends, I'll go straight to number 5 on the list: "Co-ordinate planning for collecting 19th and 20th century materials and those in new formats. "
I am all over this one! 19th and early 20th century publishers' bindings are my passion. I've had the good fortune to initiate and develop a special collection of publishers' bindings for my institution. I actively search the general library collection for examples to be transferred to the rare book room. It is absolutely astounding what can be found in wonderful condition, library markings aside, on the open stacks! To date over forty bindings designed by Margaret Armstrong have been located. Many other binding designers, both known and unknown, take their place on the rare book room shelves beside her work.
The opportunities for scholarship abound when these bindings are collected and examined. When a collection is assembled bindings can be identified as design similarities become apparent, the rise and fall of art movements can be studied, cloth patterns examined, titling styles studied, and all manner of other joyous activities made available.
As an example I'll post this link to Mark Schumacher's website devoted to the designs of Amy Sacker. http://library.uncg.edu/depts/ref/staff/mark/documents/FortunesoftheFellow.htm.
Familiarity with styles utilized by designers can lead to some wonderful collaborations. When I discovered this binding I had a hunch it was a Sacker and contacted Mark. He was able to provide clues that pinpointed Sacker as the designer of this unsigned binding. Ah, the thrill of the chase! Working with a colleague was not only a great deal of fun, but also rewarding. Together were we able to determine the binding designer and add scholarship in this area.
Randy Silverman's "Connoisseurship of Nineteenth and Early Twentieth Century Publishers' Bookbindings," is one of the best papers I've read on the subject. The article can be found on the Project Muse web site. Sue Allen's course at RBS on publishers' bindings is one of the most popular. Apply early! Allen's book, Victorian Bookbindings: A Pictorial Survey (Chicago: University of Chicago Press, 1972, 1976. Rev. ed) is another excellent resource.
The introduction of cloth as a binding material is, to me, every bit as revolutionary as Gutenburg's press. Observing the development of cloth bindings throughout the 19th century conveys the rapid technological advancements in the book industry. These advancements, in conjunction with the rise and fall of art movements throughout this time period, culminate in the dramatic designs of the 1890's and early 20th century.
To paraphrase Randy Silverman, much was lost before librarians realized the value of 19th century books. 20th century books are often treated with the same disdain as those of the earlier century. Tastes change. What was valued fifty years ago is very different than what we find important today. Not only is it time to pursue books of the 19th century but we must aggressively pursue those of the 20th before items that were once common become scarce. Just as it is difficult to uncover information on binding designers of the 19th century it will become challenging to uncover information on individuals of the 20th century if we do not take heed and act now.
This is true for books in new formats as well. However, the term "new formats" is not defined in the report and there are several possible definitions. I hope to learn more about this during class next week.
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