Category Archives: Digital Collections

Casting a Critical Eye on the Hayti-Elizabeth Street Renewal Area Maps

In 2019, one of the digital collections we made available to the public was a small set of architectural maps and plans titled the ‘Hayti-Elizabeth Street Renewal Area’. The short description of the maps indicates they ‘depict existing and proposed structures and modifications to the Hayti neighborhood in Durham, NC.’ Sounds pretty benign, right? Perhaps even kind of hopeful, given the word ‘renewal’?

Hayti-Elizabeth Street Renewal Area, Existing Land Use Map

Nope. This anodyne description does not tell the story of the harm caused by the Durham Urban Renewal project of the 1960s and 1970s. The Durham Redevelopment Commission intended to eliminate ‘urban blight’ via this project, which ultimately resulted in the destruction of more than 4,000 households and 500 businesses in predominantly African American areas of the city. The Hayti District, once a flourishing and self-sufficient neighborhood filled with Black-owned businesses, was largely demolished, divided, and effectively severed from what is now downtown Durham by the construction of NC Highway 147. 

Bull City 150, a “public history, geography and community engagement project” based here at Duke University, hosts a suite of excellent multi-media public history exhibitions about housing inequality in Durham on its website. One of these is Dismantling Hayti, which focuses in particular on the effects of urban renewal on the neighborhood and the city.

Dismantling Hayti, Bull City 150

But this story of so-called urban renewal is not just about Durham – it’s about the United States as a whole. From the 1950s to the 1980s, municipalities across the country demolished roughly 7.5 million dwelling units, with a vastly disproportionate impact on Black and low-income neighborhoods, in the name of revitalization. Bulldozing for highway corridors was frequently a part of urban renewal projects, happening in San Francisco, Memphis, Boston, Atlanta, Syracuse, Baltimore, everywhere in the country – the list goes on and on. And it includes Saint Paul, Minnesota, the city where, mourning and protesting the killing of yet another Black person at the hands of a white police officer, thousands of people occupied Interstate 94 in recent weeks, marching from the state capitol to Minneapolis, over a highway that was once the African American neighborhood of Rondo.  

Urban renewal projects led to what social psychiatrist Dr. Mindy Fulilove refers to as root shock – “a traumatic stress reaction related to the destruction of one’s emotional ecosystem”. This is but one thread in the fabric of white supremacy out of which our country was woven, among other twentieth century practices of redlining, discriminatory mortgage lending practices, denial of access to unemployment benefits, and rampant Jim Crow laws, which are still causing harm today. This is why it is important to interrogate the historical context of resources like the Hayti-Elizabeth Street Renewal Area maps – we should all accept the invitation extended on the Bull City 150 website to Durhamites to “reckon with the racial and economic injustices of the past 150 years and commit to building a more equitable future”.

ArcLight Migration: A Status Update After Three Months of Work

On January 20, 2020, we kicked off our first development sprint for implementing ArcLight at Duke as our new finding aids / collection guides platform. We thought our project charter was solid: thorough, well-vetted, with a reasonable set of goals. In the plan was a roadmap identifying a July 1, 2020 launch date and a list of nineteen high-level requirements. There was nary a hint of an impending global pandemic that could upend absolutely everything.

The work wasn’t supposed to look like this, carried out by zooming virtually into each other’s living rooms every day. Code sessions and meetings now require navigating around child supervision shifts and schooling-from-home responsibilities. Our new young office-mates occasionally dance into view or within earshot during our calls. Still, we acknowledge and are grateful for the privilege afforded by this profession to continue to do our work remotely from safe distance.

So, a major shoutout is due to my colleagues in the trenches of this work overcoming the new unforeseen constraints around it, especially Noah Huffman, David Chandek-Stark, and Michael Daul. Our progress to date has only been possible through resilience, collaboration, and willingness to keep pushing ahead together.

Three months after we started the project, we remain on track for a summer 2020 launch.

As a reminder, we began with the core open-source ArcLight platform (demo available) and have been building extensions and modifications in our local application in order to accommodate Duke needs and preferences. With the caveat that there’ll be more changes coming over the next couple months before launch, I want to provide a summary of what we have been able to accomplish so far and some issues we have encountered along the way. Duke staff may access our demo app (IP-restricted) for an up-to-date look at our work in progress.

Homepage

Homepage design for Duke’s ArcLight finding aids site.
  • Duke Branding. Aimed to make an inviting front door to the finding aids consistent with other modern Duke interfaces, similar to–yet distinguished enough from–other resources like the catalog, digital collections, or Rubenstein Library website.
  • Featured Items. Built a configurable set of featured items from the collections (with captions), to be displayed randomly (actual selections still in progress).
  • Dynamic Content. Provided a live count of collections; we might add more indicators for types/counts of materials represented.

Layout

A collection homepage with a sidebar for context navigation.
  • Sidebar. Replaced the single-column tabbed layout with a sidebar + main content area.
  • Persistent Collection Info. Made collection & component views more consistent; kept collection links (Summary, Background, etc.) visible/available from component pages.
  • Width. Widened the largest breakpoint. We wanted to make full use of the screen real estate, especially to make room for potentially lengthy sidebar text.

Navigation

Component pages contextualized through a sidebar navigator and breadcrumb above the main title.
  • Hierarchical Navigation. Restyled & moved the hierarchical tree navigation into the sidebar. This worked well functionally in ArcLight core, but we felt it would be more effective as a navigational aid when presented beside rather than below the content.
  • Tooltips & Popovers. Provided some additional context on mouseovers for some navigational elements.

    Mouseover context in navigation.
  • List Child Components. Added a direct-child list in the main content for any series or other component. This makes for a clear navigable table of what’s in the current series / folder / etc. Paginating it helps with performance in cases where we might have 1,000+ sibling components to load.
  • Breadcrumb Refactor. Emphasized the collection title. Kept some indentation, but aimed for page alignment/legibility plus a balance of emphasis between current component title and collection title.

    Breadcrumb trail to show the current component’s nesting.

Search Results

Search results grouped by collection, with keyword highlighting.
  • “Group by Collection” as the default. Our stakeholders were confused by atomized components as search results outside of the context of their collections, so we tried to emphasize that context in the default search.
  • Revised search result display. Added keyword highlighting within result titles in Grouped or All view. Made Grouped results display checkboxes for bookmarking & digitized content indicators.
  • Advanced Search. Kept the global search box simple but added a modal Advanced search option that adds fielded search and some additional filters.

Digital Objects Integration

Digital objects from the Duke Digital Repository are presented inline in the finding aid component page.
  • DAO Roles. Indexed the @role attribute for <dao> elements; we used that to call templates for different kinds of digital content
  • Embedded Object Viewers. Used the Duke Digital Repository’s embed feature, which renders <iframe>s for images and AV.

Indexing

  • Whitespace compression. Added a step to the pipeline to remove extra whitespace before indexing. This seems to have slightly accelerated our time-to-index rather than slow it down.
  • More text, fewer strings. We encountered cases where note-like fields indexed as strings by ArcLight core (e.g., <scopecontent>) needed to be converted to text because we had more than 32,766 bytes of data (limit for strings) to put in them. In those cases, finding aids were failing to index.
  • Underscores. For the IDs that end up in a URL for a component, we added an underscore between the finding aid slug and the component ID. We felt these URLs would look cleaner and be better for SEO (our slugs often contain names).
  • Dates. Changed the date normalization rules (some dates were being omitted from indexing/display)
  • Bibliographic ID. We succeeded in indexing our bibliographic IDs from our EADs to power a collection-level Request button that leads a user to our homegrown requests system.

Formatting

  • EAD -> HTML. We extended the EAD-to-HTML transformation rules for formatted elements to cover more cases (e.g., links like <extptr> & <extref> or other elements like <archref> & <indexentry>)

    Additional formatting and link render rules applied.
  • Formatting in Titles. We preserved bold or italic formatting in component titles.

ArcLight Core Contributions

  • We have been able to contribute some of our code back to the ArcLight core project to help out other adopters.

Setting the Stage

The behind-the-scenes foundational work deserves mention here — it represents some of the most complex and challenging aspects of the project.  It makes the application development driving the changes I’ve shared above possible.

  • Built separate code repositories for our Duke ArcLight application and our EAD data
  • Gathered a diverse set of 40 representative sample EADs for testing
  • Dockerized our Duke ArcLight app to simplify developer environment setup
  • Provisioned a development/demo server for sharing progress with stakeholders
  • Automated continuous integration and deployment to servers using GitLabCI
  • Performed targeted data cleanup
  • Successfully got all 4,000 of our finding aids indexed in Solr on our demo server

Our team has accomplished a lot in three months, in large part due to the solid foundation the ArcLight core software provides. We’re benefiting from some amazing work done by many, many developers who have contributed their expertise and their code to the Blacklight and ArcLight codebases over the years. It has been a real pleasure to be able to build upon an open source engine– a notable contrast to our previous practice of developing everything in-house for finding aids discovery and access.

Still, much remains to be addressed before we can launch this summer.

The Road Ahead

Here’s a list of big things we still plan to tackle by July (other minor revisions/bugfixes will continue as well)…

  • ASpace -> ArcLight. We need a smoother publication pipeline to regularly get data from ArchivesSpace indexed into ArcLight.
  • Access & Use Statements. We need to revise the existing inheritance rules and make sure these statements are presented clearly. It’s especially important when materials are indeed restricted.
  • Relevance Ranking. We know we need to improve the ranking algorithm to ensure the most relevant results for a query appear first.
  • Analytics. We’ll set up some anonymized tracking to help monitor usage patterns and guide future design decisions.
  • Sitemap/SEO. It remains important that Google and other crawlers index the finding aids so they are discoverable via the open web.
  • Accessibility Testing / Optimization. We aim to comply with WCAG2.0 AA guidelines.
  • Single-Page View. Many of our stakeholders are accustomed to a single-page view of finding aids. There’s no such functionality baked into ArcLight, as its component-by-component views prioritize performance. We might end up providing a downloadable PDF document to meet this need.
  • More Data Cleanup. ArcLight’s feature set (especially around search/browse) reveals more places where we have suboptimal or inconsistent data lurking in our EADs.
  • More Community Contributions. We plan to submit more of our enhancements and bugfixes for consideration to be merged into the core ArcLight software.

If you’re a member of the Duke community, we encourage you to explore our demo and provide feedback. To our fellow future ArcLight adopters, we would love to hear how your implementations or plans are shaping up, and identify any ways we might work together toward common goals.

Stay safe, everyone!

Labor in the Time of Coronavirus

The Coronavirus pandemic has me thinking about labor–as a concept, a social process, a political constituency, and the driving force of our economy–in a way that I haven’t in my lifetime. It’s become alarmingly clear (as if it wasn’t before) that we all need food, supplies, and services to survive past next week, and that there are real human beings out there working to produce and deliver these things. No amount of entrepreneurship, innovation, or financial sleight of hand will help us through the coming months if people are not working to provide the basic requirements for life as we know it.

This blog post draws from  images in our digitized library collections to pay tribute to all of the essential workers who are keeping us afloat during these challenging times. As I browsed these photographs and mused on our current situation, a few important and oft-overlooked questions came to mind.

Who grows our food? Where does it come from and how is it processed? How does it get to us?

Bell pepper pickers, 1984 June. Paul Kwilecki Photographs.
Prisoners at the county farm killing hogs, 1983 Mar. Paul Kwilecki Photographs.
Worker atop rail car loading corn from storage tanks, 1991 Sept. Paul Kwilecki Photographs.
Manuel Molina, mushroom farm worker, Kennett Square, PA 1981. Frank Espada Photographs.

What kind of physical environment do we work in and how does that affect us?

Maids in a room of the Stephen Decatur Hotel shortly before it was torn down, 1970. Paul Kwilecki Photographs
Worker in pit preparing to weld. Southeastern Minerals Co. Bainbridge, 1991 Aug. Paul Kwilecki Photographs
Loggers in the woods near Attapulgus, 1978 Feb. Paul Kwilecki Photographs.

How do we interact with machines and technology in our work? Can our labor be automated or performed remotely?

Worker signaling for more logs. Elberta Crate and Box. Co. Bainbridge, 1991 Sept. Paul Kwilecki Photographs.
Worker, Williamson-Dickie plant. Bainbridge, 1991 Sept. Paul Kwilecki Photographs.
Machine operator watching computer controlled lathe, 1991 July. Paul Kwilecki Photographs.
Worker at her machine. Elberta Crate and Box Co. Bainbridge, 1981 Nov. Paul Kwilecki Photographs.

What equipment and clothing do we need to work safely and productively?

Cotton gin worker wearing safety glass and ear plugs for noise protection. Decatur Gin Co., 1991 Sept. Paul Kwilecki Photographs.
Worker operating bagging machine. Flint River Mills. Bainbridge, 1991 July. Paul Kwilecki Photographs.
Worker at State Dock, 1992 July. Paul Kwilecki Photographs.

Are we paid fairly for our work? How do relative wages for different types of work reflect what is valued in our society?

No known title. William Gedney Photographs.

How we think about and respond to these questions will inform how we navigate the aftermath of this ongoing crisis and whether or not we thrive into the future. As we celebrate International Workers’ Day on May 1 and beyond, I hope everyone will take some time to think about what labor means to them and to our society as a whole.

Beyond One Thousand Words

There is a particular fondness that I hold for digital photograph collections. If I had to pinpoint when this began, then I would have to say it started while digitizing material on a simple Epson flatbed scanner as an undergraduate student worker in the archives.

Witnessing the physical become digital is a wonder that never gets old.

Every day we are generating digital content. Pet pics. Food pics. Selfies. Gradually building a collection of experiences as we document our lives in images. Sporadic born digital collections stored on devices and in the cloud.

I do not remember the last time I printed a photograph.

My parents have photo albums that I love. Seeing images of them, then us. The tacky adhesive and the crinkle of thin plastic film as it is pulled back to lift out a photo. That perfect square imprint left behind from where the photo rested on the page.

Pretty sure that Polaroid camera is still around somewhere.

Time bound up in a book.

Beyond their visual appeal, I appreciate how photos capture time. Nine months have passed since I moved to North Carolina. I started 2019 in Chicago and ended it in Durham. These photos of my Winter in both places illustrate that change well.

Sometimes I want to pull down my photos from the cloud and just print everything. Make my own album. Have something with heft and weight to share and say, “Hey, hold and look at this.” That sensory experience is invaluable.

Yet, I also value the convenience of being able to view hundreds of photos with the touch of a button.

Duke University Libraries offers access to thousands of images through its Digital Collections.

Here’s a couple photo collections to get you started:

All About that Time Base

The video digitization system in Duke Libraries’ Digital Production Center utilizes many different pieces of equipment: power distributors, waveform and vectorscope monitors, analog & digital routers, audio splitters & decibel meters, proc-amps, analog (BNC, XLR and RCA) to digital (SDI) converters, CRT & LCD video monitors, and of course an array of analog video playback decks of varying flavors (U-matic-NTSC, U-matic-PAL, Betacam SP, DigiBeta, VHS-NTSC and VHS-PAL/SECAM). We also transfer content directly from born-digital DV and MiniDV tapes.

A grandfather clock is a time base.

One additional component that is crucial to videotape digitization is the Time Base Corrector (TBC). Each of our analog video playback decks must have either an internal or external TBC, in order to generate an image of acceptable quality. At the recent Association of Moving Image Archivist’s Conference in Baltimore, George Blood (of George Blood Audio/Video/Film/Data) gave a great presentation on exactly what a Time Base Corrector is, appropriately entitled “WTF is a TBC?” Thanks to George for letting me relay some of his presentation points here.

A time base is a consistent reference point that one can utilize to stay in sync. For example, The Earth rotating around the Sun is a time base that the entire human race relies on, to stay on schedule. A grandfather clock is also a time base. And so is a metronome, which a musical ensemble might use to all stay “in time.”

Frequency is defined as the number of occurrences of a repeating event per unit of time. So, the frequency of the Earth rotating around the Sun is once per 24 hrs. The frequency of a grandfather clock is one pendulum swing per second. The clock example can also be defined as one “cycle per second” or one hertz (Hz), named after Heinrich Hertz, who first conclusively proved the existence of electromagnetic waves in the late 1800’s.

One of the DPC’s external Time Base Correctors

But anything mechanical, like grandfather clocks and videotape decks, can be inconsistent. The age and condition of gears and rods and springs, as well as temperature and humidity, can significantly affect a grandfather clock’s ability to display the time correctly.

Videotape decks are similar, full of numerous mechanical and electrical parts that produce infinite variables in performance, affecting the deck’s ability to play the videotape’s frames-per-second (frequency) in correct time.

NTSC video is supposed to play at 29.97 frames-per-second, but due to mechanical and electro-magnetic variables, some frames may be delayed, or some may come too fast. One second of video might not have enough frames, another second may have too many. Even the videotape itself can stretch, expand and contract during playback, throwing off the timing, and making the image wobbly, jittery, too bright or dark, too blue, red or green.

A Time Base Corrector does something awesome. As the videotape plays, the TBC stores the unstable video content briefly, fixes the timing errors, and then outputs the corrected analog video signal to the DPC’s analog-to-digital converters. Some of our videotape decks have internal TBCs, which look like a computer circuit board (shown below). Others need an external TBC, which is a smaller box that attaches to the output cables coming from the videotape deck (shown above, right). Either way, the TBC can delay or advance the video frames to lock them into correct time, which fixes all the errors.

An internal Time Base Corrector card from a Sony U-matic BVU-950 deck

An internal TBC is actually able to “talk” to the videotape deck, and give it instructions, like this…

“Could you slow down a little? You’re starting to catch up with me.”

“Hey, the frames are arriving at a strange time. Please adjust the timing between the capstan and the head drum.”

“There’s a wobble in the rate the frames are arriving. Can you counter-wobble the capstan speed to smooth that out?”

“Looks like this tape was recorded with bad heads. Please increase gain on the horizontal sync pulse so I can get a clearer lock.”

Without the mighty TBC, video digitization would not be possible, because all those errors would be permanently embedded in the digitized file. Thanks to the TBC, we can capture a nice, clean, stable image to share with generations to come, long after the magnetic videotape, and playback decks, have reached the end of their shelf life.

Digital Collections 2019

‘Tis the time of year for top 10 lists. Here at Duke Digital Collections HQ, we cannot just pick 10, because all our digital collections are tops!  What follows is a list of all the digital collections we have launched for public access this calendar year.

Our newest collections include a range of formats and subject areas from 19th Century manuscripts to African American soldiers photograph albums to Duke Mens Basketball posters to our first Multispectral Images of papyrus to be ingested into the repository.  We also added new content to 4 existing digital collections.  Lastly, our platform migration is still ongoing, but we made some incredible progress this year as you will see below.  Our goal is to finish the migration by the end of 2020.

New Digital Collections

Additions to Existing Collections

Migrated Collections into the Duke Digital Repository

 

 

 

 

Lighting and the PhaseOne: It’s More Than Point and Shoot

Last week, I went to go see the movie IT: Chapter 2. One thing I really appreciated about the movie was how it used a scene’s lighting to full effect. Some scenes are brightly lit to signify the friendship among the main characters. Conversely, there are dark scenes that signify the evil Pennywise the Clown. For the movie crew, no doubt it took a lot of time and manpower to light an individual scene – especially when the movie is nearly 3 hours long.

We do the same type of light setup and management inside the Digital Production Center (DPC) when we take photos of objects like books, letters, or manuscripts. Today, I will talk specifically about how we light the bound material that comes our way, like books or booklets. Generally, this type of material is always going to be shot on our PhaseOne camera, so I will particularly highlight that lighting setup today.

Before We Begin

It’s not enough to just turn the lights on in our camera room to do the trick. In order to properly light all the things that need to be shot on the PhaseOne, we have specific tools and products we use that you can see in the photo below.

We have 4 high-powered lights (two sets of two Buhl SoftCube SC-150 models) pointed directly in the camera’s field of view. There are two on the right and two on the left. These are stationed approximately 3.5 feet off the ground and approximately 2.5 feet away from the objects themselves. These lights are supported by Avenger A630B light stands. They allow for a wide range of movement, extension, and support if we need them.

But if bright, hot lights were pointed directly at sensitive documents for hours, it would damage them. So light diffusers are necessary. For both sets of lights, we have 3 layers of material to diffuse the light and prevent material from warping or text from fading. The first layer, directly attached to the light box itself, is an inexpensive sheet of diffusion fabric. This type of material is often made from nylon or silk, and are usually inexpensive.

The second diffusion layer is an FJ Westcott Scrim Jim, a similar thin fabric that is attached to a lightweight stand-up frame, the Manfrotto 156BLB. This frame can also be moved or extended if need be. The last layer is another sheet of diffusion fabric, attached to a makeshift “cube” held up by lightweight wooden rods. This cube can be picked up or carried, making it very convenient if we need to eventually move our lights.

So in total, we have 4 lights, 4 layers of diffusion fabric attached to the light boxes, two Scrim Jims, and the cube featuring 2 sides of additional diffusion fabric. After having all these items stationed, surely we can start taking pictures, right? Not yet.

Around the Room

There are still more things to be aware of – this time in the camera room itself. We gently place the materials themselves on a cradle lined with a black felt, similar to velvet. This cradle is visible in the bottom right part of the photo above. It is placed on top of a table, also coated in black felt. This is done so no background colors bounce back or reflect onto the object and change what it looks like in the final image itself. The walls of the camera room are also painted a neutral grey color for the same reason, as you can see in the background of the above photo. Finally, any tiny reflective segments between the ceiling tiles have been blacked out with gaffer tape. Having the room this muted and intentionally dark also helps us when we have to shoot multi-spectral images. No expense has been spared to make sure our colors and photos are correct.

Camera Settings

With all these precautions in place, can we finally take photos of our materials? Almost. Before we can start photographing, we have to run some tests to make sure everything looks correct to our computers. After making sure our objects are sharp and in focus, we use a program called DTDCH (see the photo to the right) to adjust the aperture and exposure of the PhaseOne so that nothing appears either way too dim or too bright. In our camera room, we use a PhaseOne IQ180 with a Schneider Kreuznach Apo-Digitar lens (visible in the top-right corner of the photo above). We also use the program CaptureOne to capture, save, and export our photos.

Once the shot is in focus and appropriately bright, we will check our colors against an X-Rite ColorChecker Classic card (see the photo on the left) to verify that our camera has a correct white balance. When we take a photo of the ColorChecker, CaptureOne displays a series of numbers, known as RGB values, found in the photo’s colors. We will check these numbers against what they should be, so we know that our photo looks accurate. If these numbers match up, we can continue. You could check our work by saving the photo on the left and opening it in a program like Adobe Photoshop.

Finally, we have specific color profiles that the DPC uses to ensure that all our colors appear accurate as well. For more information on how we consistently calibrate the color in our images, please check out this previous blog post.

After all this setup, now we can finally shoot photos! Lighting our materials for the PhaseOne is a lot of hard work and preparation. But it is well worth it to fulfill our mission of digitizing images for preservation.

Resonance of a Moment

Resonance: the reinforcement or prolongation of sound by reflection from a surface or by the synchronous vibration of a neighboring object

(Lexico, 2019)

Nearly 4 months have passed since I moved to Durham from my hometown Chicago to join Duke’s Digital Collections & Curation Services team. With feelings of reflection and nostalgia, I have been thinking on the stories and memories that journeys create.

I have always believed a library the perfect place to discover another’s story. Libraries and digital collections are dynamic storytelling channels that connect people through narrative and memory. What are libraries if not places dedicated to memories? Memory made incarnate in the turn of page, the capturing of an image.

Memory is sensation.

In my mind memory is ethereal – wispy and nebulous. Like trying to grasp mist or fog only to be left with the shimmer of dew on your hands. Until one focuses on a detail, then the vision sharpens. Such as the soothing warmth of a pet’s fur. A trace of familiar perfume in the air as a stranger walks by. Hearing the lilt of an accent from your hometown. That heavy, sticky feeling on a muggy summer day.

Memories are made of moments.

I do not recall the first time I visited a library. However, one day my parents took me to the library and I checked out 11 books on dinosaurs. As a child I was fascinated by them. Due to watching so much of The Land Before Time and Jurassic Park no doubt. One of the books had beautiful full-length pullout diagrams. I remember this.

Experiences tether individuals together across time and place. Place, like the telling of a story is subjective. It holds a finite precision which is absent in the vagueness and vastness of space. This personal aspect is what captures a person when a tale is well told.  A corresponding chord is struck, and the story resounds as listeners see themselves reflected.

When a narrative reaches someone with whom it resonates, its impact can be amplified beyond any expectations.

There are many unique memories and moments held in the Duke University Libraries digital collections. Come take a journey and explore a new story.

My humanity is bound up in yours, for we can only be human together. ~Desmond Tutu

Celebrating a New Duke Digital Collections Milestone with Section A

Duke Digital Collections recently passed 100,000 items!

 

Last week, it was brought to our attention that Duke Digital Collections recently passed 100,000 individual items found in the Duke Digital Repository! To celebrate, I want to highlight some of the most recent materials digitized and uploaded from our Section A project. In the past, Bitstreams has blogged about what Section A is and what it means, but it’s been a couple of years since that post, and a little refresher couldn’t hurt.

What is Section A?

In 2016, the staff of Rubenstein Research Services proposed a mass digitization project of Section A. This is the umbrella term for 175 boxes of different historic materials that users often request – manuscripts, correspondence, receipts, diaries, drawings, and more. These boxes contain around 3,900 small collections that all had their own workflows. Every box needs consultations from Rubenstein Research Services, review by Library Conservation Department staff, review by Technical Services, metadata updates, and more, all to make sure that the collections could be launched and hosted within the Duke Digital Repository. 

In the 2 years since that blog post, so much has happened! The first 2 Section A collections had gone live as a sort of proof-of-concept, and as a way to define what the digitization project would be and what it would look like. We’ve added over 500 more collections from Section A since then. This somehow barely even scratches the surface of the entire project! We’re digitizing the collections in alphabetical order, and even after all the collections that have gone online, we are currently still only on the letter “C”! 

Nonetheless, there is already plenty of materials to check out and enjoy. I was a student of history in college, so in this blog post, I want to particularly highlight some of the historic materials from the latter half of the 19th century.

Showing off some of Section A

Clara Barton’s description of the Grand Hotel de la Paix in Lyon, France.

In 1869, after her work as a nurse in the Civil War, Clara Barton traveled around Europe to Geneva, Switzerland and Corsica, France. Included in the Duke Digital Collections is her diary and calling cards from her time there. These pages detail where she visited and stayed throughout the year. She also wrote about her views on the different European countries, how Americans and Europeans compare, and more. Despite her storied career and her many travels that year, Miss Barton felt that “I have accomplished very little in a year”, and hoped that in 1870, she “may be accounted worthy once more to take my place among the workers of the world, either in my own country or in some other”.

Back in America, around 1900, the Rev. John Malachi Bowden began dictating and documenting his experiences as a Confederate soldier during the Civil War, one of many that a nurse like Miss Barton may have treated. Although Bowden says he was not necessarily a secessionist at the beginning of the Civil War, he joined the 2nd Georgia Regiment in August 1861 after Georgia had seceded. During his time in the regiment, he fought in the Battles of Fredericksburg, Gettysburg, Spotsylvania Court House, and more. In 1864, Union forced captured and held Bowden as a prisoner at Maryland’s Point Lookout Prison, where he describes in great detail what life was like as a POW before his eventual release. He writes that he was “so indignant at being in a Federal prison” that he refused to cut his hair. His hair eventually grew to be shoulder-length, “somewhat like Buffalo Bill’s.”

Speaking of whom, Duke Digital Collections also has some material from Buffalo Bill (William Frederick Cody), courtesy of the Section A initiative. A showman and entertainer who performed in cowboy shows throughout the latter half of the 19th century, Buffalo Bill was enormously popular wherever he went. In this collection, he writes to a Brother Miner about how he invited seventy-five of his “old Brothers” from Bedford, VA to visit him in Roanoke. There is also a brief itinerary of future shows throughout North Carolina and South Carolina. This includes a stop here in Durham, NC a few weeks after Bill wrote this letter.

Buffalo Bill’s letter to his “Brother Miner”, dated October 17, 1916.

Around this time, Walter Clark, associate justice of the North Carolina Supreme Court, began writing his own histories of North Carolina throughout the 18th and 19th centuries. Three of Clark’s articles prepared for the University Magazine of the University of North Carolina have been digitized as part of Section A. This includes an article entitled “North Carolina in War”, where he made note of the Generals from North Carolina engaged in every war up to that point. It’s possible that John Malachi Bowden was once on the battlefield alongside some of these generals mentioned in Clark’s writings. This type of synergy in our collection is what makes Section A so exciting to dive into.

As the new Still Image Digitization Specialist at the Duke Digital Production Center, seeing projects like this take off in such a spectacular way is near and dear to my heart. Even just the four collections I’ve highlighted here have been so informative. We still have so many more Section A boxes to digitize and host online. It’s so exciting to think of what we might find and what we’ll digitize for all the world to see. Our work never stops, so remember to stay updated on Duke Digital Collections to see some of these newly digitized collections as they become available. 

Just in time for Summer – New Digital Collections!

Looking for something to keep you company on your Summer vacation?  Why not direct your devices to a Duke Digital collections! Seriously! Here are a few of the compelling collections we debuted earlier this Spring, and we have have more coming in late June.

Hayti-Elizabeth Street renewal area

These maps and 2 volume report document Durham’s Hayti-Elizabeth st neighborhood infrastructure prior to the construction of the Durham Freeway, as well as the justifications for the redevelopment of the area.  This is an excellent resource for folks studying Durham history and/or the urban renewal initiatives of the mid-20th century. 

Map of the Hayti-Elizabeth Street renewal area
One map from “Hayti-Elizabeth Street renewal area : general neighborhood renewal plan, map 1”

African American Soldiers’ Photography albums

We launched 8 collections of photograph albums created by African American soldiers serving in the military across the world including Japan, Vietnam and Iowa.  Together these albums help “document the complexity of the African American military experience” (Bennett Carpenter from his blog post, “War in Black and White: African American Soldiers’ Photograph Albums”).  

One page from the African American soldier’s World War II photograph album of Munich, Germany

 

Sir Percy Moleworth Sykes Photograph Album

This photograph album contains pictures taken by Sir Percy Moleworth Sykes during his travels in a mountainous region of Central Asia, now the Xinjiang Uyghur Autonomous Region of China, with his sister, Ella Sykes.  According to the collection guide, the album’s “images are large, crisp, and rich with detail, offering views of a remote area and its culture during tensions in the decades following the Russo-Turkish War”.

A Sidenote

Both the Hayti-Elizabeth and soldiers’ albums collections were proposed in response to our 2017 call for digitization proposals related to diversity and inclusion.  Other collections in that batch include the Emma Goldman papers, Josephine Leary papers, and the ReImagining collection.  

Coming soon

Our work never stops, and we have several large projects in the works that are scheduled to launch by the end of June. They are the first batch of video recordings from the Memory Project. We are busy migrating the incredible photographs from the Sydney Gamble collection into the digital repository.  Finally there is one last batch of Radio Haiti recordings on the way.  

Advertisement for the American AirlinesKeeping in touch

We launch new digital collections just about every quarter, and have been investigating new ways to promote our collections as part of an assessment project.  We are thinking of starting a newsletter – would you subscribe? What other ways would you like to keep in touch with Duke Digital Collections? Post a comment or contact me directly