Library Crisis: The Late Bronze Age Collapse of 1177 BC and the Coronavirus of 2020 AD

View of Hattusa

 

Late 13th century BC rock relief carving at the Yazılıkaya sanctuary

Located amongst agricultural fields, grazing cattle and goats, the quiet town of Boğazkale watches time pass.  It is a small town in the Black Sea region of Turkey, only about 1300 people live here.  You are more likely to encounter a tractor than a car and you get the sense that everyone knows everyone else.  If you walk about half a kilometer outside of this sleepy community, you will encounter the equally serene-looking archaeological site of Hattusa.  Although now abandoned, at its peak in the 14th century BC, Hattusa was a capital and home to nearly 50,000 Hittites.

 

Cuneiform tablet

Much of what is known about the Hittites is drawn from their own writings, or from later copies of their writings.  The Hittites have been described by some sources as warlike; they utilized chariots and steadily increased their kingdom.  They worked iron and had a fair amount of courtly intrigue.  Perhaps most importantly, the Hittites were literate, employing an Indo-European language with an Akkadian script.

Around 1177 BC, Hattusa fell as one of many victims of the Late Bronze Age Collapse.  There is archaeological evidence for extensive burning at the site and the written records at Hattusa stop.  It appears as though the site was gradually abandoned over time and never successfully reoccupied.  That turned out to be a stroke of luck because a German archaeological dig in the early 20th century (re)discovered the so-called Bogazköy Archive, which was determined initially to be a largely intact royal archive.  Thanks to more research and the decipherment of the Hittite language in 1915, it seems more likely that this assemblage of 30,000 cuneiform tablets is actually a library.  This is based largely on the argument that some of the tablets have colophons that provide an order hierarchy for multi-part works and the collection includes basic descriptive inventory lists of the tablets, instituting an early type of collection management.

The abandonment of Hattusa and its library makes one wonder:  What would it have been like for the scribes or library keepers to make the decision to leave the collection?  What would they have done to get the collection ready for their absence?  What would have the last person who left the collection felt like upon leaving?  Did they believe they would return?

It’s impossible to answer such questions, since we have no surviving first-person accounts from this event.  However, we can consider a current analogy and while it’s not a perfect correspondence, it may provide some emotional experiential equivalence.

With the advent of the 2019-2020 coronavirus pandemic, many universities and cultural heritage institutions were faced with the difficult challenge of abiding by official orders, trying to keep their faculty and staff safe and healthy, and attempting to continue with business as usual.  At Duke University Libraries, the decision-making process began publicly at the beginning of March 2020.  It started with one email, a few days’ pause, and then another email and the information about how the Libraries would ultimately face the pandemic trickled in.  Eventually, it became one or more emails everyday with updates.  The Libraries scaled back opening times and access to staff and eventually made the onerous decision to close the Libraries on March 20, 2020.

The last week that the Libraries were open, staff were encouraged to begin setting up to work from home and to come up with ideas of what work could be done remotely.  Colleagues began making the transition from being in the Library to being at home.  In the Digital Production Center (DPC), our small workgroup of 4 individuals slowly began to dwindle as one-by-one co-workers began working from home.

One of the last items digitized by the DPC prior to its March 20 closure

So, what did the DPC do to get ready for the Libraries’ closure?  Our primary remit as a department is to produce digital surrogates of Duke’s collection items both for online use and for library patrons.  So, we worked hard to get items digitized for online class use, patrons and online collections.  It was a race against time because we knew that whatever we didn’t have imaged by Friday at 5pm would have to wait.  And for online courses that were counting on the material, waiting wasn’t an option.  Normally, the DPC holds materials that we are working with in our vault.  However, with the Library closing down, those items needed to be secured in the David M. Rubenstein Rare Book and Manuscript Library.  We took several carts full of materials back for safe keeping, with the idea that we would retrieve them when the Libraries reopen.

As the number of staff physically onsite in the Library began to diminish, I started saying goodbye to more people than hello.  With every farewell, there was uncertainty:  When will we see each other again?  The Library became a truly quiet place.  Gone were the patrons and students, replaced by empty seats and a deafening silence.  Colleagues that I would normally pass in the Library several times a week suddenly began showing up on my computer screen for Zoom meetings.

Perkins Library on March 20, 2020
Last day at the DPC

On the final day that the Libraries were open to staff, the last batch of materials was returned to the Rubenstein Library for safekeeping and the Libraries themselves had transformed into very different, very empty spaces.  While the circumstances are certainly not the same as they were for the Hittites, there was a sense of uncertainty.  I’d like to believe that I was more assured of my return to the Library than that last scribe or keeper.

Spring blossoms on a eerily empty Duke University campus

As I left Perkins Library, I paused in the doorway and looked back over my shoulder.  I didn’t know when I might be back.  I turned and exited into the warm Spring day on an empty Duke campus, and just like the last scribe or keeper, I was stepping into an unfamiliar future.

Epilogue

Although as of March 27, 2020,  Duke University Libraries are currently closed, the Libraries anticipate reopening as soon as it is safe and prudent to do so.  In the meantime, you can find a list of services still available during this closure here.

Sources

Bryce, Trevor. The Kingdom of the Hittites. Rev. ed.  Oxford University Press, 2005.

Casson, Lionel.  Libraries of the Ancient World.  Yale University, 2001.

Roaf, Michael. Cultural Atlas of Mesopotamia and the Ancient Near East.  Facts on File, 1990.

van den Hout, Theo P.J.  “Miles of Clay: Information Management in the Ancient Near Eastern Hittite Empire.”  Fathom Archive, The University of Chicago, 26 October 2002, http://fathom.lib.uchicago.edu/1/777777190247/.

Further Reading

Cline, Eric H.  1177 BC: The Year Civilization Collapsed.  Princeton University Press, 2014.  An overview of the Late Bronze Age Collapse, with thanks to the author for his suggestion.

Sharing data and research in a time of global pandemic

[Header image from the New York Times Coronavirus Map, March 17th, 2020]

Just before Duke stopped travel for all faculty and staff last week, I was able to attend what will probably turn out to have been one of the last conferences of the spring in the Research Data Access and Preservation Association’s (RDAP) annual summit in Santa Fe, New Mexico. RDAP is a community of “data managers and curators, librarians, archivists, researchers, educators, students, technologists, and data scientists from academic institutions, data centers, funding agencies, and industry who represent a wide range of STEM disciplines, social sciences, and humanities,” and who are committed to creating, maintaining, and teaching best practices for the access and preservation of research data. While there were many interesting presentations and posters about the work being done in this area at various institutions around the country, the conference and RDAP’s work more broadly resonated with me in a very general and timely way, which did not necessarily stem from anything I heard during the week. 

In a situation like the global pandemic we are now facing, open and unfettered access to research data is vital for treating patients, attempting to stem the course of the disease, and potentially developing life-saving vaccines lives.

A recent editorial in Science, Translational Medicine, argues that data-driven models and centralized data sharing are the best way to approach this kind of outbreak, stating “[w]e believe that scientific efforts need to include determining the values (and ranges) of the above key variables and identifying any other important ones. In addition, information on these variables should be shared freely among the scientific and the response and resilience communities, such as the Red Cross, other nongovernmental organizations, and emergency responders” [1]. As another article points out, sharing viral samples from around the world has allowed scientists to get a better picture of the disease’s genetic makeup: “[c]omparing those genomes allowed Bedford and colleagues to piece together a viral family tree. ‘We can chart this out on the map, then, because we know that this genome is connected to this genome by these mutations,’ he said. ‘And we can learn about these transmission links'” [2].


We can chart this out on the map, then, because we know that this genome is connected to this genome by these mutations. And we can learn about these transmission links.


Scientists are also accelerating the research lifecycle by using preprint servers like arXiv, bioRxiv, and medRxiv to share their preliminary conclusions without waiting on the often glacial process of peer review. This isn’t a wholly unalloyed positive, and many preprints warrant the increased scrutiny that peer review represents. Moreover, scientific research often benefits from the kind of contextualization and unpacking that peer review and science journalism can occasionally provide. But in the acute crisis that the current outbreak presents, the rapid spread of information among scientific peer networks can undoubtedly save lives.

Continuing to develop and build the infrastructure—in terms of both technology and policy frameworks—needed to conduct the kind of data sharing we are seeing now remains a goal for the scientific community moving forward.

The Libraries, along with communities like RDAP, the Research Data Alliance, and the Data Curation Network, endorse and support this mission, and we will continue to play our role in preserving and providing persistent access to research data as best we can as we all move forward through this together. In the meantime, we hope everyone in the Duke community stays safe and healthy!

[1] Layne, S. P., Hyman, J. M., Morens, D. M., & Taubenberger, J. K. (2020, March 11). New coronavirus outbreak: Framing questions for pandemic prevention. Science Translational Medicine 12(534). https://doi.org/10.1126/scitranslmed.abb1469

[2] Sanders, L. (2020, February 13). Coronavirus’s genetic fingerprints are used to rapidly map its spread. Science News. https://www.sciencenews.org/article/coronavirus-genetic-fingerprints-are-used-to-rapidly-map-spread

The New Books & Media Catalog Turns One

It’s been just over a year since we launched our new catalog in January of 2019. Since then we’ve made improvements to features, performance, and reliability, have developed a long term governance and development strategy, and have plans for future features and enhancements.

During the Spring 2019 semester we experienced a number of outages of the Solr index that powers the new catalog. It proved to be both frustrating and difficult to track down the root cause of the outages. We took a number of measures to reduce the risk of bot traffic slowing down or crashing the index. A few of these measures include limiting facet paging to 50 pages and results paging to 250 pages, as well as setting limits on OpenSearch queries. We also added service monitoring so we are automatically alerted when things go awry and automatic restarts under some known bad system conditions. We also identified that a bug in the version of Solr we were running was vulnerable to causing crashes for queries with particular characteristics. We have since applied a patch to Solr to address this bug. Happily, the index has not crashed since we implemented these protective measures and bug fixes.

Over the past year we’ve made a number of other improvements to the catalog including:

  • Caching of the home page and advanced search page have reduced page load times by 75%.
  • Subject searches are now more precise and do not include stemmed terms.
  • CDs and DVDs can be searched by accession number.
  • When digitized copies of Duke material are available at the Internet Archive, links to the digital copy are automatically generated.
  • Records can be saved to a bookmarks list and shared with others via a stable URL.
  • Eligible records now have a “Request digitization” link.
  • Many other small improvements and bug fixes.

We sometimes get requests for features that the catalog already supports:

While development has slowed, the core TRLN team meets monthly to discuss and prioritize new features and fixes, and dedicates time each month to maintenance and new development. We have a number of small improvements and bug fixes in the works. One new feature we’re working on is adding a citation generator that will provide copyable citations in multiple formats (APA, MLA, Chicago, Harvard, and Turabian) for records with OCLC numbers.

We welcome, read, and respond to all feedback and feature requests that come to us through the catalog’s feedback form. Let us know what you think.

Check out “Search Tips” and “Expert Search Tips” for detailed information about how to get the most out of the new catalog.

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:

Duke Digital Repository Evolution and a new home page

After nearly a year of work, the libraries recently launched an updated version of the software stack that powers parts the Duke Digital Repository. This work primarily centered around migrating the underlying software in our Samvera implementation — which we use to power the DDR — from ActiveFedora to Valkyrie. Moving to Valkyrie gives us the benefits of improved stability along with the flexibility to use different storage solutions, which in turn provides us with options and some degree of future-proofing. Considerable effort was also spent on updating the public and administrative interfaces to use more recent versions of blacklight and supporting software.

ddr admin interface
Administrative interface for the DDR

We also used this opportunity to revise the repository landing page at repository.duke.edu and I was involved in building a new version of the home page. Our main goals were to make use of a header implementation that mirrored our design work in other recent library projects and that integrated our ‘unified’ navigation, while also maintaining the functionality required by the Samvera software.

Old DDR Homepage
DDR home page before the redesign

We also spent a lot of time thinking about how best to illustrate the components of the Duke Digital Repository while trying to keep the content simple and streamlined. In the end we went with a design that emphasizes the two branches of the repository; Library Collections and Duke Scholarship. Each branch in turn links to two destinations — Digitized Collections / Acquired Materials and the Research Data Repository / DukeSpace. The overall design is more compact than before and hopefully an improvement aesthetically as well.

new DDR homepage
Redesigned DDR home page

We also incorporated a feedback form that is persistent across the interface so that users can more readily report any difficulties they encounter while using the platform. And finally, we updated the content in the footer to help direct users to the content they are more than likely looking for.

Future plans include incorporating our header and footer content more consistently across the repository platforms along with bringing a more unified look and feel to interface components.

Check out the new design and let us know what you think!

Inspirations and Resolutions for 2020

Happy New Year from all of us at the Digital Production Center! In this pictorial posting, I figured we should start the New Year right with some images and collections that are inspiring, funny, and just stir my heart. It begins with “The Future Calls!”

I went down the “future” rabbit hole and stumbled upon Martin Luther King’s “The Look to the Future”:

And came upon this lovely image:

YES! THE FUTURE IS MY OWN MAKING!! And with that I came up with some resolutions!

Efficiency is important!

Maybe 5 minutes is a bit ambitious, but this will be good for my schedule and good for the environment.  It’s good to have goals.

Exercise More! I definitely felt more inspired to hit the gym after seeing these images from the Anatomical Fugitive Sheets.

Learn about fashion, art, and architecture with Barbaralee Diamonstein-Spielvogel!

Self-care! This one-page advertisement from the Broadsides and Ephemera Collection of a Hot Springs spa sure is enticing!

This picturesque image from Reginald Sellman Negatives collection (which is predominantly of a family taking hikes, camping, and roadtripping!) made me quite envious.  Why yes, I’d love to take a hike in a corseted dress!

And speaking of family activities, the Memory Project and Behind the Veil collections reminded me that I really need talk to my parents and other family members more to gather and document their stories.

Why not pick up a foreign language?

Support a cause!

Spend more time with my kids! They grow up so quickly.

Lastly, and probably most importantly, VOTE!

So…what are your resolutions? And don’t tell me 300 ppi!

 

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

 

 

 

 

Notes from the Duke University Libraries Digital Projects Team