For the second year in a row, students from ME310 Project Based Engineering Design submitted their final projects to the SDR for preservation. With the submission of these 19 projects, we also preserved the Winter quarter reports for the students’ design projects. This year’s projects covered a variety of products from construction equipment to designing a better way to chill a drink to creating a better flying experience for passengers with limited mobility. These projects help inform future classes about design process as well as create a network of contacts for future work.
Blog topic: Digitization
While often at the Stanford Media Preservation Lab we work with sound recordings Stanford acquired long ago sometimes we have the opportunity to work on media freshly acquired on the premise of immediately serving faculty and students. Recently a case like this occurred.
The Stanford Media Preservation Lab has kicked around the idea of building a dedicated Digital Audio Tape (DAT) "ripping" workstation around a Digital Data Storage (DDS) drive for a few years, but we never pursued it in earnest. We assumed the benefits of using a computer drive to read audio DATs largely centered around extraction time and reporting. Transferring a DAT in a conventional deck is done in real-time, whereas a DDS drive, we were told, would rougly cut the time in half depending on the speed of the drive (Peter Oleksik's retrospective on the Fugazi archive mentioned speeds up to 4x real-time using the DDS method with a Sony SDT-9000 drive and DATXtract). We also liked the idea of accompanying logs identifying where dropouts occurred. Still, we were skeptical whether such a system would be better than one designed around multiple conventional decks. Was there a way to test both methods without investing a bunch of money in late 1990s computer components?
The Archive of Recorded Sound is delighted to announce that the Richard Maxfield Collection (ARS.0074) can now be listened to online, via the collection's finding aid on the Online Archive of California. This collection features nine distinct works by electronic music composer Richard Maxfield, composed between 1959-1964, four of which are believed to be previously unpublished (Dromenom, Electronic Symphony, Suite from Peripateia, and Wind). Additionally, as Maxfield frequently produced unique edits of his work for each performance, many of the open tape reels that form this collection include alternative edits to those previously published, such as the tapes for Amazing Grace which feature three different versions of the work.
We are happy to announce that Lucy Waldrop will join Special Collections in September as the project archivist on the Helen and Newton Harrison papers project. This is an NEH-funded project and will conclude in February 2016. Lucy comes to us from Wichita State University, where as a project archivist, she processed several large collections including that of photographer and film director Gordon Parks. The Harrison collection is a significant acquisition and this preservation and processing project is one of several art projects being undertaken by Special Collections in collaboration with the Art Library in the coming year.
One of the remarkable things about large digitization projects is that not just formal events are preserved but also informal events are preserved for future access. As a matter of process the Stanford Media Preservation Lab takes part in the preservation of media that captures these special informal events. Recently while working on a portion of the Allen Ginsberg papers many recordings were digitized but (at least) two recordings were re-formatted that informally capture his friendships with other important 20th century figures.