Book.Files and the Inversion of Born Digital

Below are three images of my book, The Theory and Craft of Digital Preservation. The first is a picture I took of a print copy of the book. The second is the book cover on Amazon. The third is from Johns Hopkins University Press page for the book.

One of them is not like the other. Can you spot the difference?

The first one, the print copy, is the outlier. It has a completely different picture than the latter two. It’s almost the same but not quite. The picture on the cover of the print book was taken by Jermaine Taylor and posted to instagram shortly after I got my floppy disk tattoo in 2017. The second is a photo I took of my arm, when I couldn’t source a higher resolution file of Jermaine’s instagram photo. I emailed both of them to the press as an idea for the cover of the book. I took the second photo because I was concerned that the instagram photo might not be at a high enough resolution to use in print.

The photo I took is, in all the places where book covers appear, the cover of the book. It is also the cover of the eBook version. With that said, all the print copies of the book actually have Jermaine’s photo on their cover. Which in all honesty I think is an objectively better picture. As far as I can ascertain, at some point whoever was actually doing the layout for the print book ended up deciding to use the photo from instagram instead of the photo I took. I think it was a good call.

I proposed that picture of my tattoo as a cover for the book because I thought it spoke to some of the themes in the book. The floppy disk is a medium on which we write digital content. Beyond that it’s now the save icon. Jermaine encoded an instance of that icon with ink in my skin. Much of the book is about how messy and complicated the world of digital content is, in large part, because it’s the result of the accrual of the work of people kludging together things on-top of the work of other people. The fact that there are now these variances in the book cover out in the world itself helps to further demonstrate that point. Online, and in its eBook form there exists one cover based on a photo I took. But based on decisions made in the workflow and process that created the physical copies of my book, the print copies all have Jermaine’s instagram photo on them. The messiness of the digital plays out through the workflows and processes that create digital books. Some of those files get printed out. I interacted with a ton of digital files in getting the book to the publisher and then a range of digital files had lives I don’t know about that resulted in the production of the tangible book.

I offer this anecdote as my own personal point of entry and connection to the Matthew Kirschenbaum’s m recently published report Books.Files Preservation of Digital Assets in the Contemporary Publishing Industry

Book.Files and the Inversion of Born Digital 

If you’re work has any connections to book publishing and production or collections in libraries and archives related to creative production you are going to want to make time to download and read Books.Files Preservation of Digital Assets in the Contemporary Publishing Industry. The report does an excellent job in providing an overview of the shift to digital workflows in the publishing industry. In this respect, it makes for a great companion to the 2011 report from CRL on digital workflows in the news industry Preserving News in the Digital Environment: Mapping the Newspaper Industry in Transition. I’m always interested to see work like this that involves in-depth engagement with partners in the creative industries. 

From the Book.Files report you get a great sense of the handoffs that occur in the production, transmission, tracking and management of books as digital files. From all the handoffs of word files with track changes into processes with Adobe InDesign, through to XML files and or PDFs that become the basis of printing books or creating eBook files.

Below are some quotes I pulled out that I found particularly striking and relevant for thinking about collections for libraries and archives. 

  •  “As early as 1999, an article in Publishing Research Quarterly observed that publishing “is coming to mean producing digital content which can subsequently be delivered in different media, rather than producing books or journals””
  • “there is at least one simple, uncontestable fact that obtains for any book produced with commercial press processes in the last twenty years, and which will continue to obtain for the foreseeable future. That fact is this: a book is a file, which is to say it is a persistent digital asset stored in a digital repository somewhere.“
  • “A “book” is thus the born-digital potential for a file to become a book first, and a physical, tangible object in our hands only secondarily. Every new book on our shelves has its shadow in a digital file, or more precisely a set of digital files consisting of the various assets needed to bring the book into being. A physical book nowadays is a surrogate for a digital master.”
  • “Increasingly, this means that the EPUB file becomes the version of record for the book. If the publisher wishes to retain a separate format-independent rendition of the book, any changes or updates in the EPUB must then be back-propagated to the original XML in order to keep versions consistent.”

I think these observations, along with the rest of the report, offer an opportunity for folks that work with collecting, preserving, and providing access to books and records of the history of the book. My sense is that the results this kind of study in nearly any other creative industry would produce similar results. So I think the results here are relevant to anyone interested in the production and circulation of creative works and their histories. 

Born Digital is the Norm, Born Analog is the Outlier

The report hits home that cultural heritage institutions interested in collecting and preserving contemporary cultural works need to be centering digital content in their approaches.  Increasingly the physical objects that come into collections are themselves the digital surrogates and it’s worth asking when the print surrogate for the digital asset is good enough given that the source for that object is increasingly a digital resource. 

History of Creative Industries is Increasingly Born Digital 

The report illustrates the ongoing major shifts relevant to the records of cultural production. This has huge implications for special collections work that involves acquiring the archives of creative industries. At this point books are a key case study in this shift, but the same is true for photography, film, the performing arts, music, etc. Creative production has become almost an entirely digital set of workflow process and the future of archives of industries and creators in these media will involve engaging with these increasingly born digital content streams. 

Variance Abounds Across Digital Instantiations of Works

The report includes a series of examples of how and where variances enter into the workflows and processes as various stakeholders “touch” book files over the course of their production and the varied output files that are produced. The example of my book cover is in this case not an outlier, it’s  another example of kinds of variances that enter into the management of books as digital assets. In that cloud of files, it becomes increasingly difficult to talk about a definitive or authoritative copy of a work. My sense is that this issue of variance is going to become increasingly important for libraries, archives, and museums to figure out. On that front, I think some of Cathy Marshal’s work and  Richard Rinehart and Jon Ippolito’s work is relevant for further exploring this issue.

In Digital Copies and a Distributed Notion of Reference in Personal Archives Cathy Marshal explores the various kinds of copies and derivatives that people produce in managing and sharing videos and photos. Below is a map of the kinds of variances she observes.

Ultimately, Marshal argues for the need to step back from thinking of their being a canonical instance of a work and to instead embrace that what we are going to end up with is varied copies that instantiate important differences as those copies take on lives of their own. Significantly, this means stepping bak from the notion of “derivatives” to instead see each copy of a work as contributing to a distributed notion of it.

I think Marshal’s observations are relevant for thinking forward about how we likely want to approach all kinds of digital creative workflows; “we will not only want to see copies, but we‘ll also want to harmonize them, to harvest their metadata, to select among them. Instead of relying on a simple notion—the truth is in the cloud, embodied as a single reference copy—we will want to expand our sense of what is entailed by the notion of a reference copy and turn to a distributed, social model.”

In Re-collection: Art, New Media, and Social Memory  Richard Rinehart and Jon Ippolito also take a run at the idea of a canonical master file for any given work. They suggest that with digital media, in many cases instead of thinking about a master file it’s more important to be looking for what they call “mother files;” the editable files that enable a wide range of outputs. You can see more on their thinking in the pull quote from the book below.

Altogether I think the report makes for a great read and I think it helps to draw out some major issues facing libraries and archives for the future. More and more of the material of culture is digital from the start. The issues faced by the proliferation of variance and copies still something that we have a long way to go to fully understand and integrate into how we think about our work.

I’m curious for thoughts any and all of you have about the questions the report brings out.

 

Growing up with THATcamp

The Humanities and Technology Camp (THATCamp) has announced the program is sunsetting and is hosting a retrospective on the site. I’m crossposting some quick reflections there and here. 

I think I’ve been to at least 9 THATCamps. I was at the the first one at CHNM in 2008. I missed 2009. But I was at the CHNM ones in 2010, 2011, 2012, and 2013. I also went to THATCamp NCHP in 2012 and then that I went to THATCamp Leadership in 2013, THATCamp DC in 2014, and THATCamp AHA in 2014.

In piecing that together, I’m realizing that I think it’s been six years since I’ve been to a THATCamp. So I went to 9 of them in one six-year period and apparently haven’t gone to any of them in the subsequent six-year period. Time is strange. The first one in 2008 feels like forever ago and the more recent ones feel like things that happened not that long ago. But I realize and recognize that the strangeness of time is also connected to how the camps fit into my career.

Running the registration desk with Dave Lester at THATcamp 2012 https://20.rrchnm.org/items/show/388

My First Camps

In 2008 I was finishing a masters degree and working on Zotero at CHNM. We got a lot of work done and we had a lot of fun. I kept buying shirts on Shirt.woot.  I have fond memories of going out to lunch with the group, setting up websites, buying up domain names, going out on the road to push open source software for reference management. The first THATcamp was wild. People came from all over and it was invigorating.

The idea of the unconference felt really powerful. Reserve some space on campus, set up a wordpress instance, buy some coffee and donuts, and let people sign up to propose things they wanted to talk about and then all of a sudden there was a whole conference happening. It was a great conference too. Folks left with a whole bunch of new connections and awareness of a bunch of projects that related to work they were interested in.

That was very much my experience at least. At those first camps I found myself meeting all these new folks and connecting with new work and ideas. There were undergrads there that just figured out how to do some cool thing and they were teaching full professors about it. The ‘un’ ness of it was really strong. It felt like there was buy in that

There was just a lot of inversion of hierarchies. As I wrote about in 2011, it felt like there was this DIY spirit that animated many the work in the space and that was invigorating. It’s also funny looking back on that blog post and seeing that people left comments there. In a lot of ways the early days of blogging feel like part of the THATCamp heyday when we operated in some pretty fundamentally different conversation spaces.

My Later Camps

At THATcamp NCPH 2012 https://ncph.org/history-at-work/return-of-thatcamp-ncph/

I have less vivid memories of some of the later camps. That said, when I did that run of them in 2012, 2013 and 2014 it felt like the concept of the camps had become a rather well-functioning system. It also started to feel like a lot of the same conversations were playing out again at some of the camps.

It was fun to take part in that. It felt great to become more of a facilitator of some of that. That said, in some of the later camps there would also be times when someone would pitch “Shouldn’t there be a thing like X, what if we started making it right now!?” and then one of the folks who had been coming for a while would chime in with something like “That sounds a lot like A, B, C, D, or E and four out of five of those letters ended up being unsustainable for somewhat intractable reasons 1, 2, and 3.” In that context, I think I burned out a little from some of the can do attitude of just roll yourselves up and make a thing ideals that I feel like were so central to THATcamp. The hustle of that DIY world and impulse gets exausting. It’s also clear that the big, hard, challenging seemingly intractable things keep coming up and don’t lend themselves well to the format. It also feels like we’ve lost a lot of the optimism that surrounded those events, I think in part as it feels like the community became more aware and engaged with how problematic the values at play in digital technology ideologies are.

THATCamp Temporal Vertigo

Thinking back over the 12 years from the beginning of THATcamp makes me feel something a bit like a professional vertigo. When the first camp happened, I was 23 and half way through a master’s program and about two years into really working my first full-time job. It felt so exciting to be connecting with folks at all levels of their careers and getting positive feedback about ideas I had for projects. It’s hard for me to process through what parts of my feelings and thoughts about the camps are about the events themselves and what parts are really about my growth and development. So take all of my reflections on this with a grain of salt. I don’ t believe I can separate out what parts of this are about me and what parts of them are about the events.

Growing through and and from THATCamp

With that said, it does feel like things have substantively changed in the digital history and digital humanities spaces since those camps. As areas like digital history and the digital humanities went through a range of periods of growth and faced substantive criticism they changed. In many ways I think they changed for the better. It feels like a more critical set of approaches and thinking going on across these spaces these days. As the fields THATCamp helped to energize have grown up it feels OK that we may have outgrown it as a tool.

With that said, I also accept that I can’t extract my history and experience from this perspective. I grew up professionally in dialog with those THATCamp events and I know they were formative in shaping how I think about and approach things and many of the collaborations and relationships that my career is anchored in.

A told, I think I mainly am left with a lot of gratitude for the chance to be in the place and time where THATCamp came together. I owe so much to the people who I was able to learn from in those events and they are going to forever be a foundational part of my career.

Digital Preservation, Digital History, & Digital Curation: A 2019 Year in Review

As the end of the year comes to a close, I make time organize and synthesize what I’ve been up to across different parts of my work each year. You can see my reflections at the end of 2018, 2017, 20152014, 2013, and 2012. I’m a big fan of the value of metacognition, so I tend to feel like I get a lot out of taking a little time to round up, reflect, and try and synthesize things at least once a year.

This year I’ve organized things into work managing and coaching teams at the Library of Congress, work communicating about digital preservation, and broader engagements in teaching, learning, and scholarship in digital history and digital curation. 

From Start-Up to Highly Productive Teams

DCM team members developing shared values. More on this on The Signal

In 2018, I worked to bring on 10 new staff who joined the Web Archiving Team as part of the newly formed Digital Content Management Section at the Library of Congress.

This year I was continually impressed by how the team was able to deliver results,  continuously improve our approach to planning, tracking, and executing projects, and at the same time have a lot of fun. You can get some sense of the kinds of things folks have been up to on the team through posts from the group on The Signal

In 2019, the team refined and published a set of values that guide our work, provided a deep dive into how web archives data works and published a series of derivative file datasets from web archives, (images, tabular data, audio, PDFs, PowerPoints). We also were able to complete  a multi-year effort to define and publish policy and guidance on managing digital collections in the Digital Collections Management Compendium. We helped advance parts of the Library of Congress Digital Collecting Plan, in areas including acquiring, preserving, and making available open access children’s books and open-access Latin American monographs. We were able to make available a corpus of 1.7 million digitized images from more than a hundred years of U.S. Telephone directories. We also had a great time hosting ARL’s Digital and Inclusive Excellence Fellows for a day to share information about various areas of work at the Library of Congress. Beyond The Signal, the team also published analysis of file extensions in the Library of Congress digital collections. I should note that the highlight reel from The Signal and our publications is just the tip of the iceberg of the work our section is making happen. Most of our work is inwardly focused and it’s only a small portion of the work that we draw attention to online. 

As our section moved out from its start-up phase into highly productive teams this year, we also worked through a series of transitions. Over the course of the year, four of the original ten team members that came on board in the beginning 2018 ended up advancing their careers into other roles at the Library of Congress or other libraries. Since then, two new team members have come on to fill their shoes and are already making great contributions to the work, and we are in the process of bringing on additional team members as well. I’ve been thrilled to see how throughout those transitions the teams have done a great job of prioritizing, rebalancing, shifting, and supporting each other as we review what we are able to pull off. I’m personally very proud of the culture and values we have established which I think is working to ensure that we can respond to change and ramp up and put on hold work as needed. 

Continuing to get the word out on Digital Preservation

This year I continued to spread the word about digital preservation and digital collections management. My third book, the Theory and Craft of Digital Preservation, came out at the end of 2018. I’ve been thrilled with the great response it received over the course of 2019. In 2019 the book won two major awards the Association for Library Collections & Technical Services 2019 Outstanding Publication Award and the Society of American Archivists 2019 Waldo Gifford Leland Award. I found it deeply rewarding to win this kind of recognition from both the librarians of the ALA and the archivists of the SAA. 

Alongside the awards, in 2019 the book was positively reviewed in at least eight different journals; Archivar,  Mid-Atlantic ArchivistLibrary Resources and Technical Services, the Journal of Archival OrganizationMetropolitan Archivist, The Journal of the Archives and Records Association,  College and Research Libraries, and Archivaria. Mid way through the year, Johns Hopkins University Press reached out about publishing a second printing. It’s rewarding to see such a great response to the book and to hear about how it is helping a range of working librarians, archivists, and curators to advance their craft in ensuring enduring access to digital content. 

Presenting on Digital Preservation at the United Nations in Geneva.

Over the course of the year I was gave a series of major talks about digital preservation. I gave opening keynotes on digital preservation at the Federal Depository Libraries Conference, the Lapidus Initiative Digital Collections Fellowship Symposium, and the Simposio Internacional de la Maestría en Conservación de Acervos Documentales in Mexico City.  As an opening keynote for the Project Muse Partner meeting, Sayeed Choudhury interviewed me about key issues for scholarly publishing relating to digital preservation. I also gave invited lectures on digital preservation at the United Nations  in Geneva and the Zentralbibliothek Zürich.

Beyond talks specifically drawing from the book, I participated on a panel on preserving eBooks with colleagues from the British Library, Library Archives Canada, and the Deutsche Nationalbibliothek at the International Digital Preservation Conference in Amsterdam. I was invited to present as an expert on modeling digital preservation risks to the NIH sponsored National Academy of Sciences workshop on Forecasting Costs for Preserving, Archiving, and Promoting Access to Biomedical Data. At the Digital Library Federation Conference, I was invited alongside Dan Cohen, and Chela Weber to be a respondent to Carol Mandel’s recent work exploring the state of digital collecting and preservation. All together it was a great year for continuing to share out about digital preservation. 

Ongoing Digital History and Curation Teaching, Scholarship, & Service

Talking about design thinking at the University of Maryland.

Outside my digital preservation work, I continue to be engaged in a range of teaching, scholarship and service relating to digital history and digital curation more broadly.

I wrote a post on this blog asking some questions about the history of using the term archive as a verb. A chapter I wrote on service in archives, Archives as a Service: From Archivist as Producer and Provider to Archivist as Facilitator and Enabler, was published in Archival Values: Essays in Honor of Mark Greene. A review I wrote of Science in the Archives: Pasts, Presents, Futures was published in American Archivist. I also participated in a really fun panel on Documenting Online Cultures at the American Folklore Society’s Annual Meeting. I started working through some new material in an opening keynote I gave on The Centrality of Design Thinking and Scholarship for the Future of Library Practice at the University of Maryland’s Libraries Research and Innovative Practice Forum. 

In the spring taught my Digital Public History Methods graduate seminar for the 6th time at American University’s History Program. In recognition for ongoing work and teaching related to digital history, the program upgraded my title from lecturer to Public Historian in Residence. I continue to be impressed by the creativity and innovative thinking of students in the program.

In the Fall I taught a new course on Digital Curation Policy and Ethics for the University of Maryland’s iSchool. This was the first fully online course I’ve taught, so I was curious to see how it would go. Overall, I was consistently impressed by the quality of work students did. I hope many of those students go on to refine and revise some of the excellent papers they worked on for the course for publication. Students wrote about everything from ethical issues in algorithmic curation of news, to legal issues in digital reproductions of artworks, to ethical issues surrounding labor practices relating to digitization contracts. 

Teaching those two courses brings the total number of graduate seminars I’ve taught since 2011 to ten. I continue to enjoy the way that working in the classroom helps keep me sharp and offers me a chance to stay fresh on some of the fundamentals in both digital history and in digital curation. 

Along with  teaching and research,  I continued to participate as a board member for the Anacostia Trails Heritage Area, as a founding board member of Digital Cultural Heritage D.C., as a member of the CLIR Hidden Collections Digitization Program review panel, and as a member of the Digital Library Federation Advisory Committee. In short, I keep busy.

The book wall from readings this year.

I got a lot out of reading this year. I finally made time to read Sorting Things Out: Classification and its Consequences and I can confirm it is indeed an outstanding resource for connecting work in science and technology studies with  work on knowledge infrastructure in library and information science. I read both The Revolution Will Not Be Funded: Beyond the Non-Profit Industrial Complex and Just Giving: Why Philanthropy Is Failing Democracy and How It Can Do BetterBoth offer powerful critiques on the effect of philanthropy on society. I’m thinking a lot about The Revolution Will Not be Funded. I think it opens up some really fundamental questions about how non-profits and philanthropy function in society. I got a lot out of readings on stoicism,  scrum, and re-reading Getting Things Done, and am still processing some of the ideas from the polemical It Doesn’t Have to Be Crazy at Work. 

Marjee and me as Kurt and Courtney.

Beyond all these aspects of work, Marjee and I had a lot of fun with other projects, friends, and family. She was the maid of honor and I was the best man at my Mom and Todd’s wedding outside Milwaukee. We both caught up with my family at an Owens’s family reunion in Holly, Michigan. I had a ton of fun backing up Marjee on two days of shooting footage at the Small Press Expo for what will be an amazing forthcoming documentary film. Last but not least, I think we made a pretty good Kurt and Courtney for Halloween.

Overall, this has been a great year. I very much enjoy the ability to work inside a huge cultural heritage organization and at the same time manage and develop teaching and scholarship along with that work. It seems like I’m hitting a good balance there. As far as goals for next year, the biggest thing I’ve been trying to focus on is being very deliberate about what kinds of projects I take on. I ultimately aspire to be able to spend more time focusing on fewer things.

 

When and how did “archive” become a verb?

Archives are places. They are institutions. But to archive is also an action. Web Archiving is a process that produces web archives and personal digital archiving is a set of practices for working to ensure longterm access to personal digital content.

When and how did archive become a verb? Webster’s dates the noun usage to 1603 and the verb usage to 1831, but I’m curious how obscure the verb usage was over time.

My sense/hunch has been that the verb form of archive, is tied up in the history of computing. A tape archive is a higher latency storage mechanism. There is a long standing use of “archiving” as a concept that involves writing to tape. The term tape is itself part of the name of .tar files. So, when did archive become a verb and to what extent is archiving related to the development of computing?

This kind of question is exactly the sort of thing that Google n-gram is useful for. Over time I’ve generated a few different graphs of trends around the verb usage of archive in Google books and posted them to twitter. It seemed like it would be worth taking a few minutes to explore that data a bit more. What follows is really just some initial notes on some searches. I’m curious to get other interpretations on what we learn from these charts and examples of usage.

When the archived and began archiving

The graph below, shows trends in usage of archive in the Google books corpus from 1920 to 2000. Overall, it would appear that the term archive has seen a good bit of growth in its relative frequency in appearing in the corpus over time.

If we take out the noun form of archive and extend this back to 1800, you can see that there are a tiny number of examples of the verb forms going back all the way to beginning of the chart in 1800, but that things don’t really start to take off until the late 1960s.

The Emergence of “Archiving” 

One of the best parts of Google n-gram is that it is a book search tool as much as it is a visualization tool. That means that we can poke around and see the examples where these different usages emerge.

Below is an example of one of the first instances of the term “archiving” connected to the term “data” in the google books corpus. It’s from a 1968 appropriations hearing for a climatological data center. That places it right at the inflection point for the verb form usage of archive.

From that point out, the term archiving seems to appear primarily in relationship to computing. All of the examples of the term archiving are references to data for usage of the term in google book results from the 1970s.

With that noted, there are two examples from 1969 that involve using the term archiving in relationship to folklore.

A longer past for archiving and archived

As noted in the beginning of this post, Webster’s suggests the verb form of archive came about in 1831. There are a range of examples of “archived” that show up, even earlier than 1831, for instance the example below from 1823 or this other example from 1816.

The snippet below is one of a series of documents from the turn of the 20th century in Texas that use the terms archiving and archived that appear to largely be related to usage of the term in the “Constitutions of Texas

There are even a few other earlier examples of “archiving” that show up, like in this 1913 report from the Nevada Historical Society reports a “need of better archiving” in a heading in the table of contents.

So when did archive become a verb? 

It would appear that archive has been a verb for more than two hundred years. With that noted, it does also largely appear to be the case that the verb usage didn’t really come into broader usage until the late 1960s when it was largely associated with data and computing.

I’m curious to see what other examples or perspectives others have though. I was a bit surprised to surface some of these earlier examples of uses of archiving and archived.

Building, Growing, Learning: Looking back at 2018

It’s hard to believe that another year has gone by. I’ve made it a habit to reflect on each year and post about it here. You can see my reflections at the end of 2017,  2015,  2014, 2013, and 2012. I’m a big fan of the value of metacognition, so I tend to feel like I get a lot out of taking a little time to round up, reflect, and try and synthesize things at least once a year.

This year, I was able to build, support, and learn from the new Digital Content Management team at work. I made the list of Library Journal “Movers & Shakers” where I was given the headline “Access Forever,” which I feel like captures a lot of what I’m into. I had the chance to teach new iterations of two graduate seminars. I joined a few different boards that are helping me stay engaged in communities that matter a lot to me. Also, my book came out! I get into all of that a bit more below

Building the digital content management team

Most of the new Digital Content Management Section (and colleagues) on the stage at the National Audio-Visual Conservation Center (Photo by Mike Mashon)

Over the first three months of 2018, the Digital Content Management section at LC went from seven folks to sixteen. Setting up the functions and structure of the new team and connecting out to all the great work going on across the organization was an exciting, exhausting, and invigorating adventure. I wrote about this a bit on The Signal. I’m really blown-away by how quickly everyone has jumped into things, and very excited by how quickly we transitioned from getting up to speed to doing meaningful and productive work.

I’m particularly thrilled with how I think we have been able to consciously build, maintain, and work to improve a and supportive culture and learning community. You can get a sense of some of the things we have been up to in Signal posts on topics such as; metadata for web archives, animated GIF datasets, library carpentry workshops, and archiving science blogs. Stay tuned for more on our crew’s work on The Signal.

Growing as a coach and manager

As part of my work at the Library of Congress, I was lucky to get to participate in the pilot of a new intensive cohort program focused on developing leaders in the five core qualifications areas for Senior Executive Service; Leading Change, Leading People ECQ, Results Driven, Business Acumen, and Building Coalitions. The program involved 19 days of expert facilitated leadership workshops complemented by a sequence of three 360 reviews on leadership practices, emotional intelligence, and trust.

Workshops covered topics such as; Coaching and Mentoring, Crucial Conversations, Leadership Essentials, Leading at the Speed of Trust, DiSC, Getting Things Done, Leadership Practices, and Navigating Change in Turbulent Times. It was challenging to juggle the program and getting everything up and running. With that said, a lot of the training was particularly pertinent to the work at hand in getting things going. The 360 reviews were especially helpful in getting me feedback from the team on what I could improve on.

My third book dropped

Holding the book when it came in

It’s been a long time coming, but just this month my book The Theory and Craft of Digital Preservation shipped. Most of the work on the book was done last year, but I did do a bit of work responding to some comments and making some revisions in response to comments that came up from the readers of it for peer review. Over the course of the year the pre-print was downloaded more than 2,600 times. I’m really excited to see what kind of reaction the print copy receives over the course of the year.

This is my third book; the first was a local history book with scans of postcards from Fairfax County VA, and the second is the result of my dissertation research on how power and control work in the design of online community software systems. I really like both of those books, but I feel like this is the first one is the most “me.” Even reading it now, I feel like I’ve found my voice and area where I am able to make my best and most meaningful contributions. Alongside the book, I wrote up a little piece about parsimony and elegance as guiding principles in digital library systems, some reflections on the amazingly good book Forms: Whole, Rhythm, Hierarchy, Network, and the forward to the No-Nonsense Guide to Born Digital Content.

Getting out there and getting the word out

Pointing at a slide at NLM. Realizing that cardigan got a lot of mileage this year.

While I did a lot less work-related travel than I have in previous years, I did still get around a good bit. I was invited to give a talk as part of the National Library of Medicine’s History of Medicine Lectures series.

I ended up with a great turn out for my talk, Scientists’ Hard Drives, Databases, and Blogs: Preservation Intent and Source Criticism in the Digital History of Science, Technology and Medicine.” At some point, I hope to turn that talk into an article. But it’s likely going to be a while before I get around to that.

I gave opening keynote addresses at two very different conferences. At the Mid-Atlantic Regional Archivists Association’s Conference I gave a talk called Start Today: Digital Stewardship Communities & Collaborations. At the Joint Conference on Digital Libraries, I gave a talk titled We Have Interesting Problems: Some Applied Grand Challenges from Digital Libraries, Archives and Museums. I had a ton of fun at both events and got a great response from attendees about the talks.

I also ended up going to Boston twice. Once as a participant in MIT Libraries’ Grand Challenges in Information Science and Scholarly Communication Summit and to the International Conference on Digital Preservation. Both were very engaging thought provoking meetings. I was also able to get out to the Digital Library Federation and the National Digital Stewardship Alliances conferences. It was great to be able to get out to and participate in these events and continue to stay in the loop on developments in the field.

Service work and engaging in communities

This year I moved into a series of new roles to serve and support a series of communities that matter to me. I joined the board for Anacostia Trails Heritage Area Inc which supports community development around history, culture, and nature in Prince George’s County Maryland. I also joined the Digital Library Federation Advisory Committee and have now participated in two of the advisory board meetings.

I became a member of the CLIR’s Digitizing Hidden Special Collections and Archives standing review panel. I also helped to transition the Digital Cultural Heritage D.C. meetup to a model where it now is organized by a board of six of us working on digital cultural heritage issues in the metro area at different institutions. I really enjoy the opportunity to contribute my time and effort to these different groups and their efforts and I feel like it’s something that helps me keep learning and connecting with others working on issues that matter a lot to me.

Teaching digital history and digital preservation

In the spring I taught a revised version of my Digital History graduate seminar. This was the fifth time I’ve taught the course in the last seven years. Given that the course counts as a “tool of research” course for American University’s history and public history programs, I reframed it as “Digital History Methods.” I really like how the course ran. Students came up with a range of smart ideas for digital history projects. You can see links to their projects and reflections here. I’m now gearing up to teach another instance of the course this spring.

I’m just wrapping up teaching my fall semester Digital Preservation graduate seminar for the University of Maryland’s iSchool. This is the fourth course I’ve taught for the iSchool and the second time I’ve taught the digital preservation course. It was also the first time I’ve been able to teach the course using the digital preservation book. Last time I taught the course the course syllabus largely became the format for the structure of the book. I think it worked out well to anchor the course in the book and then supplement it with additional readings each week. I’m really impressed by the results of the work that the digital preservation students were able to do as consultants for small cultural heritage orgs as part of the course. You can read the results of their work on the projects page of the course site.

NOLA, Central Europe, and some good shows

Alongside these various strands of work, Marjee and I also made some great excursions. We were graciously hosted by a good friend in New Orleans for a week early in the year and took off for two weeks for our tenth anniversary to visit Copenhagen, Budapest, Vienna, Prague, and Krakow. If you’re interested, both of those trips are rather well documented on instagram.

We also saw a bunch of great live music this year. I will likely forget something, but we saw; Chad Valley, Rasputina, Tash Sultana, Jack White, Andrew Bird with the NSO, Erasure, and RJD2.

 

DCHDC Seeks Board Members: Get Involved!

It’s hard to believe, but the Digital Cultural Heritage D.C. Meetup is coming up on its 6th Birthday. Starting in September of 2012, the Meetup has hosted more than 60 events with more than 100 speakers. What started out as an event launched and coordinated by four folks shifted over time to be coordinated by myself and Atiba. In an effort to make the group more open and transparent and more sustainable, we’ve decided to try and slightly formalize the process for coordinating the group and invite others into the circle to coordinate this. To that end, we are announcing an opportunity for members of the D.C. Digital Cultural Heritage Community to join the two of us as members of the DCHDC Board.

 

What Will the DCHDC Board Be?

The DCHDC Board will be a a new group that will meet quarterly to coordinate planning the meetup. The core part of this involves coordinating with lightning talk speakers and being on hand for many of the meetups. Beyond that, there are also lots of other potential directions this could go. The group could try out any number of new things too.

 

Why You Want to Consider Volunteering for the DCHDC Board

We’ve gotten a lot out of helping coordinate these events. It’s a great community, and it’s a great way to learn about and network with other professionals in the area. We imagine this could be a particularly good way for some early career or graduate students in the area to get involved and get some experience coordinating and running this kind of programing.

 

What Participating as a DCHDC Board Member Entails

We imagine the board commitment working as follows. Each member will;

  • Participate in quarterly face-to-face board meetings to check in on things and work out a plan for the coming quarter.
  • Sign on for one or two year terms with the ability to stay on or rotate off.
  • Take the lead on programing at least 2 of the meetups each year, including picking a theme and wrangling a set of speakers.
  • Come to as many of the meetups as they can make it to, but commit to being at at least 2-3 of the meetups to help facilitate (ideally including the meetups they have programmed).
  • Envision, propose, and implement any new ideas for ways to further develop the community.

 

How to Volunteer for Consideration for the Board

Send Atiba and me an email before November 1st with the following (akpertilla & trevor.johnowens each respectively @gmail.com.)

  1. A short bio or a link to your bio online
  2. A few sentences about your interest in participating and any ideas you might have for the group (potential themes/speakers and any other ideas you’ve got)
  3. Confirm if you would like to sign on to do this for one year or for two.

 

Plan and Next Steps

We are currently planning out the last set of meetups for the year and our idea is to bring this group together for a meeting in January. So we imagine that the first of these meetings would take place in January.

Advance Praise for The Theory and Craft of Digital Preservation

Screenshot of the page for the book on the Johns Hopkins University Press site.

I’m in the hope stretch for the book to come out! It’s got a cover and it’s up on the Johns Hopkins University Press site. You can even pre-order it today, and it should get to you some time in November.

All told, this is bringing to fruition a project that I started back in 2016, It’s been a long road, but I’ve really loved it. The book largely brings together things I’ve learned in dialog with the digital preservation community and I can also say that the process of writing the book in the open felt like a genuine continuation of that learning through dialog process.

It has been really neat to see the book blurbs starting to roll in. I’m floored by the very kind and thoughtful comments I’ve received from people whose work I deeply respect and admire. To that end, below is advanced praise that the press has received for the book.

“Part of a long-standing and worldwide tradition of memory keepers” – David Ferriero

“Acknowledging that we are part of ‘a long-standing and worldwide tradition of memory keepers,’ Trevor Owens challenges us to use the lessons learned in traditional preservation as we approach digital preservation. Distinguishing digital preservation as craft rather than science, Owens provides reassurance to all of us worried about finding the ‘silver bullet.’ It does not and should not exist!” — David S. Ferriero, Archivist of the United States, National Archives and Records Administration

“An indispensable handbook” – Matt Kirschenbaum

“An indispensable handbook that will be kept close at hand—used, reached for, and above all really read by those seeking a conceptual framework through which to understand the practicalities of grappling with the complex new reality of digital objects. Opening up the most theoretically sophisticated body of research in digital platforms to an entirely new audience while simultaneously equipping that audience with the conceptual background they need to function as experts in today’s information environment, Owens’s book is a practical, even-handed, and clear-eyed walkthrough of day-to-day situations. I expect it will be widely adopted in library and information science courses.” — Matthew G. Kirschenbaum, University of Maryland, College Park, author of Track Changes: A Literary History of Word Processing

“His axioms for digital preservation will guide novices and experts alike.” – Deanna Marcum

“Digital preservation, unlike the one-time process for preserving print, is an ongoing, changing responsibility for those who bear the responsibility of preserving our history and cultural heritage. Trevor Owens, a leader in the field, uses his experience and deep knowledge to show how the tools of the futurist can document the past. His axioms for digital preservation will guide novices and experts alike.” Deanna Marcum, Ithaka S+R

“An ideal text for anyone interested in archives in the digital era” – Steven Lubar

“A superb introduction to both the why and how of preserving digital cultural heritage. The Theory and Craft of Digital Preservation highlights history and theory, explains technology, and then moves on to practice, offering clear advice backed by examples. This is an ideal text for anyone interested in archives in the digital era.” — Steven Lubar, Brown University, author of Inside the Lost Museum: Curating, Past and Present

“At once historical synthesis, practical guide, and philosophical overview” – Alan Liu

“Owens blends the perspectives of archivist and media archaeologist to provide a richly satisfying appraisal—at once historical synthesis, practical guide, and philosophical overview—of what digital preservation can be. Its standout feature is a wise, practical approach for guiding even the smallest institutions in using technology for the ‘craft’ of preservation.” Alan Liu, The University of California, Santa Barbara, author of The Laws of Cool: Knowledge Work and the Culture of Information

Student Digital Preservation Consultants Looking for Small Cultural Heritage Organizations

WhatIsDP_DigitalPreservation
For many, this is where we find ourselves in organizations just starting to work on digital preservation.

I’m revising  my digital preservation graduate seminar for the University of Maryland’s iSchool for this coming fall.

I am a firm believer in learning-by-doing. I also think talking about digital preservation in the abstract, outside the very real resource and time constraints of organizations largely misses the point. So, as I did when I taught the course two years ago,  I am planning to have each student work through a series of assignments where they serve as digital preservation consultants to small cultural heritage organizations.

My intention in this approach is to offer both a meaningful learning opportunity for the students, as well as a way for them to start building out a portfolio of work that will be relevant to potential future employers. Based on how this worked last time, I am also optimistic that this can be a way to provide some help to small cultural heritage organizations that could  benefit from learning together with students in thinking through and developing plans  to make the best use of resources to make their digital content more long-lived.

For context on the potential value of this work to an organization, consider this reflection from a preservation specialist at a state cultural heritage institution who worked with one of my students last time I taught this course.

Because of our participation in this course, we have concrete steps forward as we work to develop guidelines and implement good digital preservation practice. The open nature of your course and associated materials has allowed our staff to develop their own subject knowledge and continue research.

With that context, I’m happy to offer some more information about how you (or others you know) can reach out about having a grad student from the course work with you. While students are in the DC Metro area, the assignments can all be completed remotely, so your organization need not be located in the metro area.

For a sense of the range of organizations that this might be relevant for, last time students worked with organizations including; The DC Punk Archive, Milwaukee Public Library,  Litchfield Historical Society, Laurel Historical Society, Bostwick House, Maryland Public Television, 18th Street Singers’ Digital Collection, North Dakota State Library, and the Virginia Department of Historic Resources Archives and Library.

Requesting a Graduate Student Digital Preservation Consultant

I think the finish line for digital preservation is a little too close to the starting line here. But it get's at the idea :)
I think the finish line for digital preservation is a little too close to the starting line here. But it get’s at the idea 🙂

If you (and your organization) would be interested in having a University of Maryland graduate student in my digital preservation seminar focus their digital preservation consultant project on your organization please take a two minutes to fill in this 5 question form. I think this is a great opportunity for organizations for a few different reasons.

Here are some reasons to consider filling in the form for your organization. This project is a chance to:

  1. Solicit assistance thinking through digital preservation issues and planning for your organization.
  2. Provide a meaningful learning experience to someone just getting started in the field
  3. Learn more about digital preservation as the student shares what they are learning through the class

Through the course of the assignments, students will;

  1. Document and review current practices with an organization’s digital content
  2. Draft suggestions for potential next steps to improve management of digital content grounded in the resources an organization has access too
  3. Draft a digital preservation policy for consideration for the organization

On the first day of class (August 30th), I will present the organizations that have filled out the survey my students. In the first few weeks of class I will help to pair each student with an organization for the semester.

If you are matched up with a student, the idea would be that you would commit to doing an interview or two with them about your organization’s collection and current practices for digital material and that you would review and provide input on several of their assignments (listed below).

I should underscore that it is completely fine for organizations to be literally at square one in terms of digital preservation practices and planning. So many cultural heritage organizations are just getting started with their digital preservation planning, and while it can be a bit intimidating to take some first steps in this space. There are many simple and inexpensive things organizations can be doing to mitigate risks of loss . The assignment will be most valuable for both students and organizations in cases where there is little current work  being done in digital preservation. As part of this project, students will be blogging about their work, so you and your organization will need to be OK with them sharing information about the project. This can be a bit intimidating, but by having students work on their public writing skills and inviting a broader audience into discussion about how to do this work in organizations it will help to ensure that the quality of that work is stronger and more useful. Through this public writing process, the results of the work will be more useful to both the student and to your organization.

What follows are details about the design of this assignment.

Digital Preservation Consultant Project

Here you can see a student, working synthesizing what they have found and drafting a plan.
Here you can see a student, working synthesizing what they have found and drafting a plan.

An academic understanding of the issues in digital preservation is necessary but not sufficient for  professional digital preservation work. Digital preservation is fundamentally about making the best use of what are always limited resources to best support the mission of an organization. As such, to really learn how to do digital preservation you need to apply these concepts in the practical realities of an organizational context.

Aside from participating in discussion of the course readings through the course blog, the other course assignments will require you to act as a digital preservation consultant for a cultural heritage organization. For a variety of reasons I suggest this be a small institution. Below are the five assignments you must complete over the course of the semester as part of this project.

  1. Identify Small Cultural Heritage Organization and Establish Partnership (by week 4): For most of the course assignments, you will need to find a small cultural heritage organization that you can work with as a digital preservation consultant. I have identified a list of organizations that are up for participating, but you are free to find other organizations as well. The key requirements here are that 1) they have consented to working with you 2) they have some set of digital content but 3)  their collections are not so complex that you couldn’t possibly do the project. Example institutions include an independent organization (like a house museum, a community archive or library), a small department or subset of an institution (say the archives of a student newspaper or radio station, the special collections department at a public library, or the archives in a museum).
    1. Deliverable: The output of this phase is to identify this organization and confirm that you have a commitment from them to participate. We will check in on this in class as we go, but by the date of this assignment you need to have confirmed participation of an organization that meets these requirements and have posted what organization you are working on in a list on the course website. On the site, post the name of the organization, your name (or handle) and two or three sentences about the organization and its digital content.
  2. Institutional Digital Preservation Survey (Draft by week 6 and send to your org, publish with their comments incorporated by week 8): For your organization, interview one or two staff members to get a handle on their digital collections and practices. Draw from the NSDA levels of preservation as an overall framework for conducting your survey. You will want to focus on gathering information about their practices in five key areas.
    1. First, what is the scope of their digital holdings?
    2. Second, how is that digital content currently being managed?
    3. Third, what are the staff at the organization’s perceptions of the state of their digital content (are they concerned about it, do they see it as mission critical or a nice to have, what do they see as their own self efficacy and their organization’s capacity for sustaining their content)?
    4. Forth, what kinds of digital content would the organization like to be collecting but currently isn’t?
    5. Fifth, what, if any resources, do they have that they could bring to bear on this problem (if they have some significant potential resources that’s great, but realize that there may well be very meaningful smaller resources that could be brought to bear. For example, could one staff member spend 2-4 hrs a week on digital preservation, could they bring in community volunteers, how much could they spend on things like extra hard drives etc.)  Throughout all of this, it will be important to understand what the organization’s collecting mission is. You want to begin to probe all the questions above, but you need to be able to map their answers to the NDSA levels.
    6. Deliverable: You will write and publish a post to the course blog (1200-3000 words) in which you present the findings of your survey. The post should first provide context, what is this organization what are its digital holdings what does it want to be collecting them. From there, work through presenting an accurate and coherent report of the themes and issues that came through in your interviews. At this point you are primarily interested in accurately representing the state of their work. Do not get into making recommendations. Simply do your best to succinctly and coherently explain what you found about the five areas of questioning discussed above. Before publishing this, you must present it to your org for their feedback to make sure you have their input on how you are describing the state of their work.
  3. Institutional Digital Preservation Next Steps Preservation Plan (Week 10): Now that you have the results of your survey, it is time to take out the NDSA levels of digital preservation and the rest of our course readings and figure out what a practical set of next steps would be for your organization.
    1. Deliverable: Post your next steps plan to the course blog (1200-3000 words). After a brief introduction providing context about the organization and its collections, you should work through reviewing  the organization’s current work on digital content using each of the areas of the NDSA levels of digital preservation. Complete by identifying three different levels (low, medium and high resource requirement) of next steps they could take to improve their rating on the NDSA levels of digital preservation. Be creative here, for example could they upload collection items to the Internet Archive or Wikimedia Commons? Or could they buy an extra hard drive and make copies and swap it with a backup buddy at another organization in a different region of the country, etc. The point here is to think about how to get them the furthest up some of the levels with the resources at hand.  Before publishing this, you should present it to your organization for them to review and provide input.
  4. Draft a Digital Preservation Policy for Your Org (Week 12): Now that you have put in place a set of recommendations, it is important to also draft up a set of digital preservation policies and practices for the organization. If this is to have any impact you are going to need to be able to articulate what the organization’s policies could be going forward.
    1. Deliverable: Drawing on the example digital preservation policies we read in class, draft up a short policy document for your institution tuned to what you have learned from working with them. Draw from the examples for models for aspects of this document. Share it with them for some input and feedback. Then Post it to the blog (800-1500 words).
  5. Reflecting on Lessons Learned (Week 13): After doing this work,presenting it, and getting feedback from your organization, you need think through what worked and didn’t work for the project. Taking time for reflection and teasing out the lessons you’ve learned about both digital preservation and working with a cultural heritage organization.
    1. Deliverable: Return to each of the documents you created thus far and synthesize 3-5 points about what did or didn’t work or what your take away lessons are from this process. Think through what you will do differently the next time you help an organization improve its digital preservation practices. Bring in references to what you’ve learned from readings in the course and from what you have learned from your classmates work on their projects (800-1400 words).

All images from Digitalbevaring.dk, published under a Creative Commons Attribution 2.5 Denmark license and created by Jørgen Stamp.

Catching up to the Present: Join the Born Digital Community of Practice

I was thrilled to have the chance to write the forward to Heather Ryan and Walker Sampson’s new book The No-Nonsense Guide to Born Digital Content. I wrote it last year, but the book just rolled out last month. It’s full of hands on practical guidance that I think complements my own forthcoming book The Theory and Craft of Digital Preservation (free OA preprint here). I checked in and Heather was Ok with me sharing it here. Excited to see work like this getting out there! 

When historians tell stories of life in the later half of the 20th and beginnings of the 21st century they will do so from an evidentiary basis of born-digital primary sources. Emails, websites, word documents, PDFs, video and audio files. It is from born digital objects like these that people of the future will come to understand our world. I continue to use the somewhat awkward phrase “born digital” because for most library, archives and museum professionals digitization remains their default conception of what digital collection content is. That needs to change. We need to catch up to the digital present and I think The No-Nonsense Guide to Born Digital Content can help us.

Librarians, archivists and museum professionals need to collectively move away from thinking about digital, and in particular born-digital as being niche topics for specialists. If our institutions are to meet the mounting challenges of serving the cultural memory functions of an increasingly digital first society the institutions themselves need to transition to become digital first themselves. We can’t just keep hiring on a handful of people with the word digital in their job titles. You don’t go to a digital doctor to get someone who uses computing as part of their medical practice and we can’t expect that the digital archivists are the ones who will be the people who do digital things in archives. The things this book covers are things that all cultural heritage professionals need to get up to speed on.  

Classic DerangeDescribe tweets.

I am thrilled to have the chance to open Heather and Walker’s book. I have known both of them directly and indirectly through our shared travels through the world of digital preservation. In what follows I offer a few of my thoughts and observations for you to take with you as you work through this book on a journey into the growing digital preservation community of practice.

To kick off your exploration of this book I will lay out three observations I believe are essential to this journey; we will never catch up, our biggest risk is inaction, and we all need to get beyond the screen in our understanding of digital information. Together, I believe these points demonstrate the need to use this book as a stepping stone, a jumping off point for joining the community of practice engaged in the craft of digital preservation.

Forever catching up to the present

I’ve borrowed part of the title of my forward from a talk Michael Edson, then the Director of Web Strategy, gave several years ago. In that talk Edson implored digital preservation practitioners to help their institutions catch up to the present. I’ve heard many talk about “the digital revolution” like it was a singular thing that happened. It wasn’t. Instead we have entered something that for the time being at least looks more like a permanent state of digital revolution. Punch cards, mainframes, personal computers, the Internet, the web, social media, mobile computing, computer vision, and now things like voice based interfaces, and the internet of things; all varying and distinct elements in the continually changing digital landscape. It doesn’t seem like we will land in a new normal, or that if there is a new normal it’s to expect a constantly changing digital knowledge ecosystem. In this context, there is much for librarians to teach and much for us to learn. We need to move more and more into a state of continual professional learning. We need to be improving our digital skills and chops by engaging in professional development and by taking on ways to become experts in new areas. This book can help you do that. In what follows I will briefly suggest three

Inaction as one of our biggest risks

There is no time to wait. Digital media is more unstable and more complex than most of the media librarians, archivists and curators have worked with. We don’t have time for a new generation of librarians and archivists to move into the field. We don’t have time for everyone to do years of professional development. Instead, we need to make space and time for working cultural heritage professionals to start engaging in the practices of digital curation. This book can be a huge help in this regard.

Get beyond the screen

Digital information isn’t just what it looks like on the screen at a given moment. To be an information professional in an increasingly digital world requires all of us to get beyond the screens in two key ways. First, we all need to develop a base level conceptual understanding of the nature of digital information. This book is helpful in that regard by providing some foundational context for understanding bitstreams and data structures. Second, we need to up our game for working with command line tools and scripts. As the pace of change around digital information develops and changes we can’t depend on the development of tools with slick graphic user interfaces. We need to accept that all the systems and platforms we use are layers and interfaces to our digital assets. That is, your content isn’t “in” whatever repository system you use, that system needs to be best understood as the current interface layer that effectively floats on-top of the digital assets you are ensuring long term access to. The hands on focus of this book and the inclusion of methods and techniques for working with data at the command line is invaluable as a jumping off point for learning this kind of skill and technique.

Embracing the craft

For more on the idea of digital preservation as craft check out my forthcoming book.

When I started working in digital preservation more than a decade ago I was largely confused and befuddled by a field that presented points of entry to the work as complex technical specifications and system requirements documents. It felt like there were a lot of people talking about how the work should be done and not a lot of people doing the work that needed to be done. I’ve been very excited to see the field turn that corner in the last decade.

We are moving further and further away from the idea that digital preservation is a technical problem that the right system can solve toward the realization that ensuring long-term access to digital information is a craft that we practice and refine by doing the work. I think this book can help us all become better reflective digital preservation practitioners. However, it can only do that if you actually start to practice it. So do that. If you aren’t already, go ahead and start to participate in the practice and join the community that is forming around these practices.

You can use this book to help to start learning by doing. You will get the most value out of this book if you are trying to work through the process of getting, describing, managing and providing access to digital content. As you go you are going to need to write down what you are doing and why you are doing it the way you are. One of my mentors, Martha Anderson, would always describe digital preservation as a relay race. You’re just one of the first runners in a great chain of runners carrying content forward into the future. When those folks in the future inherit your content they are going to need to understand why you did what you did with it and the only way they are going to be able to do that is by reading the documentation you produced regarding the how and the why of all the choices you’ve made. So be sure to write that down. I would also implore you to share what you write as you go.

It’s dangerous to go alone, take this community with you.

Around every corner there is another new kind of content. There is another challenging issue regarding privacy, ethics and personal information. There is another set of questions about how to describe and make content discoverable. There is another new kind of digital format, another new interface, and another new form of digital storage. You can’t do this alone. The good news is that everyone working on these issues in libraries, archives, museums, nonprofits, government, and companies can share what we figure out as we work through this process and build a global knowledge base of information about this work together. Take this book as a jumping off point.

Join digital preservation focused organizations like the National Digital Stewardship Alliance, the Research Data Alliance, the International Internet Preservation Consortium, the Electronic Records Section of the Society of American Archivists, and the Digital Preservation Coalition. Go to their conferences, start following people involved in these groups on twitter, follow their journals, their blogs, and their email lists.

It’s dangerous to go alone! Take this book as the starting point of a journey into our community of practice and realize that you are not alone. Even if it really is just you working on digital preservation as a lone arranger at a small organization the rest of us are out here working away at the same problems.

Reading and Working the Forms: Whole, Rhythm, Hierarchy, Network

I’m working my way toward my goal of reading 30 books this year (here’s my list so far). I wanted to share the one so far that keeps rolling around in my mind. Forms: Whole, Rhythm, Hierarchy, Network, by Caroline Levine is a book about formal literary criticism that focuses spends a lot of time talking about The Wire. I’m increasingly thinking it has a lot of utility for sorting out how to go about working to maximize the impact you can have in supporting an organization meet it’s mission.

This post is a sharing out of some of my notes and reflections about reading the book and The Wire. There is a good chance that this post will be much more relevant and useful if you’ve read Levine’s book and or are familiar with The Wire. I’ve tried to make the post legible without background in both, but I think it will likely make far more sense if you have some experience with them.

Forms: Whole, Rhythm, Hierarchy, Network

Levine asserts that “Formalist analysis turns out to be as valuable to understanding sociopolitical institutions as it is to reading literature” (p. 2).  I find that case compelling. The bulk of the book works to identify a set of literary and political forms and their affordances. In her words;

“Though we have not always called them forms, they are the political structures that have most concerned literary and cultural studies scholars: bounded wholes, from domestic walls to national boundaries; temporal rhythms, from reputations of industrial labor to the enduring patterns of institutions over time; powerful hierarchies, including gender, race , class and bureaucracy; and networks that link people and objects, including multinational trade, terrorism, and transportation.”  (21)

The book does a great job clarifying and articulating how these forms work and function both in literature and in society.

The more I’ve thought over the forms the more I see them in all kinds of every day decisions; who is in and out of a given group (bounded wholes), what is the right tempo for meetings and interactions around daily schedules (temporal rhythms), how are a given set of competing hierarchies playing out in any given situation, and what role are different social networks playing out in terms of how things get done.

On some level, it feels like this is a somewhat arbitrary list of forms, but the more I think about them and through them the more they seem like the right set. In many ways, several aspects of these, map into the organizational frames I discussed in a post last year.

There is no single “the system” there are colliding and competing forms

One of Levine’s central conceits is that forms collide. That in any given context there are a series of different competing socio-political forms at play which compete/struggle to resolve into maintaining or rupturing any given status quo. In her words;

“in practice, we encounter so many forms that even in the most ordinary daily experience they add up to a complex environment composed of multiple and conflicting modes of organization— forms arranging and containing us, yes, but also competing and colliding and rerouting one another.” (16)

In this context, Levine proposes that the central question for individuals working within these colliding systems is about how to navigate and work the forms. Fo her, this prompts a different set of tactical considerations for working toward any given set of goals. She asks;

“what tactics for change will work most effectively if what we are facing is not a single hegemonic system or dominant ideology but many forms, all trying to organize us at once?” (p. 22)

This line of questioning pushes us away straightforward notions of resistance or compliance with a system and toward a tactical framing focused on working through and across the collisions of forms.

Levine lands this analysis in an extended reading of the forms at work in one of my favorite works, The Wire, which I will explore further.

The Wire as a Life Coach on Forms

Like many, I’ve have been and remain compelled by the story of The Wire. I came to it late, I think Marjee and I watched the whole series four or five years ago. Since watching it I think of it often. Those who know me well will know I regularly bring it up in conversations about how systems and organizations play out in society. As a digression, I tend to think that the only other text I return to as much for understanding, explaining, and making sense of my world is American Gods.

I feel like Levine has given me a much more sophisticated set of tools for talking about how The Wire offers tools for reading our world. In Levine’s words, The Wire “conceptualizes social life as both structured and rendered radically unpredictable by large numbers of colliding social forms” (p. 23).

Central to the story is a dialog about the power and nature of the system. However, Levine nicely picks apart what that actual system is.

Both characters and critics bewail the power of what they call “the system” portrayed on The Wire, but it is crucial to note that “the system” is less an organized or integrated single structure than it is precisely this heaped assortment of wholes, rhythms, hierarchies, and networks.” (148)

In this context, “the system” is an emergent outcome of the ongoing collisions of forms competing with each other. In Levine’s reading, the central focus of “individual decisions matter only within environments of colliding forms where no individual or elite group controls either procedures or outcomes” (p. 149).

Furthermore, Levine makes the case that the heroes of the story are the people that read and navigate the collision of forms to make their world bend toward being better or more just.

“The few characters who recognize the power and significance of multiple forms—Lester Freeman, Bunny Colvin, and Omar Little— all make strategic decisions which, temporarily at least, permit outcomes that frustrate or elude the conventional distribution of power.” (p. 149)

After finishing the book, and returning to my own reflections on The Wire, I find myself increasingly thinking about reading the various situations I confront in terms of these formal categories. How can I best work within and through the competing forms that work to organize my life and work? How do I establish a trajectory for action that accepts the collision and competition of these forms as a basis to act from and not a system to define myself in opposition to?

I’m curious for thoughts from other’s reading both the book and the show. I feel like the ecological conception of society and organizations that emerges in this approach is really valuable and I’m curious to talk with folks about it more.