Cathy Aster, Michael Olson and Sarah Sussman (SUL Curator of French and Italian) were invited by ATS colleague Nicole Coleman to a Stanford Digital Humanities & Design workshop, "Early Modern Times & Networks" where they presented a summary of the Bassi-Veratti project on 24 August 2012. They led a discussion focused on the Encoded Archival Description (EAD) XML encoding of the finding aid to facilitate discovery of digitized content in the web delivery environment being built by DLSS engineers, scheduled for release in March 2013. The session was well-attended by several post-doctoral students, including a group from Milan. The Milan team shared their current research project, consisting of a customizable, online data visualization environment with numerous API's. The SUL and Humanities workshop teams discussed the challenges of normalizing and interpreting heterogeneous metadata sources and schemas for scholarly research purposes.
What's the first name you think of when considering the development of electronic music? Edgard Varèse? John Cage? Karlheinz Stockhausen? Now how about computer music? Max Mathews should be at the top of your list. While at Bell Laboratories in 1957, Mathews wrote the program MUSIC, ushering in an era of digital synthesis and composition. MUSIC went through many iterations, but its lasting influence can be seen in contemporary programs such as Max/MSP, itself named after the late pioneer.
Mathews' connection to Stanford is through the Department of Music and the Center for Computer Research in Music and Acoustics. Named a Professor of Music (Research) in 1985, Mathews continued pursuing digital sound synthesis techniques until his death on April 21, 2011. Although his recorded output is small, his contribution to the genre is no less important; he rightfully stands side by side with more prominent names on this illustrious compilation featuring the "early gurus of electronic music".
His archives, which includes papers, digital files, video, and audio recordings, was acquired by University Archives earlier this year by way of Jerry McBride, Head Librarian of the Music Library. Once the finding aid was complete, the Stanford Media Preservation Lab took on the reformatting duties for the media portion. Part of the work will be completed in our lab over the coming month, while the rest will be outsourced to a vendor.
All of the digital files will be available to the world in the not too distant future. Until then, here's a sample of what to expect.
Originally posted in ReMix: The Stanford University Libraries Newsletter
Sixteen volumes selected from among the Libraries’ “beautiful books” were recently added – approximately 1,400 images in all – to the Stanford Digital Repository, where anyone can
now view Renaissance artistic visions of the fall of Troy, see the universe as Galileo showed it to hiscontemporaries, hear Dr. Johnson pitching his idea for the first serious English dictionary, and admire one of the last magnificent examples of the golden age of English fine printing just before WWII. As with all of Stanford’s rare and antiquarian books, the printed originals of these digitized volumes are cataloged inSearchWorks and can be requested for viewing in the Special Collections reading room. Now, via each item’s PURL (persistent uniform resource locator, which ensures that these materials are available from a single URL over the long term), researchers can work with digital as well as original printed editions. Scholars have discovered, though, that each has its own advantages and disadvantages, and often find it useful to consult both in their work.
The Digital Production Group’s Map Scanning Lab has successfully completed the digitization of 500 antiquarian sheet maps depicting California as an island.
The latest version of the Stanford University Libraries and Academic Information Resources Quality Assurance Image Defects page is now “live” and made freely available to the cultural heritage and library communities.
This is a long-awaited tool that serves a range of production, development, and training needs. It includes sample images of common (and uncommon) defects, causes/sources, and potential remedies.
This page compliments the outstanding and hugely popular AV Artifact site that was produced by our own Stanford Media Preservation Lab team.
Future work on the Image Defects page will include contributions from Imaging Scientist Don Williams, and content from the Library of Congress and Federal Agencies Digitization Guidelines Initiative.