The NACP and NAISA will host Tristan Ahtone and Bobby Lee, creators of the Land Grab U project, as keynote speakers, which will be held virtually via Zoom on Thursday, October 14th, 2021 at4pm.
The Encounters Series will facilitate a dialogue titled Encounters: Land Grab CT: A Dialogue on UConn’s Colonial History, which will be held virtually via Zoom on Friday, October 15th, 2021 at 12-2pm. Registration will be capped at 40 participants.
Organized by members of Greenhouse Studios at the University of Connecticut and Northeastern University Library, the conference series “Remote Access to Archives and Special Collections” took place over five Fridays from October 16th to November 20th, 2020. Each session included an organizer and was headlined by a speaker or group of panelists. The organizer of each session created the format for the session, set the agenda, gave an overview of the session at the beginning, and coordinated with the speaker. The speaker of each session gave opening remarks to frame the conversation and highlight themes for that particular session. Each session was attended by at least 40 participants from a wide range of collecting institutions.
As a part of the Sourcery project funded by the Andrew W. Mellon Foundation, this conference series often touched on the potential use of Sourcery as a way to fulfill remote requests for archives and special collections. In this way, the series partly acted as community outreach for the Sourcery project. In addition, the events were envisioned as a series of workshops where members of the archives and special collections communities could communicate about current and future practices in regards to remote access. As with everything during this time period, the ongoing COVID-19 crisis was a substantial part of the discussions, as it affects and will continue to affect institutions in myriad ways. The Sourcery team has used these conversations to inform the next phase of the Sourcery project. The questions and concerns raised during the sessions have been integral in the way that we are currently constructing an Institutional version of the Sourcery app.
One result of this conference is a white paper titled “Remote Access to Archives and Special Collections”, by Wes Hamrick, Kimberly Kennedy, and Garrett McComas. The paper includes summaries of the conference sessions, keynote speeches, as well as discussions of broader issues on the subject of remote access. The Sourcery team looks forward to continuing conversations with archivists and other information professionals as we navigate the development of the project.
The creators of “By Our Love,” an animated short video produced by Greenhouse Studios, will facilitate a dialogue in partnership with the Encounters Series, titled “Paradox in Political Tribalism,” which will be held virtually via Zoom on February 4, 2021 at 7:30 p.m.
Released on January 22nd, “By Our Love” is a thought-provoking animated short set to professor of music Earl MacDonald’s jazz ensemble arrangement of the hymn, “They’ll Know We Are Christians By Our Love.” MacDonald’s single, also titled “By Our Love,” is now available on all major music streaming platforms through the label Outside in Music.
The nine-minute-long animation features several biblical quotations representing commonly accepted Judeo-Christian virtues, alongside imagery conceptualized byCora Lynn Deibler, professor of illustration, to raise questions about the state of contemporary Christianity and its relationship to the polarized political climate currently dividing the United States. Production team members included illustrator Hal Tedeschi and animators Carly Wanner-Hyde & Miles Waterbury. The animation was produced by Greenhouse Studios Design Technologists Tom Lee and Brooke Foti Gemmell.
The team’s goal of aligning emotionally powerful, musical moments with equally potent imagery led to the creation of images and text prompts which interact with the music, to enhance, reinforce, and expand the ideas set forth in the music. Produced over the last ten months as a completely virtual collaboration, the animation features work by student artists and serves as a springboard for thoughtful contemplation, discussion, dialogue, and commentary.
Rather than the common panel discussion with the standard audience question and answer period, “Paradox in Political Tribalism,” will foster a more audience-inclusive dialogue using individual breakout rooms to encourage and reflect upon group discussions about the ideas which arise from the music and their relationship to contemporary Christianity. This dialogue will be open to all members of the UConn community and is capped at 50 participants. Participants can register here.
Greenhouse Studios has always been concerned with fostering meaningful work using digital tools as a medium. However, the members of Greenhouse Studios, and the Digital Humanities movement as a whole, often rely on physical space to cultivate collaboration as well. While Greenhouse Studios has always used virtual spaces such as Google Docs and Slack in our design process, having a physical space filled with whiteboards, screens, notepads, and other tools has been integral to the process of collaboration. Since the beginning of COVID-19 and the practice of social distancing, Greenhouse Studios has been searching for creative solutions to try to replicate the physical space of the design process. These efforts are exemplified in a recent 2 week fully virtual collaboration by the team.
The team took up the project with the prompt “Social Distance” and condensed the design process to fit a 2 week timeline. Throughout the early, discussion-heavy phases of the project, the team used WebEx, Mural, and Google Docs to replicate synchronous, conversation-based brainstorming. As the project progressed, the team also communicated through Slack and Mural asynchronously. The team even experimented with using the app House Party to try to simulate the random encounters in physical workspaces. All of these tools were used to help create a sense of a common “place” where everyone in the project could meet and share ideas.
Overall, the project was successful, and the team learned a lot about planning and managing online collaboration efforts. The result was a video that explores why people are driven, both voluntarily and involuntarily, to isolate through history and the present moment.
Members of the Courtroom 600 project team recently participated in the 2020 ED Games Expo in Washington, D.C., allowing students, educators, and others to dive into an immersive encounter with the Major War Criminals Trial (1945-46) at Nuremberg, Germany. The annual expo, hosted by the Department of Education, is described by the ED as a “public showcase and celebration of educational learning games as well as innovative forms of learning technologies for children and students in education and special education.”
Collaborators Clarissa Ceglio, Stephen Slota, and Ken Thompson presented an early-stage prototype of the virtual reality experience to crowds of all ages; attendees were able to wear the headset and engage with the project first-hand, while also discussing both the research and the process of creating the experience. Courtroom 600, which integrates collections materials from UConn Library’s Archives & Special Collections (ASC) into the learning quest, is supported by a National Endowment for the Humanities‘ Digital Projects for the Public grant. You can read more about the Courtroom 600 project and its other team members, here, and explore the ASC’s fully-digitized collection of materials from the U.S. Prosecution’s Executive Trial Counsel Thomas J. Dodd, here.
A young ED Games Expo attendee explores an early Courtroom 600 proof-of-concept. ED Games Expo is a showcase of government-supported
educational learning games and technologies.
Greenhouse Studios | Scholarly Communications Design at UConn is a shared venture of the School of Fine Arts, UConn Library, and the College of Liberal Arts and Sciences at the University of Connecticut. Backed by long-term university investments of staff and space, Greenhouse Studios aims to institute on its university’s campus, and share with others involved in academic publishing, a workflow and work culture suited to the creation of multimodal scholarly communications. This paper summarizes the research, undertaken with support from the Andrew W. Mellon Foundation, that informed the development of a design-based, inquiry-driven, collaboration-first model of scholarly production that places continuous, close, equitable scholarly communications labour at the heart of its mission. The model draws together divided workflows and flattens counterproductive hierarchies that, as vestiges of print-only traditions, impede fuller realization of the possibilities offered by the diverse range of digital and hybrid forms that increasingly define the publishing landscape.
Ceglio, Clarissa J., Tom Scheinfeldt, and Sara Sikes. “Redesigning Scholarly Communications Workflows and Work Habits for the Digital Age: The Greenhouse Studios Proposal.” Journal of Scholarly Publishing 50, no. 2 (January 2019): 96–114. https://doi.org/10.3138/jsp.50.2.02.
At the heart of the Greenhouse Studios design process is the concept of “collaboration from the start.” All too often collaborators are brought on board at a late stage merely to implement or put the finishing touches on scholarly projects, not to conceptualize them. This is particularly true with respect to designers and developers, whose labor and expertise are typically used in a service capacity to support the work of credentialed faculty researchers. There’s nothing wrong, of course, with hiring a developer to build a website for a scholarly research project, or having a design technologist create colorful and engaging data visualizations. Indeed, designers, developers and other technologists can enhance conventional research outputs, especially at the publication and dissemination stages, by making them more accessible, more engaging and more comprehensible to broader audiences.
But what happens when collaborators with expertise in design and technology are part of a project team from the very beginning? Moreover, what happens when technologists work alongside other diverse researchers, whose respective fields may lie adjacent to one another, but rarely overlap?
Since the 1970s, scholars in fields as varied as sedimentology, ornithology, sociology, and philosophy have come to understand the importance of self-organizing systems, of how higher-order complexity can “emerge” from independent lower-order elements. Emergence describes how millions of tiny mud cracks at the bottom of a dry lake bed form large scale geometries when viewed at a distance, or how water molecules, each responding simply to a change in temperature, come to form the complex crystalline patterns of a snowflake. Emergence describes how hundreds of birds, each following its own, relatively simple rules of behavior, self-organize into a flock that displays its own complex behaviors, behaviors that none of the individual birds themselves would display. In the words of writer Steven Johnson, emergence describes how those birds, without a master plan or executive leadership, go from being a “they” to being an “it.” In other words, emergence describes a becoming.
We, too, form emergent systems. Emergence describes how a crowd of pedestrians self-organizes to form complex traffic flows on a busy sidewalk. Viewed close-up, each pedestrian is just trying to get to his or her destination without getting trampled, reacting to what’s in front of him or her according to a set of relatively simple behavioral rules—one foot in front of the other. Viewed from above, however, we see a structured flow, a river of humanity. Acting without direction, the crowd spontaneously orders itself into a complex system for maximizing pedestrian traffic. The mass of individual actors has, without someone in charge, gone from being an uncoordinated “they” to an organized “it.” Continue reading →
At Greenhouse Studios, we are working out the process of creating new forms of scholarship. One important aspect of what differentiates scholarship from projects is sustainability. As I like to say, there is no scholarship without persistence. The infrastructure of persistence is well understood in traditional academic publishing, but is less understood in the world digital humanities.
The Greenhouse Studios model works through five distinct phases, Understand, Identify, Build, Review, Release, and is based on the idea of flattening traditional academic hierarchies: we do not build things for faculty, we gather together a group of people around a common intellectual question, and go from there.
Archivists have traditionally insisted that it improves the preservation potential of any digital record for the archivist—or at least preservation thinking—to be a part of the creation of that record from the beginning. At Greenhouse Studios we are testing what that actually means in terms of new forms of scholarship. What is the beginning? When is it appropriate to consider preservation? Continue reading →