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by electronic music composer Richard Maxfield, composed between 1959-1964, four of which are believed to be previously unpublished (Dromenom, Electronic Symphony, Suite from Peripateia, and Wind).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.
The University Archives is pleased to report that more than 20 photograph and slide collections have recently been digitized and are now available online via SALLIE, Flickr, Facebook and Google+. The collections include:
- Center for Computer Research in Music and Acoustics (SC0634)
- Felt Lake Dam Photographs (PC0142)
- School of Education Faculty Photographs (PC0061)
- Leon Thomas David Collection of Stanford Photographs (PC0126)
- Ella J. Patterson Photographs (SCM0321)
- George Harrington Photograph Albums (SC0592)
- Department of History, Faculty Photographs (PC0025)
- Stanford University Construction Photographs (PC0125)
- Stanford University Photographs (PC0069)
- Todd T. Barrett Photographs Documenting Stanford University (PC0135)
- Stanford University Photographs and Memorabilia (PC0130)
- Medical Center, Construction slides (PC0043)
- Paul G. Allen Center for Integrated Systems, Dedication Photographs (PC0132)
- David E. Hubka Slides Documenting Stanford University (PC0115)
- Stanford Centennial Photographs (PC0052)
- Florence Grace Savage Photographs (PC0068)
- Henry Eickhoff Photographs of Stanford University (PC0122)
- Stanford University Photographs (PC0123)
- Stanford University, Libraries, Earthquake Damage Slides (PC0071)
- Birge M. Clark Architectural Records and Personal Papers (SC0823)
- Stanford University and the 1906 earthquake Photograph Album (PC0074)
Of particular note are the George Harrington photographs, which document Harrington's work and travels in Bolivia and Argentina, 1921-1926. Images include villages, local people, trekking on mountain trails and by river boat, geologic formations, other geologists, oil rigs, and various camps established by the oil company.
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.
By Deardra Fuzzell and Wayne Vanderkuil
A historic geologic map, the data for which was compiled over the course of many years by one determined man, William Smith. Completed nearly 2 centuries ago, it remains incredibly relevant.
This is one of the largest and most difficult oversized objects Stanford has digitized thus far.
See how the Digital Production Group went about imaging this unique item.
The Archive of Recorded Sound is pleased to announce the launch of a substantially updated finding aid for the Issei Oral History Project in Watsonville Collection. In addition to many other notable improvements, which include English summaries of each interview from the collection and additional subject headings to aid discovery, the new finding aid now includes streaming audio of each recorded interview. The finding aid is available on the Online Archive of California.