Carrie A. Boettcher, Laurie J. Bonnici, Brian O'Connor
Disciplinary webs of proximity frequently overlap at the periphery of a topic where interests intersect for problem-solving. Failure to account for disciplinary differences can result in dis-ease – tension that interferes with meaning-making. This can be especially problematic in just-in-time information settings. An unexpected social media case study involving severe weather reporting and algorithm-driven system censorship makes evident the role of a constellation of pragmatic factors that can enhance or hinder just-in-time information delivery. Employing webs of proximity, we probe the severe weather censorship event with complementary bodies of knowledge and disciplinary perspectives. Intersectionalities are discussed through lenses of proximity and epidata. Entanglements of commonality between differing web plots are represented in a negotiation vestibule. The possibility of the communication channel itself being noise is presented. The vestibule highlights opportunities for negotiation points to attempt functional meaning-making.
{"title":"Webs of Proximity and Just-in-Time Information","authors":"Carrie A. Boettcher, Laurie J. Bonnici, Brian O'Connor","doi":"10.35492/docam/9/2/13","DOIUrl":"https://doi.org/10.35492/docam/9/2/13","url":null,"abstract":"Disciplinary webs of proximity frequently overlap at the periphery of a topic where interests intersect for problem-solving. Failure to account for disciplinary differences can result in dis-ease – tension that interferes with meaning-making. This can be especially problematic in just-in-time information settings. An unexpected social media case study involving severe weather reporting and algorithm-driven system censorship makes evident the role of a constellation of pragmatic factors that can enhance or hinder just-in-time information delivery. Employing webs of proximity, we probe the severe weather censorship event with complementary bodies of knowledge and disciplinary perspectives. Intersectionalities are discussed through lenses of proximity and epidata. Entanglements of commonality between differing web plots are represented in a negotiation vestibule. The possibility of the communication channel itself being noise is presented. The vestibule highlights opportunities for negotiation points to attempt functional meaning-making.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46231432","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I See Her Face presents kinetic commentary on gender, femininity, and traditional female socialization. The piece holds a deeply introspective mirror up to the audience so that they may see the power struggle between socialization and identity. It represents the choreographic process of representing personal conflict in dance, especially regarding gender representations in traditional dance and the changing gender landscape of dance. I See Her Face is a contemporary solo choreographed on dancer Molly Bagatto by Kennedy Cole. This work was premiered at The University of Akron Dance Company’s Fall 2021 dance concert. I See Her Face was subsequently selected by dance faculty to be performed at the East-Central Conference of the American College Dance Association in March 2022 and received highest recognition from the adjudicating panel of experts.
{"title":"I See Her Face: Expressing Gender Variance through Contemporary Dance","authors":"Kennedy Cole, Molly Bagatto","doi":"10.35492/docam/9/2/1","DOIUrl":"https://doi.org/10.35492/docam/9/2/1","url":null,"abstract":"I See Her Face presents kinetic commentary on gender, femininity, and traditional female socialization. The piece holds a deeply introspective mirror up to the audience so that they may see the power struggle between socialization and identity. It represents the choreographic process of representing personal conflict in dance, especially regarding gender representations in traditional dance and the changing gender landscape of dance. I See Her Face is a contemporary solo choreographed on dancer Molly Bagatto by Kennedy Cole. This work was premiered at The University of Akron Dance Company’s Fall 2021 dance concert. I See Her Face was subsequently selected by dance faculty to be performed at the East-Central Conference of the American College Dance Association in March 2022 and received highest recognition from the adjudicating panel of experts.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42992608","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Students were engaged in a combination of detective work, biology, archives, art, and education/outreach to prepare a collection of taxidermied birds donated to the University of Akron by the Rhodes family in the early 1900s for public access and exhibition. Students had the opportunity to learn from leading experts regarding the historical significance of biological collections, proper preservation protocols, digitizing and archival practices, and the urgency of science education and communication for a public audience. Many campus and community partners were involved, including experts from local museums and nature centers.
{"title":"Uncovering a Natural History Mystery at the University of Akron","authors":"G. Holliday, Lara Roketenetz","doi":"10.35492/docam/9/2/3","DOIUrl":"https://doi.org/10.35492/docam/9/2/3","url":null,"abstract":"Students were engaged in a combination of detective work, biology, archives, art, and education/outreach to prepare a collection of taxidermied birds donated to the University of Akron by the Rhodes family in the early 1900s for public access and exhibition. Students had the opportunity to learn from leading experts regarding the historical significance of biological collections, proper preservation protocols, digitizing and archival practices, and the urgency of science education and communication for a public audience. Many campus and community partners were involved, including experts from local museums and nature centers.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45882091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Many of us are taught to believe that poetry is restricted to a narrower existence than it truly is. Many people don’t enjoy poetry, or say they don’t understand it—but luckily, poetry, for a while now, is becoming more accessible as an art form. In this work, I seek to further this accessibility by connecting writing poetry with building a house.
{"title":"Poetry-Making as Healing","authors":"C.J.K. Latham","doi":"10.35492/docam/9/2/15","DOIUrl":"https://doi.org/10.35492/docam/9/2/15","url":null,"abstract":"Many of us are taught to believe that poetry is restricted to a narrower existence than it truly is. Many people don’t enjoy poetry, or say they don’t understand it—but luckily, poetry, for a while now, is becoming more accessible as an art form. In this work, I seek to further this accessibility by connecting writing poetry with building a house.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41900647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Social media is source of information during a pandemic. Using virtual ethnography methods and cyber media analysis, this article tries to trace digital cultural artifacts on IMERI iMuseum’s Instagram posts. Digital cultural artifacts that emerged were then analyzed using Buckland's concept of physical, mental and social dimensions of document. The results of the analysis show that cultural artifacts in iMuseum’s IG posts have document dimensions, seen from the physical, mental and social aspects and even a combination of dimensions. In the context of infodemic, through its social media, iMuseum seeks to carry out its role in disseminating information on health, outbreaks, Covid-19, healthy lifestyles and correcting misinformation about Covid-19 during the pandemic.
{"title":"Document Dimensions of iMuseum’s Instagram Posts","authors":"Ciwuk Musiana Yudhawasthi, Lydia Christiani, Widya Damayanti","doi":"10.35492/docam/9/2/8","DOIUrl":"https://doi.org/10.35492/docam/9/2/8","url":null,"abstract":"Social media is source of information during a pandemic. Using virtual ethnography methods and cyber media analysis, this article tries to trace digital cultural artifacts on IMERI iMuseum’s Instagram posts. Digital cultural artifacts that emerged were then analyzed using Buckland's concept of physical, mental and social dimensions of document. The results of the analysis show that cultural artifacts in iMuseum’s IG posts have document dimensions, seen from the physical, mental and social aspects and even a combination of dimensions. In the context of infodemic, through its social media, iMuseum seeks to carry out its role in disseminating information on health, outbreaks, Covid-19, healthy lifestyles and correcting misinformation about Covid-19 during the pandemic.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42463823","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This presentation activity is a creative exploration of the concept of DIS-EASE, as in the absence of ease, uneasiness, or discomfort. Conceptually, I am exploring DIS-EASE in three ways: As you can see, I am painting directly onto the gallery wall. As the keeper of these galleries, I can assure you that this is a big no-no. I mean how dare anyone disturb these pristine surfaces?! The rationale behind my discomfort is rooted in the idea that the gallery is a sacred space, and that these walls ought to be kept pristine so that the objects displayed against them can “speak for themselves.” And mind you, they will go back to white, but returning this wall to a perfect white surface will take more than just priming and painting, but I will deal with that later. Since I’m painting directly onto the gallery wall, this piece will cease to exist the moment we paint over it in order to return the gallery to its pristine neutral background to accommodate an exhibition that is scheduled to open in this very space in about two months. The impermanence of this painting goes against every fiber of my painter soul. The idea of spending all this time and materials on something that will not survive tends to be counterintuitive to most artists, who are not known for having excess resources. A final way this activity will cause me discomfort is by extending the invitation to DOCAM to join me in painting. As a maker of things with very particular opinions on how things need to look, I tend to prefer to do all of the things myself—that way it will be done the way I would do it.
{"title":"No Canvas, No Rules","authors":"Francisca Ugalde","doi":"10.35492/docam/9/2/14","DOIUrl":"https://doi.org/10.35492/docam/9/2/14","url":null,"abstract":"This presentation activity is a creative exploration of the concept of DIS-EASE, as in the absence of ease, uneasiness, or discomfort. Conceptually, I am exploring DIS-EASE in three ways: As you can see, I am painting directly onto the gallery wall. As the keeper of these galleries, I can assure you that this is a big no-no. I mean how dare anyone disturb these pristine surfaces?! The rationale behind my discomfort is rooted in the idea that the gallery is a sacred space, and that these walls ought to be kept pristine so that the objects displayed against them can “speak for themselves.” And mind you, they will go back to white, but returning this wall to a perfect white surface will take more than just priming and painting, but I will deal with that later. Since I’m painting directly onto the gallery wall, this piece will cease to exist the moment we paint over it in order to return the gallery to its pristine neutral background to accommodate an exhibition that is scheduled to open in this very space in about two months. The impermanence of this painting goes against every fiber of my painter soul. The idea of spending all this time and materials on something that will not survive tends to be counterintuitive to most artists, who are not known for having excess resources. A final way this activity will cause me discomfort is by extending the invitation to DOCAM to join me in painting. As a maker of things with very particular opinions on how things need to look, I tend to prefer to do all of the things myself—that way it will be done the way I would do it.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45146390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The year is 2222, and boredom has been eradicated. In this paper, I present the Boredonomicon, a document from this speculative future. The Boredonomicon is the Infinite Word of the God of Boredom, produced through a spiritual practice by the monks of the Tedia. Inspiration was drawn from philosophical work on boredom as well as questions of document theory and genre theory.
{"title":"The Boredonomicon: A Document from a Speculative Future","authors":"T. Gorichanaz","doi":"10.35492/docam/9/2/5","DOIUrl":"https://doi.org/10.35492/docam/9/2/5","url":null,"abstract":"The year is 2222, and boredom has been eradicated. In this paper, I present the Boredonomicon, a document from this speculative future. The Boredonomicon is the Infinite Word of the God of Boredom, produced through a spiritual practice by the monks of the Tedia. Inspiration was drawn from philosophical work on boredom as well as questions of document theory and genre theory.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":"16 48","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41270777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Murals and portraits of cultural icons such as George Floyd and Ahed Tamimi are more than aesthetically engaging objects. They can inspire viewers to act, attend protests, and share their own feelings on an issue, whether that be in the form of more street art or something as simple as a social media post. This is often how social and political movements are made. Street art poses a unique challenge to information professionals since the documents that are created with the intention or expectation of disappearance. They are documents suffering from terminal illness. Their ephemerality is their disease. Per the Document Academy, a document contains the following aspects: indexicality, plurality, fixity, documentality, and productivity – difficult constructs in the face of disappearance.
{"title":"Terminally Ill Documents: The Lasting Impact of Ephemera","authors":"Deama Khader","doi":"10.35492/docam/9/2/12","DOIUrl":"https://doi.org/10.35492/docam/9/2/12","url":null,"abstract":"Murals and portraits of cultural icons such as George Floyd and Ahed Tamimi are more than aesthetically engaging objects. They can inspire viewers to act, attend protests, and share their own feelings on an issue, whether that be in the form of more street art or something as simple as a social media post. This is often how social and political movements are made. Street art poses a unique challenge to information professionals since the documents that are created with the intention or expectation of disappearance. They are documents suffering from terminal illness. Their ephemerality is their disease. Per the Document Academy, a document contains the following aspects: indexicality, plurality, fixity, documentality, and productivity – difficult constructs in the face of disappearance.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43484772","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Through this examination of trends in outdoor oriented librarianship in Norway and in the United States we see both similarities and differences. In both countries we see efforts focused on promoting reading outdoors. We also see efforts in both countries to take the library outside, thus perhaps ensuring the library’s continued visibility and relevance to the community served. In both cases, library resources and outdoor spaces are woven together, despite challenges associated with taking these resources and programs outside. We also see differences: Norwegians typically consider themselves to be outdoors-oriented people, and the placement of library resources into outdoor spaces could thus be seen as a strategy to “meet people where they are,” outdoors. In contrast, in the United States there is a perception that Americans suffer from nature deficit disorder, and thus there is a focus on leveraging the library to promote more healthy engagement in outdoor spaces. This article sets the stage for larger international trends of this emerging trend, which does not seem to be diminishing even as vaccination rates suggest the COVID-19 Pandemic may be entering a new endemic stage.
{"title":"Public Libraries in Norway and the U.S.: Looking Outside During and After the Covid-19 Pandemic","authors":"Roswitha Skare, Noah Lenstra","doi":"10.35492/docam/9/2/4","DOIUrl":"https://doi.org/10.35492/docam/9/2/4","url":null,"abstract":"Through this examination of trends in outdoor oriented librarianship in Norway and in the United States we see both similarities and differences. In both countries we see efforts focused on promoting reading outdoors. We also see efforts in both countries to take the library outside, thus perhaps ensuring the library’s continued visibility and relevance to the community served. In both cases, library resources and outdoor spaces are woven together, despite challenges associated with taking these resources and programs outside. We also see differences: Norwegians typically consider themselves to be outdoors-oriented people, and the placement of library resources into outdoor spaces could thus be seen as a strategy to “meet people where they are,” outdoors. In contrast, in the United States there is a perception that Americans suffer from nature deficit disorder, and thus there is a focus on leveraging the library to promote more healthy engagement in outdoor spaces. This article sets the stage for larger international trends of this emerging trend, which does not seem to be diminishing even as vaccination rates suggest the COVID-19 Pandemic may be entering a new endemic stage.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48137864","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In recent decades, digitization has been presented as an important strategy both for the preservation of historic documents and for giving increased access for researchers to such materials. In the Norwegian context, this has not only implied the digitization of printed matter but also the digitization of audiovisual material like photography and analog tape recordings. From a technical perspective, there are of cause difficulties in digitizing such a variety of material when considering the diversity of media formats dating back to the nineteenth century. However, from the archival community criticism has been raised not only about the quality of the work but also the concerning the selection process, the organization of the material, and the collection of metadata. The National Library of Norway, especially, has attempted to avoid the problem of selection by attempting to digitize all of visual, sonic and audio-visual culture heritage. But this has created even greater challenges for the organization and registration of metadata. This is an issue that is apparent to the National Library, so it is looking into the possibility of using artificial intelligence – learning algorithms – to organize the material. The key issue is that the preservation of historic material is also dependent on the preservation of context and on metadata enabling us to interpret and understand the material at hand.
{"title":"Artificial Intelligence and the Preservation of Historic Documents","authors":"Gaute Barlindhaug","doi":"10.35492/docam/9/2/9","DOIUrl":"https://doi.org/10.35492/docam/9/2/9","url":null,"abstract":"In recent decades, digitization has been presented as an important strategy both for the preservation of historic documents and for giving increased access for researchers to such materials. In the Norwegian context, this has not only implied the digitization of printed matter but also the digitization of audiovisual material like photography and analog tape recordings. From a technical perspective, there are of cause difficulties in digitizing such a variety of material when considering the diversity of media formats dating back to the nineteenth century. However, from the archival community criticism has been raised not only about the quality of the work but also the concerning the selection process, the organization of the material, and the collection of metadata. The National Library of Norway, especially, has attempted to avoid the problem of selection by attempting to digitize all of visual, sonic and audio-visual culture heritage. But this has created even greater challenges for the organization and registration of metadata. This is an issue that is apparent to the National Library, so it is looking into the possibility of using artificial intelligence – learning algorithms – to organize the material. The key issue is that the preservation of historic material is also dependent on the preservation of context and on metadata enabling us to interpret and understand the material at hand.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46885991","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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