El extraño caso de los archivos reaparecidos / The Strange Case of the Reappeared Archives: Carta Abierta/Open Letter: Periódico de Poesía 2007-2018

[Leer y firmar carta aquí / read sign the letter here]

 

[English version below]

[He compartido aquí esta carta abierta para que quede registro de su existencia. Cuando recibí noticia de esta carta, iniciada por Jorge Fondebrider, el 29 de enero, el archivo de los números 2007-2018 del Periódico de Poesía no estaba disponible de manera clara y visible al visitar https://periodicodepoesia.unam.mx/.  Para mayor contexto sobre la genealogía de este misterioso caso de archivos desaparecidos y reaparecidos, ver el post de Jorge en https://buenosairespoetry.com/2019/01/30/carta-abierta-las-razones-de-un-texto-y-muchas-firmas-jorge-fondebrider/.

Es mi opinión que este es un caso que deja claro que cuestiones de infraestructura académica y humanística, que son casos de arquitectura de la información, son casos políticos. El diseño es político. Lo es porque este es un caso de mal diseño de la interface y del archivo, dejando 10 años (y probablemente más años) de trabajo humanísitico a la intemperie, en riesgo constante de accidente y desaparición. Por eso la carta sigue siendo relevante, pues la reaparición de los archivos desaparecidos no soluciona el problema: es hora de llamar a un experto en ciencias de la información (¡un bibliotecario y archivista!) para que ponga en orden las cosas en el sitio del Periódico de Poesía. Su futuro depende de que eso pase.

I have shared here this open letter for the record. At the time we began collecting the initial signatures, the 2007-2018 issues of Periódico de Poesía were not clearly and visibly available when visiting https://periodicodepoesia.unam.mx/. A day later, once the word had spread, they suddenly reappeared on its home page. For more context on the genealogy of this strange case of disappeared and reappeared archives, please read Jorge’s post at https://buenosairespoetry.com/2019/01/30/carta-abierta-las-razones-de-un-texto-y-muchas-firmas-jorge-fondebrider/.

In my opinion this is a case that proves that issues of academic infrastructure, which are issues of information architecture, are political issues. In other words, information architecture is political. Design is political. It is political because bad interface and archive design are endangering cultural heritage (particularly, but not only, in the Global South). The open letter below is still relevant because the sudden reappearance of the missing archives does not solve the main issue: it is time to call an information professional (a librarian and archivist!) to put things in order at the Periódico de Poesía site. Its future depends on it.]

Los abajo firmantes solicitamos a la UNAM volver a poner a disposición del público el archivo completo del Periódico de Poesía abierta y formalmente en línea, incluyendo todos los números publicados entre 2007 y 2018, los cuales hasta hace poco no aparecían en su archivo en línea, o aparecen/aparecían en locaciones confusas o poco adecuadas del sitio.

The undersigned request UNAM makes the complete archive of Periódico de Poesía (including all the issues published between 2007 and 2018, which until very recently were missing or misplaced) openly available to the public again in an appropriate location within the whole archive.

Para mayor contexto / more context at: https://buenosairespoetry.com/2019/01/30/carta-abierta-las-razones-de-un-texto-y-muchas-firmas-jorge-fondebrider/

[Firmar carta aquí / sign the letter here]

 

Periódico de Poesía: https://periodicodepoesia.unam.mx/

Texto completo de la carta abierta y firmantes iniciales / Full Open Letter in Spanish and initial signataries:

 

Carta Abierta

Periódico de Poesía 2007-2018: Solicitamos volver a poner a disposición del público el archivo completo del Periódico de Poesía en línea de manera formal, segura, sustentable y permanente.

Los abajo firmantes, colaboradores y lectores del Periódico de Poesía de la UNAM entre 2007 y 2018, solicitamos encarecidamente que se vuelva a poner a disposición del público, en formato PDF así como en HTML (ya que el Periódico también publicaba material interactivo) la totalidad de los números publicados en ese periodo, que actualmente no se encuentran donde corresponde, que es en el “Archivo de épocas anteriores de Periódico de Poesía” (http://www.archivopdp.unam.mx/index.php/del-papel-a-pdf).

Habiéndolos publicado ad honorem, los colaboradores entendemos que la única compensación posible por nuestros trabajos es permitir que los lectores, pasados, presentes y futuros, puedan acceder libremente al fruto de nuestros esfuerzos. Así mismo, dada la actual fragilidad del archivo, solicitamos que la UNAM resguarde todos los números del Periódico de Poesía de manera formal en su repositorio institucional, para así asegurar que el contenido esté disponible de manera segura, sustentable y permanente.

Nos sentimos orgullosos de haber colaborado en el Periódico de Poesía y de que nuestra labor sea parte de su patrimonio. Pedimos entonces que la UNAM atienda nuestro reclamo y corrija esta situación.

Atentamente,

[Firmar carta aquí / sign the letter here]

Firmantes iniciales:

ADOLFO CASTAÑÓN (México)
ALEJANDRO SANDOVAL ÁVILA (México)
ALEXIS GÓMEZ ROSA (Rep. Dominicana)
ALFONSO ALEGRE (España)
ALFONSO OREJEL SORIA (México)
ALICIA GARCÍA BERGUA (México)
ÁLVARO VALVERDE (España)
ANA FRANCO (México)
ANDRÉS EHRENHAUS (Argentina)
ANNA CROWE (Escocia)
ANTONIO MARTÍN ALBALATE (España)
ARGEL CORPUS (México)
ARMANDO ROA VIAL (Chile)
AURELIO MAJOR (España/México/Canadá)
BÁRBARA BELLOC (Argentina)
BERNARDO RUÍZ (México)
BLANCA STREPPONI (Argentina / Venezuela)
BRENDA RÍOS (México)
CARLA FAESLER (México)
CARLOS LÓPEZ (México)
CARLOS LÓPEZ BELTRÁN (México)
CARLOS MAPES (México)
CARLOS VITALE (Argentina)
CARMEN SÁNCHEZ (México)
CITLALI GUERRERO (México)
CLAUDIA LUNA FUENTES (México)
CLAUDIA MELNIK (Argentina)
CORAL BRACHO (México)
DANA GELINAS (México)
DANIEL GOLDIN HALFON (México)
DARÍO JARAMILLO (Colombia)
DIANA BELLESSI (Argentina)
EDUARDO ESPINA (Uruguay)
EDUARDO GARCÍA AGUILAR (Colombia)
EDUARDO HURTADO (México)
EDUARDO MILÁN (Uruguay/México)
EDUARDO MOGA (España)
EDWARD HIRSCH (Estados Unidos)
ELIOT WEINBERGER (Estados Unidos)
ENRIQUE JUNCOSA (España)
ENRIQUE WINTER (Chile)
ERNESTO PRIEGO (México/Reino Unido)
FABIO JURADO VALENCIA (Colombia)
FABIO MORÁBITO (México)
FERNANDO HERRERA GÓMEZ (Colombia)
FRANCISCO JOSÉ CRUZ (España)
FRANCISCO SEGOVIA (México)
GASTÓN ALEJANDRO MARTÍNEZ SALDIERNA (México)
GERARDO PINA (México)
GOYA GUTIÉRREZ (España)
GUSTAVO GUERRERO (Venezuela)
GWEN KIRKPATRICK (Estados Unidos)
HARRYETTE MULLEN (Estados Unidos)
HÉCTOR CARRETO (México)
HÉLÈNE CARDONA (Estados Unidos/España)
HERMANN BELLINGHAUSEN (México)
HUGH HAZELTON (Estados Unidos)
IGNACIO DI TULIO (Argentina)
INÉS GARLAND (Argentina)
JAN DE JAGER (Argentina)
JOHN BURNSIDE (Escocia)
JORGE AGUILAR MORA (México)
JORGE AULICINO (Argentina – Premio Nacional de Poesía)
JORGE FONDEBRIDER (Argentina)
JORGE VALDÉZ DÍAZ-VÉLEZ (México)
JOSÉ CARLOS CATAÑO (Canarias-Cataluña)
JOSÉ LUIS BOBADILLA (México)
JOSÉ MARÍA ESPINASA (México)
JOSÉ RAMÓN RIPOLL (España)
JUAN ANTONIO MASOLIVER (España)
JUAN ANTONIO MONTIEL (México/España)
JUAN ARABIA (Argentina)
JUAN CARLOS ABRIL (España)
JUAN CARLOS MARSET (España)
JUAN ESMERIO NAVARRO (México)
JULIA PIERA (España)
JULIÁN HERBERT (México)
JULIO ORTEGA (Perú)
KATHERINE SILVER (Estados Unidos)
LOREA CANALES (México)
LUCRECIA ORENSANZ (México)
LUIS ARMENTA MALPICA (México)
LUIS BRAVO (Uruguay)
LUIS CORTES BARGALLÓ (México)
LUIS MIGUEL AGUILAR (México)
MAGNUS WILLIAM-OLSSON (Suecia)
MARCOS RICARDO BARNATÁN (España)
MARÍA RIVERA (México)
MARINA SERRANO (Argentina)
MARIO CAMPAÑA (Ecuador)
MARIO MONTALBETTI (Perú)
MARK SCHAFER (Estados Unidos)
MARTÍN ESPADA (Estados Unidos)
MATT BROGAN (Estados Unidos)
MERCEDES ÁLVAREZ (Argentina)
MICAELA CHIRIF (Perú)
MICHAEL O’LOUGHLIN (Irlanda)
MIGUEL ÁNGEL PETRECCA (Argentina)
MIGUEL ÁNGEL ZAPATA (Perú)
MIGUEL CASADO (España)
PEDRO POITEVIN (Estados Unidos)
RAFAEL JOSÉ DÍAZ (España)
RICHARD GWYN (Gales)
RODICA GRIGORE (Rumania)
RODOLFO MATA (México)
SAMUEL BOSSINI (Argentina)
SERGIO GASPAR (España)
SILVANA FRANZETTI (Argentina)
SILVIA CAMEROTTO (Argentina)
SILVIA EUGENIA CASTILLERO (México)
SONIA HERNÁNDEZ (España)
SUSANA CABUCHI (Argentina)
SUSANNA RAFART (España)
TANYA HUNTINGTON (Estados Unidos)
TERESA ARIJÓN (Argentina)
TOM POW (Escocia)
VERÓNICA GROSSI (México)
VERÓNICA ZONDEK (Chile)
VÍCTOR RODRÍGUEZ NÚÑEZ (Cuba)
W. H. HERBERT (Escocia)
XANATH CARAZA (México)
XIMENA ATRISTAIN LÓPEZ (México)
VICTOR SOTO FERREL (Tijuana, México)
YOLANDA PANTIN (Venezuela)
ZAZIL COLLINS (México)

 

[Firmar carta aquí / sign the letter here]

Reference

Fondebrider, Jorge; Priego, Ernesto; et al. (2019): Carta Abierta/Open Letter: Periódico de Poesía 2007-2018. figshare. https://doi.org/10.6084/m9.figshare.7657976.v1

 

La “escucha” del deejay – para Manrico Montero (enero del 2002 para Urbe 01)

I have been reorganising hard drives and the like and came across this article I wrote on 28 January 2002, in Mexico City, for Mexican electronic music and culture magazine Urbe 01. I have copied and pasted it below under the photograph. The dedication to Manrico was in the original.

 

Manrico Montero (1973-2018). Foto via Urbe 01
Manrico Montero (1973-2018). Foto via Urbe 01

La “escucha” del deejay

Para Manrico Montero

 

“Tenemos hoy por evidencia que no hay arte sin oficio, la actividad artística es irreductible a una actividad mecánica  […] Existe obra de arte cuando el instrumento se olvida, supera, casi se escamotea, en bien del gesto inspirado, imprevisible…”

-Régis Debray (2000)

El deejay es sin duda una de las figuras protagónicas de las escenas artísticas de la actualidad. Desde los 70, un progresivo develamiento de esta otrora oscura figura ha devenido en su conversión al stardom, que así como construye ídolos populares al instante también puede derrocarlos en incluso menos tiempo. Hasta hace poco la labor del deejay era motivo de cuchicheos y miradas de reojo: a ciencia cierta, pocos sabían lo que sucedía detrás y sobre ese par de tornamesas.

Ahora, las urbes más vanguardistas del mundo hospedan fiestas donde cada deejay es sujeto de atenta vigilancia de connoisseurs de brazos cruzados que no dejan escapar el más leve cuatrapeo, que reconocen los tracks de incluso los white labels más extraños y que valoran y evalúan el discurso personal de cada montadiscos siguiendo complejos criterios especializados. Cada vez es más común presenciar un par de tornamesas y una mezcladora en museos y galerías dedicadas al arte contemporáneo, las revistas de música y cultura popular les dedican sus portadas, los nombres más famosos viajan en avión de una fiesta a otra la misma noche o trabajan en cabinas diseñadas con materiales preciosos bajo pedido de sus a veces sobrevalorados usuarios.

Sería pues anacrónico pretender explicar en estos tiempos la importancia de la labor, el oficio, el arte del deejaying: a estas alturas, pensaríamos que aquellos días oscuros en que se le consideraba una actividad parasitaria para subnormales ha sido trascendida. (Recordemos, como muestra, el grito de guerra morrisseyano característico de los ochenta sobre la intrascendente superficialidad del dj –hang the deejay– así como las duras críticas del punk de la primera mitad de los noventa que acusaban la pusilánime volubilidad de los que gustosos danzaban al beat del sonido disco –you’ll dance to anything).  Sin embargo, creemos necesario hacer una crítica de lo que se ha denominado overhyping: sólo un análisis de lo que aporta cultural, social, política y artísticamente la labor del deejay podrá permitirnos reconocer cuándo su apreciación consiste en una justa valoración de sus aportaciones y cuándo, simplemente, en una vulgar campaña publicitaria generalizada que ha visto en esta actividad una forma más de sacarle dinero a los incautos.

Urge preguntarse por qué, a nivel mundial, se considera que ciertos deejays, y no otros, resultan “los mejores”, y por qué, en algunos casos, se les ha construido cultos a la personalidad muy similares a los que anteriormente gozaban los grupos de rock.  Para poder responder esta pregunta, habrá que re-plantearse primero qué es lo que hace un deejay. Si, técnicamente, lo que hace un deejay es re-estructurar piezas de discurso previamente estructuradas por terceros o en muchos casos por sí mismo (es decir, discos de acetato) en un discurso mayor mediante su reorganización a través de la mezcla o superposición de patrones rítmicos y melódicos de muchas fuentes sonoras distintas,  (es decir, un set) ¿cómo valorar su trabajo? ¿Cómo reconocer la diferencia, por ejemplo, entre dos disc jockeys que, hipotéticamente, trabajen con exactamente los mismos discos?

Quisiéramos plantear aquí lo que llamaremos “la escucha” del deejay (así como en la fotografía nos referimos a “la mirada” del fotógrafo). Así como saber oprimir el obturador, revelar e imprimir no hace al fotógrafo, saber empalmar beats no hace al deejay. El set de un deejay como obra de arte tendría, casi, que olvidarse de su instrumento, trascender la técnica. Entonces, ¿en qué radicaría “la escucha” del deejay, su “gesto inspirado”?

 

“Access/Accès”: #DH2017, Montreal, 8-11 August 2017 Tweetage Volume Charts

Screen Shot 2017-08-08 at 12.03.36

#DH2017 starts today in Montreal.  The theme is “Access/Accès”. Details in the hyperlink. I wish I were there!

I am sure the tweetage will exceed the limits of my poor Google spreadsheet, but as it’s become kind of customary I am attempting to collect as many tweets with the conference hashtag as possible.

Using Martin Hawksey’s TAGS, here’s what the archive looks like as of 6:35:05 AM Montreal time of the first official day (8 August 2017):

Archive for #DH2017, Top Tweeters and 3 day activity, 6:35:05 of day one Montreal time

As of 9 August 2017, 6:11:33 AM Montreal time

Screen Shot 2017-08-09 at 11.19.25

As of 10 August 2017, 6:07:45 AM Montreal time

Screen Shot 2017-08-10 at 11.13.54

As of 11 August 2017, 7:12:46 AM Montreal time

Screen Shot 2017-08-11 at 12.30.08

As of 12 August 2017, 03:11:57 AM Montreal time. (I would have liked to take this screenshot later but I would not be online at that time. Considering the conference had finished by then it will do),

Screen Shot 2017-08-12 at 08.44.15

As of 13 August 2017, 05:50:54 AM Montreal time

Screen Shot 2017-08-13 at 11.16.34

On 9 August do note the hashtag went nuclear being spammed, particularly with  annoying ‘trending topics’ tweets, so data could do with some refining. However it does not look, at a quick glance, that spamming was serious. With more time further on and once I have closed the collection I could take a closer look and give an indication of the extent of the spamming. In any case please note as always the counts I am presenting are merely indicative, numbers are not meant to be taken at face value and no inherent quality or value judgements should be inferred from the volumes reported.

As I often state the data presented is the result of the collection methods employed, different methods are likely to present different results.

Note that this time only tweets from users with at least 10 followers are being collected. For the purpose of the archive, retweets count as tweets (this means not every tweet contains ‘original’ content).

It has been assumed that those scholars or scholarly organisations tweeting publicly from public accounts at very high volumes from an international conference do expect to get noticed by the international community for for their tweetage with the hashtag and therefore are giving implicit consent to get noted by said community for scholarly purposes; if anyone opposes to their username appearing in one of the ‘Top Tweeters’ bar charts above please let me know and I can anonymise their username retrospectively if that helps.

This is the first year I manage to archive a more or less complete set. On the one hand it helps that TAGS has improved, that I was able to be collecting and monitoring the collection in real time, and that I set the limit of a minumum of 10 followers for accounts to be collected. It also helped I did not start collecting to far back in advance as I sometimes have done.

I will be depositing a dataset of Tweet ID’s and timestamps, which is the source data for the charts embedded here, next week.

Speaking of “Access/Accès”, here’s a recent post I wrote about access and license types in a set of articles from the Journal of Digital Scholarship in the Humanities. In case you missed it (you probably did), it might be of interest given this year’s theme.

 

 

“just landed on a comet!” A #CometLanding Archive

xkcd: Landing.
xkcd: Landing.

 

Rosetta ’s Philae lander successfully made the first soft landing on a comet nucleus when it touched down on the comet 67P/Churyumov-Gerasimenko on Wednesday 12 November 2014 “just after 8 a.m. PST/11 a.m. EST” (NASA).

The event was reported and followed on Twitter with the hashtag #CometLanding.

I have uploaded to figshare a file that contains approximately 77,318 Tweets published publicly and tagged with #CometLanding between 12/11/2014 09:09 and 05/12/2014 18:07 GMT.

Priego, Ernesto (2014): A #CometLanding Twitter Archive. figshare.
http://dx.doi.org/10.6084/m9.figshare.1271659

Only users with at least 2 followers were included in the archive. Retweets have been included. An initial automatic deduplication was performed but data might require further deduplication.

This was a trending topic on Twitter and as it is the case with most if not all the Twitter archives I have created and shared it is not guaranteed in any way this file contains each and every Tweet tagged with the #CometLanding during the indicated period. I have shared it as a sample for comparative and indicative educational and research purposes only.

Please note the data in the file is likely to require further refining and even deduplication. The data is shared as is. The dataset has been shared to encourage open research into scholarly activity on Twitter. If you use or refer to the dataset in any way please cite and link back using the citation information above.

NB. There are definitely several duplicates in this dataset. Requires refining.

The Technology of Storytelling. Audio of my 1999 interview with Will Eisner now online

m-430 micro-cassette tape recorder - will eisner tape

I interviewed Will Eisner about storytelling in Mexico City on 2 May 1999. I have digitised the original tape recording, edited my questions out and uploaded the mp3 file to figshare.

I interviewed Will Eisner (March 6, 1917 – January 3, 2005) on Sunday 2 May 1999 at the Conque Comic Convention in Mexico City.

I recorded the interview using a Sony M-430 microcassette-recorder. Both the tape recorder and the tape were beginning to fail so I digitised the recording as an mp3 file, and edited out my questions (you don’t need them– he says it all).

I have deposited it as an mp3 file on figshare, open access, hoping other comics researchers find it useful, with a Creative Commons – Attribution License:

Priego, Ernesto (2014): “The Technology of Storytelling.” An Interview with Will Eisner. Sunday 2 May 1999, Mexico City. figshare. http://dx.doi.org/10.6084/m9.figshare.1257786

For an edited transcription of this interview, see my 2011 HASTAC blog post (3/7/2011).

An #altmetrics14 Twitter Archive

"Altmetrics14: expanding impacts and metrics" (#altmetrics 14) was an ACM Web Science Conference 2014 Workshop that took place on June 23, 2014 in Bloomington, Indiana, United States, between 10:00AM and 17:50 local time.

Altmetrics14: expanding impacts and metrics” (#altmetrics 14) was an ACM Web Science Conference 2014 Workshop that took place on June 23, 2014 in Bloomington, Indiana, United States, between 10:00AM and 17:50 local time.

I have uploaded to figshare a dataset of 1758 Tweets tagged with #altmetrics14 (case not sensitive).

The dataset contains an archive of 1758 Tweets published publicly and tagged with #altmetrics14 between Mon Jun 02 17:41:56 +0000 2014 and Wed Jul 16 00:48:38 +0000 2014.

During the day of the workshop, 1294 Tweets tagged with #altmetrics14 were collected.

If you use or refer to the shared file in any way please cite and link back using the following citation information:

Priego, Ernesto (2014): An #altmetrics14 Twitter Archive.  figshare.

http://dx.doi.org/10.6084/m9.figshare.1151577 

I have shared the file with a Creative Commons- Attribution license (CC-BY) for academic research and educational use.

The Tweets contained in the file were collected using Martin Hawksey’s TAGS 5.1.  The file contains 3 sheets.

The third sheet in the file contains 1294 Tweets tagged with #altmetrics14 collected during the day of the workshop.

The usual fair warnings apply:

Only users with at least 2 followers were included in the archive. Retweets have been included. An initial automatic deduplication was performed but data might require further deduplication.

Please note that both research and experience show that the Twitter search API isn’t 100% reliable. Large Tweet volumes affect the search collection process. The API might “over-represent the more central users”, not offering “an accurate picture of peripheral activity” (González-Bailón, Sandra, et al. 2012). It is therefore not guaranteed this file contains each and every Tweet tagged with #altmetrics14 during the indicated period, and is shared for comparative and indicative educational and research purposes only.

Please note the data in this file is likely to require further refining and even deduplication. The data is shared as is.  This dataset is shared to encourage open research into scholarly activity on Twitter. If you use or refer to this data in any way please cite and link back using the citation information above.

An Incomplete #dh2014 Twitter Archive (Conference Days Only)

View of UNIL Sorge campus, hosting DH2014. Photo CC-BY Ernesto Priego

The Digital Humanities 2014 conference took place Monday 7 July 2014 – Saturday 12 July 2014 in Lausanne, Switzerland. (I was lucky to attend and present a poster there). Though there were other hashtags used to tweet about the conference, the main hashtag was #dh2014.

I started collecting #dh2014 Tweets on the 7th of September 2013. Having attempted to collect and reconstruct #dh2012 and #dh2013 archives (and having seen the growth in conference live-tweeting in DH since 2009) I knew the volume would exceed expectations. I broke several Google spreadsheets along the way. In the end I resigned myself to trying to reconstruct an archive for the duration of the conference proceedings, 7-12 July 2014.

I have now shared on figshare an .XLS file containing a dataset of Tweets tagged with #dh2014 (case not sensitive).

Priego, Ernesto (2014): An Incomplete #dh2014 Twitter Archive (Conference Days Only).   figshare.

http://dx.doi.org/10.6084/m9.figshare.1102950  

The complete archive contains  16,154 Tweets published publicly and tagged with #dh2014 between Monday 07/07/2014  00:03:00 (CEST) and Saturday 12/07/2014  23:48:00 (CEST).

The tweets contained in this file were collected using Martin Hawksey’s TAGS 5.1. Due to the volume of Tweets nine Google Spreadsheets were created during the period of the event, which were subsequently refined to four. The data was subsequently organised manually into various sheets, which have been included here.

Sheet 0.  A ‘Cite Me’ sheet, including procedence of this file, citation information,  information about its contents, the methods employed and some context.

Sheet 1. Monday 7 July 2014 (1,052 Tweets; (1,052 Tweets; gap between 07/07/2014 10:19 and 07/07/2014 11:20)

Sheet 2. Tuesday 8 July 2014 (3,605 Tweets)

Sheet 3. Wednesday 9 July 2014 (4,372 Tweets)

Sheet 4. Thursday 10 July 2014 (2,879 Tweets; significant gap between 10/07/2014 01:51 and 10/07/2014 10:10)

Sheet 5. Friday 11 July 2014 (3,843 Tweets)

Sheet 6. Saturday 12 July 2014  (403 Tweets)

Collected under local Lausanne, Switzerland times. Times in GMT also included.

Only users with at least 2 followers were included in the archive. Retweets have been included. Data might require reduplication.

Unfortunately the metadata in the sheets for Monday – Thursday is incomplete (the lack of ISO language metadata in these sheets is particularly disappointing, as it would have provided interesting insights); Friday and Saturday do contain the standard metadata available from TAGS.

Some work was done to ensure the chronology was complete; I have highlighted a gap in the Tweets on Monday 7 July 2014 between 07/07/2014 10:19  and 07/07/2014 11:20 and on Thursday 9 July 2014 between 10/07/2014 01:51 and 10/07/2014 10:10.

I was not able to recover these Tweets. Yannick Rochat and Martin Grandjean’s archive has what seems the complete set (available at http://goo.gl/6W3dol; last accessed Tuesday 15 July 2014 11:55 BST). Please cfr:

Please note Rochat and Grandjean’s dataset has 16,903 Tweets, whereas my collection only harvested 16,154 Tweets (749 Tweets less).

Please note that both research and experience show that the Twitter search API isn’t 100% reliable. Large tweet volumes affect the search collection process. The API might “over-represent the more central users”, not offering “an accurate picture of peripheral activity” (González-Bailón, Sandra, et al. 2012).

The Tweet volume was higher than what the available collecting methods allowed so data is likely to be incomplete. It is not guaranteed this file contains each and every Tweet tagged with #dh2014 during the indicated period, and is shared for comparative and indicative educational and research purposes only.

Please note the data in this file is likely to require further refining and even deduplication. The data is shared as is.  This dataset is shared to encourage open research into scholarly activity on Twitter. If you use or refer to this data in any way please cite and link back using the citation information above.

#LibPub Session 6: Libraries and Archives Disrupting Publishing?

Winchell, Alexander. Image from ‘Preadamites; or a demonstration of the existence of men before Adam, etc’, British Library 003949013. Via The Mechanical Curator. Public Domain.
Winchell, Alexander. Image from ‘Preadamites; or a demonstration of the existence of men before Adam, etc’, British Library 003949013. Via The Mechanical Curator. Public Domain.

Today we’re back at our Libraries and Publishing module at #citylis. Last week there was no lecture due to Reading Week. I hope students had a chance to catch up with the readings on Moodle!

[On Wednesday evening I came back to London from Nairobi. I had the privilege of participating in the Discoverability of African Scholarship Online workshop that took place  on 10-11 March 2014. It was organised by the OpenUCT Initiative and the Carnegie Corporation of New York. I uploaded a fileset with relevant workshop materials to figshare, here, in case anyone is interested (if you are into the present and future of librarianship, you should!).]

Today we will be discussing how library collections and archives interrogate (disrupt?) previous and current conceptions of “publishing”. We’ll do this through two  presentations by two very special guest speakers:

  • Dr James Baker, Digital Curator, British Library
  • Dr Geoff Browell, Senior Archives Services Manager, Library Services, King’s College London

By hearing about their two different professional experiences in the present day, we will be hoping to stimulate a discussion about how future libraries and future publications will co-exist.

Some links to check out:

Don’t forget you can share resources and engage with us with the #LibPub and #citylis hashtags on Twitter.

I can’t wait. See you later!

 

On Figshare: A #DayofDH Archive

#DayofDH Archive Using TAGS v5.0. Ernesto Priego. figshare. http://dx.doi.org/10.6084/m9.figshare.678179 Retrieved 09:33, Apr 09, 2013 (GMT). Screen shot 2013-04-09 at 10.37.29
#DayofDH Archive Using TAGS v5.0. Ernesto Priego. figshare. http://dx.doi.org/10.6084/m9.figshare.678179 Retrieved 09:33, Apr 09, 2013 (GMT). Screen shot 2013-04-09 at 10.37.29

 

I have shared a dataset containing a #DayofDH Archive from 1/04/2013 13:50:43 GMT to 9:04:2013 9:04:44 GMT on figshare. The digital object identifier is http://dx.doi.org/10.6084/m9.figshare.678179.

Watch DH Moving: An Interactive Archive of #DayofDH

Using Martin Hawksey’s TAGS v5, I set up an interactive archive of #DayofDH tweets.

Screen shot taken 2013-04-08 at 18.14.05 of a fragment of a TAGSExplorer archive of #DayofDH
Screen shot taken 2013-04-08 at 18.14.05 of a fragment of a TAGSExplorer archive of #DayofDH

Beware as it updates in real time, and there’s a limit to how much your browser can take.

As usual, with many thanks to Martin Hawksey.

It’s 6:16pm BST in London town, so this marks the official office day closure time for me…

[Update: exploring my archive, I realise my colleague Lee Skallerup also set up a Google spreadsheet using Martin’s TAGS. She shared a public version of the spreadsheet (updating every hour like the one I set up) via Twitter, here.]

“The deal was cancelled”

Two quotes dated 4 March 2009, handrwitten in one of my notebooks:

“The author recalls asking an American buyer of a Gould bird book for shipping instructions, and we were told to keep the covers and send the contents. The deal was cancelled and the book was eventually sold elsewhere.”

-John Maggs, “Conservation priorities: a bookseller’s view,” in Petherbridge (1987) Conservation of Library and Archive Materials and the Graphic Arts, p. 232.

“A codex book is an object constituted of multiple and separable components; gatherings, binding construction, metal furniture, fastenings, etc. Combined, these form numerous subtleties of historical interest and theoretical evidences, indicating period fashion and provenance; divided, they lose much of their meaning and power to conjure human thought. Bibliographical integrity is not something we can dismantle and recreate. Judged in this way, the integrity of the individual volume is only as strong as its most fragile part; as with a painting when only one colour may fade but the artists’s intention is altered forever, leaving its integrity fragmented.”

-Christopher Clarkson, “Conservation priorities: a library conservator’s view,” in Petherbridge (1987) Conservation of Library and Archive Materials and the Graphic Arts, p. 236.