The Source Documents Behind the News (A librarian reads the news...)

Publications and Presentations

In my classroom...

Adventures in CSS: Changing the way LibGuides gallery boxes display

We weren’t happy with the default way that LibGuides displayed labels and captions on the images in Gallery boxes, so I started tinkering with the CSS. We didn’t want the labels and captions to be white, and we didn’t want them to be on top of the images in the gallery. And we didn’t like the font sizes. So I fired up the Web Developer extension and started poking away, figuring out how the original CSS worked and what I could over-write to make some changes.

I don’t know that I would have made it too far without help from people who responded to my plea for help from the Library Society of the World, but in the end a few lines of CSS shifted the label and caption fields down below the images, and shifted the navigation buttons up above the images where they could be in a consistent spot no matter what size the image.

If you’d like to do something similar, go into the Custom CSS area of LibGuides and add the following:


.carousel-caption {position: relative; text-align: left; left: 2%; color: #5C5757 !important; text-shadow: 0 0px 0px rgba(0,0,0,.6); padding-top: 20px; padding-bottom: 0px;}
.carousel-caption h4 {font-size:16px;}
.carousel-caption p {font-size:12px; margin-bottom: 1px;}

.carousel-indicators {position:relative; margin-top: 20px; margin-bottom: -10px;}
.carousel-indicators .active {background-color: #5C5757;border: 1px solid #fff;}
.carousel-indicators li {background-color:#fff; border: 1px solid  #5C5757;}

.carousel-control.right {background-image: none;}
.carousel-control.left {background-image: none;}
.carousel-control {color: #000; margin-top: -25px;}


And if you come up with great ideas for tweaks beyond this, I’m all ears!

Selecting a Sample of Papers to Assess for Information Literacy

Here at Carleton we’re getting ready to do our next ILSW reading. It’s my first time coordinating the project (the amazing Heather Tompkins who coordinated in the past has moved on to another institution), and I’m working with our fantastic Institutional Research folks to select a sample of papers, but I’m also curious to know any ideas or advice you, gentle reader, might have about the sample selection process.
We select our papers from the campus-wide Sophomore Writing Portfolio, where every sophomore has to submit 3-5 papers for rating by the Writing Program and faculty and staff volunteers (which is actually going on as I type). We typically select 100 portfolios (sometimes a little more), creating a representative stratified sample… and of course the first big question is “representative of what.” In the past we’ve used gender and portfolio reader score for this first selection, making sure that we read portfolios from about the same proportion of men and women as we have on our campus, and reading proportional numbers of portfolios that were given a Pass, Needs Work, and Exemplary score. This year we’re also balancing proportional U.S. White, U.S. Student of Color, and International Student portfolios.
Once the portfolios are gathered, we then run at least one more pass to select individual papers from those portfolios (we read one paper per student). We have the option of balancing out papers based on:
  • What the Writing Program calls “Gen Ed:” Science, Reasoning, Social Inquiry, Arts Practice, Humanistic Inquiry, Lit/Art Analysis
  • Characteristics the students identify about each their submitted papers, choosing from: reporting an observation, analyzing complex information, interpretation (of data, text, art, etc), documenting sources, articulating and supporting a thesis driven argument. (Papers can fall into more than one category but must fall into at least one category).
  • Department housing the course for which the paper was written (History, Biology, etc)
  • “Overlay” (A Carleton thing where faculty have the option of saying that their courses are Writing Rich, enhance Quantitative Reasoning, Intercultural Domestic Studies, and International Studies)
The big questions, of course, are how far we want to control the sample given our relatively modest sample size, and exactly what controls matter to how we’re thinking about our reading and our results. If you were faced with these choices, what might you use to select that single paper from the full portfolio? And are there other demographics that you would use to select the portfolios themselves?

Boats and Ferries and Bridges, Oh My!: Digital Humanities support models

This morning my coworker Sarah Calhoun and I presented again at the Oberlin Digital Scholarship conference, “Building a Distributed Collaborative Model for Digital Scholarship Support at Liberal Arts Institutions: A Mixed Metaphor Salad.” Our other co-presenter, Austin Mason, couldn’t make it to the session, but he gets the credit for finding and bringing to us the metaphor that drove the session. He’d attended a session by Liz Milewicz of Duke University and gotten permission to reuse her metaphor. And the metaphor in question? Various methods of crossing water from one shore to another. Here’s how we used it.

“Automobile crossing rope bridge. 1923.” Photograph made accessible by the Field Museum Library.

“Automobile crossing rope bridge. 1923.” Photograph made accessible by the Field Museum Library.

On occasion, supporting the digital humanities can feel an awful lot like trying to drive a car across a rope bridge. Either the infrastructure is inadequate for the project, or the project chose the wrong infrastructure to use to get across the river.

In an attempt to avoid this unfortunately pairing of project and infrastructure as much as possible, we propose thinking carefully about the infrastructure we put into place, and also about how to communicate clearly with researchers and with ourselves. We want researchers to find and use the right resources for the job, and we want to prevent siloed services that may duplicate effort or cause turf wars. And one way to think through these issues is to map out what’s happening on your campus.

Most campuses will have brave DIY-ers, who cross the river in daring ways using found objects (fallen logs) or special skill/access (base jumpers). These are important parts of creative research on our campuses, but they are not very repeatable or scaleable. They are not a great plan for a support model.

"Simple cable ferry, Gee's Bend, Alabama, 1939" by Marion Post Wolcott.

“Simple cable ferry, Gee’s Bend, Alabama, 1939” by Marion Post Wolcott. _Old_cable_ferry_between_Camden_and_Gees_Bend,_Alabama.jpg

One of the low-barrier, low-overhead, repeatable methods of crossing might be a rope ferry. These work quite well either solo or with a ferryman, but they may not be terribly stable over time. Perhaps various semi-ephemeral things like free blogs or social media fit here, where researchers can get information up online, but it may not be stable over time if the researcher or the service move in new directions.

"Venezia - Ferry-boat Lido di Venezia"

“Venezia – Ferry-boat Lido di Venezia”

Or perhaps there are more modern ferries available. These are larger, more powerful, and require less effort on the part of the researcher. Maybe something like an institutional subscription to Omeka or WordPress fit here. They were for a lot of people interested in doing a lot of different kinds of things, and support can be pretty standard on campus.

"Brooklyn Bridge Manhattan"

“Brooklyn Bridge Manhattan”

But if you have a ferry running the same route over and over and over, and if you also have some money and staff for new construction, maybe it’s time to build a bridge. Some schools, for example, have a whole unit or a Center dedicated to supporting digital humanities. Some of these Centers are even iconic, like the Brooklyn Bridge. And I think that depending on the school, a massive, multi-lane bridge with tons of on-ramps and off-ramps might be a wonderful thing.

However, bridges really do require upkeep, they can become bottlenecks, they often have height and weight restrictions, and they may not serve all needs. Researchers are creative beings who may need to start in a different spot, end in a different spot, or get across in unusual ways. So at this point it becomes a matter of project portfolio management.

Vinopal, Jennifer, and Monica McCormick. 'Supporting Digital Scholarship in Research Libraries: Scalability and Sustainability.' Journal of Library Administration 53, no.1 (January 1, 2013): 27-42. doi:10.1080/01930826.2013.756689.

Vinopal, Jennifer, and Monica McCormick. ‘Supporting Digital Scholarship
in Research Libraries: Scalability and Sustainability.’ Journal of
Library Administration 53, no.1 (January 1, 2013): 27-42. doi:10.1080/01930826.2013.756689.

Jennifer Vinopal (who was also this conference’s keynote speaker, though we’d planned to site her even before we knew that), and her colleague Monica McCormick wrote a fantastic piece on “Supporting Digital Scholarship  in Research Libraries: Scalability and Sustainability” in the Journal of Library Administration. In it they recommend having an infrastructure such that the majority of project can use standardized tools that are well-supported on campus. Then allow for creativity by building in support for projects that can mostly use those standard tools but with some standardized consultation services, or with a bit of custom tweaking. But reserve some capacity for a few truly custom projects that will require a lot of support (and try to make sure that these project can be “first of a kind” rather than truly one-off projects).  So perhaps you have a couple of docks for some ferries not far from your bridge, or a landing area for your base jumpers, but there’s communication and vetting involved in committing resources to these special projects.

And no matter your solution, close communication between support and coordination folks will prevent boating collisions, or the building of duplicate bridges. To mix metaphors quite wildly, at Carleton we think of our coordinating folks as a three-legged stool: Library, Humanities Center, and Academic Technology. Representatives from these areas try to make sure that things move forward in a coordinated fashion even when the actual support and work of digital scholarship happens in all kinds of places on campus. We’re calling it a “coordinated distributed model,” and it is still in its infancy. We are currently tackling the question of what infrastructure to build and for whom, which tools will be our standard and which will we cut loose, who will be involved and to what extent, and how will we make sure that people who need us will find us?

Exploring these questions, we handed out blank maps to participants and asked them to depict their campus’ current models, talking in small groups about how things work on their campuses, and comparing with others to find trends and themes.

Feel free to use or make your own. I just drew this sketch of a map on my iPad.

Feel free to use this map or make your own. I just drew this sketch of a map on my iPad.

One fascinating thing was that there were three participants from one college, and all three drew different maps. Others drew people drowning in the river, or people standing on one shore and gazing longingly at the distant shore. But one thing that became clear was that whatever infrastructure an institution adopts, it has to fit the local context. There’s no sense sinking a ton of money in a massive bridge if there’s no demand, or just because another school did it. And on the other hand there’s no sense leaving researchers to fend for themselves on campuses where lots of people have a similar need.

Then we handed out new blank maps and asked participants to think about an ideal infrastructure for their campuses over the next 5-ish years. There were so many interesting and useful responses. One person drew a crew of happy inner-tubers (beer implied), and someone at a different table drew one big inner tube. Most had more than one method of getting across. Others had thought about setting up villages or resorts on one side or the other to show the community that would be important, or close communication, or the bringing together of units that are currently separate. The creativity and thoughtfulness in the room was so inspiring!

At the end we asked participants what one thing they wanted to take back or change first at their institutions. My own answer was that I want to hand out blank maps to the people I work with on campus and see what we each think the current model looks like, and where we each hope it might go.

Data Management and the Humanities

Humanities Data: Document fragments from church archives in Cuba

Humanities Data: Document fragments from church archives in Cuba

This morning my colleagues Kristin Partlo and Sarah Calhoun presented with me on data management plans (DMPs). The session itself was mostly a conversation about some example DMPs from the collection of successful DMPs that was recently released by the National Endowment for the Humanities followed by conversations about how we might talk to faculty (using this DMP template as food for thought). But from this conversation a few themes crystalized for me.

Why would humanists care?

I think we often hear that “sharing the stuff of my research with the world” isn’t a huge motivator in the humanities. I’m not sure how broadly true that is, but it’s true enough with enough people that it bears thinking about. And I have heard skepticism, usually in the form of “nobody else will care about this stuff I’ve collected,” so how do we address that?

Sometimes I think maybe it’s a matter of vocabulary, so talking about creating “an archive” or “a digital collection” might capture imaginations where “manage/share your data” won’t. Even talking about how a bibliography is a described dataset can be useful because humanists are very familiar with practices of collecting, organizing, and sharing bibliographic information, usually at the ends of articles, books, and syllabi, but sometimes independently. Humanists have actually been doing data management since forever when you think about bibliographies. In this context, we care about versions (editions), standardized and encoded “data fields” (so that other researchers know if you’re referring to a title of a chapter, article, or book, for example), durable URLs whenever possible… Bibliographies are rich with descriptive and preservationist practices that can help inform management and sharing of files and information more broadly.

I think another aspect of why Humanists might care involves thinking about sharing with the sympathetic collaborator that is your future self. Your future self will forget the ins and outs of where you put or how you named your image files, or what the columns on your spreadsheet actually mean. Our computers are chalk full of the stuff of our research — PDFs, draft versions, images, audio, video. Knowing where all of those things are requires management of all of that data just so that you can find things again later.

Learn through analogy with the known

Kristin talks about how the monograph is largely self-describing. It has title, author, and publisher information in predictable spaces. There’s the table of contents, often an index and bibliography, and things like introductions and conclusions that describe the book for you.

Then there are style guides and formal or informal glossaries that people adopt, and these serve to help make your data (“data” writ large) understandable and consistent for other readers.

These are things that are familiar, so it’s easier to point to these things and remind ourselves that we’ve already seen the usefulness of self-describing units of scholarship and of somewhat standardized best practices. Now we just need to apply it to the digital stuff we’re working with more and more these days.

And in the past, libraries and archives were the main places that managed the sharing of shareable humanities data (primary and secondary sources), but the sharing involved researchers traveling to those collections (humanities “datasets”) to use them. Now individual researchers can create collections, or use collections without physically traveling from dataset to dataset. But this also means that researchers now have more responsibility to do some of the description and standardization that libraries, archives, and publishers formerly did a lot of. So yes, the work feels different, but it’s built on the same principles that humanists already value.

Formal vs informal data management

One of the interesting themes of our session and all the other data-related sessions I attended is that people talk a lot about the data management requirements of grant-funded projects. Meanwhile, I haven’t supported that work at all, but I have helped quite a few people manage their own individual or collaborative non-grant-funded projects. And I really think that data management becomes much more alive and broadly useful if I think about how the best practices identified and codified by grant funding agencies help us think about best practices for regular, every-day digital life, right down to the daily action of naming and putting a file into a folder on my computer. For me and for the people I’ve worked with so far, formal DMPs are alien things that don’t intersect with my life and research. But the spirit and practices reflected in those DMPs? THOSE I care deeply about. So perhaps shifting language from compliance to best practices, and shifting focus from grants to every day organizational practices, perhaps these things can help make data management less of an alien object that only scientists and social scientists ever touch.