An article in SF Gate celebrating the opening of the 55th annual Monterey Jazz Festival highlights the MJF Collection in the Archive of Recorded Sound. The article, by Jeanne Cooper, includes an interview with Jerry McBride, Head of the ARS.
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 i
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.
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.
Artemesia is the last of Cimarosa’s almost sixty operas, with libretto by Count Giovanni Battista Colloredo who wrote under the pen name of Cratisto Jamejo. Cimarosa completed only two of the acts; the third was completed by an unknown person. The opera premiered at La Fenice in Venice in January 1801, was performed in Florence in 1806, and was likely performed in England, Germany and Russia. Arias from the opera were published in the early nineteenth century and the overture in 1957. However the full opera has never been published.
Glynn Edwards, Peter Chan and Michael Olson from Special Collections and Digital Library Systems and Services will be hosting colleagues from the Bodleian Library, Oxford this August. Our colleagues from the Bodleian will be spending a day and half at Stanford to learn more about how we are describing born digital archival materials.
In an important collaboration this month, Stanford Media Preservation Lab and the Department of Special Collections & University Archives are participating in the California Audiovisual Preservation Project, a pioneering statewide initiative, for a third round in a row. The CAVPP is providing funds to reformat film and video selections from SULAIR’s collections, including newly resurrected video from the Stanford Prison Experiment and the Stanford University Film Collection. These items will be sent to an outside vendor with the equipment necessary to capture preservation-quality digital files from these unique materials in obsolete formats. The digitized content will be preserved in the Stanford Digital Repository and made broadly available to the public through the California Light and Sound collection at the Internet Archive.