Knowledge Hoarding in Organizations and Beyond

Knowledge hoarding could well be the greatest barrier to well-functioning information-sharing systems in organizations, as well as in broader society. Isabel Rechberg and Jawad Syed mention this phenomenon in passing in their article Ethical issues in knowledge management: conflict of knowledge ownership: “Insufficient or inefficient reward systems may lead individuals to believe they are better off hoarding rather than sharing what they know.” Knowledge hoarding costs organizations money and time in retraining employees and recompiling information that employees would prefer to keep rather than share with colleagues and employers.

Rechberg and Syed recommend that organizations institute a “moral contract” with employees to encourage them to “willingly process knowledge” – an appealing yet abstract concept. A great deal of ink has been spilled as corporations seek concrete ways to encourage employees to share what they know. The Harvard Business Review attributes the expert employee’s impulse to hang on to experience-based knowledge – what they call “deep knowledge” – to “financial incentives, personal ego, discontent or frustration with the company.” The employee mentality could be summed up as – “what’s in it for me?” Why should an employee bother sharing knowledge that they worked hard to collect, if it won’t gain them money or prestige, for the benefit of colleagues who did nothing to earn the information?

HBR recommends that companies create a “knowledge transfer program” that will foster mentoring and teamwork, so that knowledge will never be concentrated in any single person, and make employees feel appreciated so that they will want to pay back their employer and leave a legacy when they depart. In the corporate context, then, employers have a clear plan of attack against knowledge hoarding – dismantle hierarchical work structures that make employees think they must keep their knowledge close to keep themselves from becoming irrelevant or less valuable; encourage mentoring and group work and set aside time for education; and provide encouragement and incentives for employees who share.

As Kenneth Husted and Snejina Michailova noted in an article entitled Diagnosing and fighting knowledge-sharing hostility, the impulse to hoard knowledge is an unproductive one, but it is also completely human and natural: “The decision to hoard knowledge is destructive from an organizational point of view but, at the same time, it is often rational and well-justified from the perspective of the individual.” People do not trust others with their hard-earned knowledge and do not want people to “freeload,” or they worry about being judged harshly if their knowledge is deemed incorrect.

These concerns are not limited to the corporate context, and neither is knowledge hoarding. How does knowledge hoarding manifest in the non-corporate world, for example in academia? How can we combat it and foster an intellectually open culture? Is it even realistic to think that we could overcome such ingrained human behaviors?

The first example of non-corporate knowledge hoarding that comes to mind is that of scientific research – researchers spend years of their lives obtaining funding and resources for their research, compiling data, and interpreting it. Being the first to conduct and publish cutting-edge research can lead to prestige and further funding to conduct even more cutting-edge research. It is reasonable that researchers would prefer to hang on to their ideas and data so that others cannot cut in. The fear of “knowledge parasites” is real.

It is all well and good for researchers (and the institutions that sponsor them with money and resources) to reap the rewards of their own hard work, to the exclusion of those who did not meaningfully contribute to it. But this culture of hoarding ignores the fact that research does not occur in a vacuum. It inevitably builds on discoveries that came before it, and collaboration among scientists can speed progress and increase the quality of the knowledge that is put out in the world for society’s benefit. This is the root of the recent trend toward open research databases that encourage researchers to make their findings, and in some cases the underlying data, publicly available. Indeed, the National Institutes of Health – a major grantmaker – has instituted a public access policy. With the stated goal of advancing science and improving human health, NIH requires scientists to submit final peer-reviewed journal manuscripts that arise from NIH funds to an open access repository.

As one example, the New England Journal of Medicine recently published a report on one NIH-funded repository, ClinVar, which compiles research on genetic mutations. ClinVar is meant to foster a more complete, unified perspective on the current state of research in this area. According to the NEJM study, no single laboratory can have the complete picture of genetic mutation research – indeed, individual laboratories possess varying and inconsistent data and, as one researcher remarked, “if private companies or single labs followed their own interpretation of variants, they’re likely to get it wrong.” Accordingly, NEJM found, “[h]ealthy competition among isolated entities is no longer sufficient to drive our understanding of human variation, and patient care may be compromised when data are not shared.” The best possible solution is for researchers to contribute to and learn from open databases rather than keeping data to themselves. No researcher is an island.

The trend toward open access databases is not limited to the sciences and is moving forward across disciplines, including the humanities and social sciences – although the sometimes slow pace of growth in participation is frustrating to many advocates. Just like in the corporate context, individuals are frequently unwilling to open up the knowledge they have worked hard to compile, and it can take considerable convincing and incentives for them to do so.

Individuals will always hoard knowledge when they think it is in their interest to do so. It is human nature. However, when openness and knowledge sharing make a true difference to a common good – for the success of an organization or for the growth of scientific knowledge – people have developed strategies to change individuals’ incentives and to combat knowledge hoarding. These strategies shift the information culture from one of individualism and personal knowledge ownership to one of collaboration and mentorship. Efforts like open access databases should eventually gain traction and show their worth in growing the quality and quantity of knowledge in the world, in a way that benefits both the original knowledge creators and a broader population.

 

References

Rechberg, I. & Syed, J. (2013). “Ethical issues in knowledge management: conflict of knowledge ownership.” Journal of Knowledge Management, 17(6), pp. 628–647.

Leonard, D. (2014). How to prevent experts from hoarding knowledge. Harvard Business Review. Retrieved from https://hbr.org/2014/12/how-to-prevent-experts-from-hoarding-knowledge.

Husted, K. & Michailova, S. (2002). Diagnosing and fighting knowledge-sharing hostility. Organizational Dynamics, 31(1), pp. 60-73. http://www.researchgate.net/profile/Snejina_Michailova/publication/247142520_Diagnosing_and_Fighting_Knowledge-Sharing_Hostility/links/02e7e51e051bacb293000000.pdf

Subbaraman, N. (2015, May 17). Want better science? Quit hoarding data, genetics researchers say. The Boston Globe.  Retrieved from http://www.betaboston.com/news/2015/05/27/want-better-science-quit-hoarding-data-genetics-researchers-say/.

NIH Public Access Policy. (2014). Retrieved from https://publicaccess.nih.gov.

 

Edward Snowden, the Patriot Act, and the ALA

The concern for patron privacy is a tale as old as time. Well, almost. The Code of Ethics for Librarians, published in 1939, states “It is the librarian’s obligation to treat as confidential any private information obtained through contact with library patrons”. [1. “Midwinter Council Minutes,” American Library Association Bulletin 33 no. 2 (1939): 128–129.] It’s no wonder that when the Snowden controversy emerged in 2013 that the American Library Association took a stance. However, within 24 hours, that position wavered.

In 2013, Edward Snowden released thousands of classified government documents revealing NSA surveillance programs. The debate encompassing the controversy often begs the question – is he a hero, or not? Did Edward Snowden do the right thing? The ALA Council issued a resolution on June 30th, 2013 supporting Edward Snowden. The resolution says that the ALA “recognizes Edward Snowden as a whistleblower who, in releasing information that documents government attacks on privacy, free speech, and freedom of association, has performed a valuable service in launching a national dialogue about transparency, domestic surveillance, and over classification”. [2. Resolution in support of Edward Snowden. (2013, January 29). Retrieved September 20, 2015.]

However, the next day on July 1st, the resolution was revised and took out any mention of Edward Snowden.  The new resolution urges the United States Congress and Obama to “reform our nation’s climate of secrecy, over classification, and secret law regarding national security and surveillance” and “reaffirms its unwavering support for the fundamental principles that are the foundation of our free and democratic society”. [3. ALA Council passes resolution on whistleblowers; government transparency. (2013, July 2). Retrieved September 22, 2015.] While the core ideas of privacy remain, the choice to remove any mention of Edward Snowden in the revised resolution has not gone unnoticed.

Why, in the matter of a day, did the American Library Association revise their position? The idea, the “myth”, of neutrality comes to mind. Robert Jensen makes it very clear in his article The Myth of the Neutral Professional that neutrality is impossible. You will always have a stance on any issue – even not taking a stance, actually, is a stance in itself. Yet, the ALA seems a little shaky on taking a non-neutral standing when publicly supporting Edward Snowden. Perhaps supporting him would have been too controversial. Maybe it would have been crossing the political lines too much. Possibly, supporting whistleblowers is great in theory, but not when it applies to an individual’s personal case. Whatever the true reason, the ALA focused their resolution more so on the importance of privacy as a whole and swept Edward Snowden under the rug.

Regardless of their seemingly “neutral” opinion of Snowden (though, we know in reality it isn’t neutral at all), the ALA has not had such a wavering stance on all controversial subjects. The ALA is extremely vocal in regards to patron privacy, especially when it comes to the Patriot Act. The Patriot Act was signed into law by President George W. Bush in 2001. Before the Patriot Act, 48 states had laws protecting library users’ information, including search histories and circulation records. Information would only be released if there was a court order. [4. England, D. (n.d.). The patriot act and library records. Retrieved September 22, 2015.] After the Patriot Act (particularly Section 215) was signed into law, that information was easily accessible to government agents. “Third-party holders of your financial, library, travel, video rental, phone, medical, church, synagogue, and mosque records can be searched without your knowledge or consent, providing the government says it’s trying to protect against terrorism”. [5. Roller, E. (2013, June 7). This is what section 215 of the patriot act does. Retrieved September 28, 2015.]

It did not take long for the ALA to get involved. ALA President Barbara Stripling (role served 2013-2014) says in a 2013 open letter to members of the organization:

When we [the ALA] spoke out in 2001 against the passage of the PATRIOT Act, we were concerned about Section 215, a provision of the law that allowed the government powers to obtain ‘business records and other tangible things’ from suspected terrorists. We were fearful that the government would come into libraries without warning and take library records on individual patrons without reasonable suspicion. Libraries were one of the first groups to publicly oppose the bill, and many legislators and privacy experts have noted that Congress would not have understood the chilling impact on privacy if librarians had not brought it to the nation’s attention. Librarians were so vocal in their opposition to the law that Section 215 was called the ‘library provision.’ We could not have imagined then what is happening today. Today, in spite of the leak allegations, the government continues to use the ‘library provision’ to vacuum up private communication records of Americans on a massive scale.”[6. Wright, J. (2013, July 11). ALA president Barbara Stripling: “Our country needs to find the right balance”. Retrieved September 22, 2015.]

In 2001, the ALA teamed up with the American Association of Law Libraries and Association of Research Libraries to write a letter to Congress voicing their concerns about the Patriot Act. These concerns included the expansion of access to business records, education institution records, and the expansion of trace devices to the Internet. [7. Library community statement on proposed anti-terrorism measures. (2001, October 2). Retrieved September 22, 2015.] In 2003, the ALA issued “Resolution on the USA Patriot Act and Related Measures That Infringe on the Rights of Library Users” [8. Resolution on the USA Patriot Act and Related Measures That Infringe on the Rights of Library Users. (2003, January 29).] and later “Resolution on the USA Patriot Act and Libraries” in 2005. [9. Resolution on the USA Patriot Act and Libraries. (2005, June 29)] The American Library Association has not remained silent when it comes to the Patriot Act. Far from it.

As of June 1st, 2015 Section 215 of the Patriot Act has expired. Thankfully. Even better, on June 2nd, 2015 the USA Freedom Act was signed into law (and librarians rejoiced!). The Freedom Act, loudly advocated for by the ALA, would limit the scope of information the NSA and government agents could receive. [10. How does the freedom act affect nsa surveillance. (2015, June 3). Retrieved September 22, 2015] It definitely would not solve all of our privacy concerns, but it is a step in the right direction.

With the amount of advocacy against the Patriot Act and for patron privacy, it doesn’t make sense why the American Library Association revised its June 2013 resolution and removed its public support for Edward Snowden. It seems hypocritical to advocate against the Patriot Act, and not openly support Snowden. The reasoning behind it is undoubtedly political. The ALA has been decidedly non-neutral in their position of patron privacy, and should proudly advocate for those that have helped to further that cause.

 

 

Can We Avoid Biases in Library Classification Systems?

The problem of bias in library classification structures and subject language are, from a queer perspective, problems endemic to the knowledge organization project itself. If social categories and names are understood as embedded in contingencies of space, time, and discourse, then bias is inextricable from the process of classification and cataloging. When an item is placed in a particular category or given a particular name, those decisions always reflect a particular ideology or approach to understanding the material itself. [1. Drabinski, E. (2013). Queering the catalog: Queer theory and the politics of Correction. The Library Quarterly: Information, Community, Policy, 83(2), 94-111.]

As human beings, we are bound to our subjectivity. The way we shape the world is due to our upbringing, experiences, community, culture, and other social influences. I believe that, because of this, it is near impossible for us to truly see objectively. Every thought and idea we have is influenced by something else. This notion trickles down even to library classification and subject language use. It would be lovely if we could all agree on a universal classification structure that everyone mutually agreed upon, and that did not offend anyone, but how could we achieve such a thing? Language itself is subjective and not only is it difficult to get the exact same meaning between two different languages, but even between two individuals speaking the same language you will find that their experiences and influences has shaped how they interpret their language and it doesn’t always have the same implications between the two. In Drabinksi’s article, “Queering the Catalog: Queer Theory and the Politics of Correction” she points out these important statements, pointing out the subjective nature of classification and subject language.

Why does any of this matter? Something Drabinksi says in her article stood out to me, as it was the first time I’ve ever thought of it that way. “As users interact with these structures to browse and retrieve materials, they inevitably learn. . .”. [1. Drabinski, E. (2013). Queering the catalog: Queer theory and the politics of Correction. The Library Quarterly: Information, Community, Policy, 83(2), 94-111.] Her focus is on the learning of negative stereotypes about race, gender, class and other social identities, however I can see it also being general. As people interact with a library, not only will they learn from the materials they are using, but there can also be the side effect of learning from simply browsing for their material. Some of our major classification systems like Dewey Decimal and Library of Congress were created through the white, Christian male perspective in the past. Because of this, classification systems pay heavy attention to the Christian religion but treats Islam, Hinduism, and Buddhism as minor religions. Someone who is browsing will either, knowingly or unknowingly, observe and learn from this. This is the same for the marginalization of gay and lesbian sexuality, while making heterosexuality the normative.

 

This brought back a memory I had when I was in undergrad, doing research for one of my psychology courses for the first time. This particular library used Dewey Decimal Classification (DDC). I was looking in the 500s because that was the science section. To my surprise, psychology was not located there. So I thought, perhaps it would be under social science, the 300s? No. Instead, I found psychology under the 100s as a subgroup of philosophy. [1. OCLC. (n.d.). DDC 23 summaries. Retrieved September 26, 2015, from OCLC website: http://www.oclc.org/content/dam/oclc/dewey/DDC%2023_Summaries.pdf] I understood that psychology had ties with philosophy, since it happens to have sprung forth from that field, and it was widely thought of as pseudoscience early on in its beginnings, but I didn’t think to find it still classified this way. It’s also the same in Library of Congress Classification (LCC), where psychology is under B, still a subgroup of philosophy, along with religion. [3. Library of Congress. (n.d.). Library of congress classification outline. Retrieved September 26, 2015, from Library of Congress website: http://www.loc.gov/catdir/cpso/lcco/] What’s surprising is that although psychology has prospered into its own field of science, its still portrayed in the classifications as less.

Drabinski makes excellent points about the biases contained within the classification and subject heading structures, she believes that the way we should combat this is by “queer theory”, which basically is an approach where instead of directly combatting the structures, we empower the users of libraries by teaching them to think critically and use the system critically. Although, in my experience, users don’t give much thought to the classification structures, this would still be a powerful thing to implement nonetheless, for those who do happen to engage with it and have questions.

 

Approaching the problem of library classification and cataloging from a queer perspective demands that we leave intact the traces of historicity and ideology that mar the classification and cataloging project. Such traces can reveal the limit of the universal knowledge organization project. . . [1. Drabinski, E. (2013). Queering the catalog: Queer theory and the politics of Correction. The Library Quarterly: Information, Community, Policy, 83(2), 94-111.]

 

At first, I thought Drabinski was saying that we should do nothing about making a change to the classifications, but as I took all her words in I believe I see her point. I may be wrong in my interpretation, but I believe she is trying to give a different approach, rather than having the responsibility on just catalogers, it will shift over to the librarians who engage with users and expose them to understanding that will inevitably put an eventual strain on making the change.

 

As previously mentioned, however, biases will always exist. We cannot come to a complete “finish” with this process. The process will be forever ongoing, and this is due to the subjectivity of human perspective. We can only continue the process and it will continue to reflect the zeitgeist of the time, or perhaps the previous time since every few generations will come up with their own ideas that will challenge the previous’, as we are doing now. It is impossible for us to have full neutrality within the Library. As Jensen implies throughout his article, whatever stance is taken even if its supposedly neutral, it is still a stance and thus making it non-neutral. [1. Jensen, R. (2006). “The myth of the neutral professional” in Questioning Library Neutrality, ed. A. Lewis. Library Juice, 89–96.] Applying that to the field of Librarianship or a Cataloger, no matter what direction we take in changing classification and subject heading language, there will always be others who disagree and who will have their toes stepped on by the changes. This doesn’t mean that we should not engage and challenge our current positions, but instead we should attempt to find means of progression where we can continually move forward with the times, and with current understandings. Drabinksi’s method is a great one, and I would even add that we should find ways to actively engage library users with the classification systems, because for the most part they usually come in with an idea of what they want, and quickly get it and then leave. If we found a way to engage them into learning, it will spread understanding and more people will take notice to the system, its flaws and its strengths.

A Digital Sounding Board: The Internet and Filter Bubbles

Most of us have some sort of daily routine with the Internet. For example, every morning, I get up, take a shower, and then settle down in front of my computer for fifteen to twenty minutes of Internet browsing before I get ready for the day. I check my Facebook, I read the webcomics I follow, I look at my e-mail, I peruse some blogs, and I scan through viral images. Instead of morning coffee, I start my day with a blast of information. But does that blast of information contain a wide range of material from across the Internet or is it made up of content that’s been tailored just for me?

The fact is that the Internet that we see is not pure, unaffected information, but information that has gone through a variety of filters that have been placed in order to ensure that we, as users, will receive the kind of information that we most want to see. These filters involve advertisers, social media companies, search engine developers, and even self-imposed filters that we might not even be conscious of. Together, all of these filters form what author Eli Pariser refers to as “the filter bubble.” In his 2011 TED Talk, Pariser defines the filter bubble as:

Your own personal, unique universe of information that you live in online. And what’s in your filter bubble depends on who you are, and it depends on what you do. But the thing is that you don’t decide what gets in. And more importantly, you don’t actually see what gets edited out. [1. Pariser, E. (Feb. 2011) Eli Praiser: Beware online “filter bubbles”. (Video file). Retrieved from  http://www.ted.com/talks/eli_pariser_beware_online_filter_bubbles/]

Sites like Google, Facebook, and even various news sites are in the business of making sure that the content that appears on your screen is the exact content that you want to see. The reason is simple: the more they display content you want, the more time you’re going to spend on their websites, and the more they’re going to profit from the ad revenue that comes from each page you click on. They don’t have an interest in providing you with a diverse array of information, only the information that will make you stay on their site. The result is that many users find limited information, or information that merely supports what they believe/what they want to hear, when they are under the impression that they are receiving unfiltered information. Robert W. McChesney writes that filter bubbles: “keep us in a world that constantly reinforces our known interests and reduces empathy, creativity, and critical thought.”[2. McChesney, R. W. (2013). Digital disconnect: How capitalism is turning the internet against democracy. The New Press: New York.]

Filter bubbles are constructed in a variety of ways, and are designed to keep users reliant on a certain service. Pariser’s initial example is Facebook, where your News Feed is tailored based on the people you interact with on the site. Pariser tells the story of how he started to notice that his friends who posted links to politically conservative information started to vanish off of his News Feed, while the friends who posted links to politically liberal information remained.[3. Pariser, E. (Feb. 2011) Eli Praiser: Beware online “filter bubbles”. (Video file). Retrieved from  http://www.ted.com/talks/eli_pariser_beware_online_filter_bubbles/] This is because Facebook employs an algorithm that tracks how often you interact with certain people (clicking links, liking posts, commenting, etc.) and prioritizes your News Feed based on those interactions. For Pariser, who is a self-descried liberal, this meant that his liberal friends stayed on his News Feed because he would more often interact with their posts then he would his with those of his conservative friends. He was exposed less and less to opposing view points, meaning he was offered fewer chances for debate and fewer opportunities to learn something from an unfamiliar source. This does not mean that everything people online say has value, or that all of the conservative information would even be worth Pariser’s time. However, the idea of the Open Internet where all information can be accessed equally is not the Internet we have if sites and advertisers put on our content put more and more filters on our content.

According to Facebook, the News Feed is designed this way because the large numbers of Facebook friends that users have would make the News Feed unwieldily otherwise.[4. Hicks, M. (2010, August 6). Facebook tips: What’s the difference between top news and most recent? (Web log post). Retrieved from https://www.facebook.com/notes/facebook/facebook-tips-whats-the-difference-between-top-news-and-most-recent/414305122130] However, the negative is that users are being exposed to less information that might challenge their way of thinking, and exposed to more information that supports what they already believe. Similar algorithms and personalization techniques are used on Google, and news sites like Huffington Post, Yahoo News, Washington Post, and the New York Times.[5. Pariser, E. (Feb. 2011) Eli Praiser: Beware online “filter bubbles”. (Video file). Retrieved from  http://www.ted.com/talks/eli_pariser_beware_online_filter_bubbles/] With all of these filters, how can we consider opposing view points? How can we engage in discussion? How can we learn anything? Pariser argues that because filter algorithms respond to what a user clicks on, that users eventually will only get content that satisfies their immediate wants and whims when online, rather than pushing them to think further. He says:

The best editing gives us a bit of both [thoughtful content and fun content]. It gives us a little bit of Justin Bieber and a little bit of Afghanistan. It gives us some information vegetables; it gives us some information dessert. And the challenge with these kinds of algorithmic filters, these personalized filters, is that, because they’re mainly looking at what you click on first, it can throw off that balance. And instead of a balanced information diet, you can end up surrounded by information junk food.[6. Ibid.]

The problem is, content providers, search engines, and advertisers don’t necessarily see a reason to provide users with the sort of Internet that offers them both ‘vegetables’ and ‘desert’. The system currently in place makes money, and as long as these companies are profiting, they have a limited investment in what content their users are consuming.

The more that individuals are exposed to views and information that validates and enforces their current world view, the harder it becomes to converse with others about those views, especially in a digital format. Filters help convince users that their opinions are more valid than the opinions of others, and people start to create online communities where little debate is welcomed and users mostly share the same opinions. People who don’t share those opinions might be engaged in debate, but a debate that happens face-to-face is a very different kind of debate than the kind that often happens online. So much of Internet debates boil down to people slinging insults, shutting other people down, or overusing the caps lock to make their point. Online discourse is so commonly difficult that if you search “arguing on the internet” you get a slew of images mocking the idea of online debate.[7. Though to be fair, this is possibly affected by Google’s filters on my search.] If online users were exposed to a wider variety of content that challenged their world views, would the nature of online debate change?

Webcomic artist Cameron Davis’ interpretation of online debates. From my own experiences, this certainly doesn’t apply only to men.

The good news is that while content providers and advertisers may not be interested in popping the filter bubble, there are ways that Internet users can lessen the effects that filter bubbles have on their online experience. Pariser’s website, The Filter Bubble, has a list of ten ways to reduce the effect of the filters. These techniques include deleting cookies and browser histories, setting stricter privacy settings, using browsers and sites that allow users to access the internet without providing their IP addresses, and depersonalizing browsers.[8. Pariser, E. (2011) Ten ways to pop your filter bubble. Retrieved from http://www.thefilterbubble.com/10-things-you-can-do] The other helpful thing is to make users aware of the filter bubble. We might be stuck with filters, but if we are aware that they are there and what they are doing to our online experience then we can compensate for those effects and search out information that we might not normally find otherwise. The internet may be a fantastic source of information, but if we do not utilize it properly, what’s the point of having that information source in the first place?

Visiting the Literature and Art of Our Youth

The Eric Carle Museum is the only one of its kind to solely dedicate attention to children’s picture book art. This is a place that praises the illustrator and her work. Located in Amherst Massachusetts, the Carle aims to collect, preserve, present and commemorate picture books for children. Eric and Barbara Carle founded the Museum in November 2002. Eric Carle is a renowned author, artist/illustrator in the world of children’s literature. He is famously known for The Very Hungry Caterpillar, The Grouchy Ladybug, and illustrator of Bill Martin’s Brown Bear, Brown Bear, What Do You See? Carle has a distinct and recognizable style; he uses tissue paper collage, which is often combined with acrylic paint, pencil, and crayons. His artistic intention is it to bridge the gap between learning and merriment. He uses his love for nature and vibrant images to capture the reader’s interest and attention. His Museum, commonly known as The Carle, embodies the same intention, to provide a space in which children and adults can enjoy art, literature, and education without the restrictions and ambience of a traditional museum.

 

I had the opportunity visit the Carle and speak with the Director of Education Courtney Waring, and Museum Educator Emily Prahbaker. Visiting The Carle allowed me to venture away from a library setting, but experience and environment that caters to a young audience. I meet with the two professionals to inquire about their interest in the field, and how they achieved their professional positions.

 

The Carle is rather small building but voluminous within. The museum contains two galleries, library, café/resting area, gift shop, and theatre. I knew I was in the children orientated environment, when one of the stalls in the rest room had funky shaped toilet set, along with Eric Carle animals formatted into bathroom tiles. My tour was lead by the Director of Education, Courtney Waring. Courtney gave me a tour to the show room that was dedicated to the life and work of Eric Carle. The works shown were Carle’s original works aligned with his revision. Whenever Carle’s books are to be republished he recreate his work to make sure the work is more colorful and vibrant compared the original. In addition, there is also artwork from his early career in illustration and advertisement. In the middle of the showroom was a desk that displayed all of the materials he uses for his illustrations. Courtney mentioned that Carle wanted to display his material to show children that the work he produced could be mimicked by anyone. These materials are accessible to anyone and install the idea that you do not need expensive material to make quality art. After, I saw their current exhibit of the illustrations from Louise Fitzhugh’s Harriet the Spy. The Carle has another gallery but it was under construction to feature the work of Ludwig Bemelman’s Madeline.

 

Afterwards, I saw the museum’s library. It was small but contained enough content for it’s audience. Its collection was primarily children picture books, with few chapter books on display. Furthermore they dedicated a shelf to Caldecott awarded books. What I thought was interesting and radical about their library was that it was arranged by illustrators last name, and then title of the book. The library the Carle also holds story time, which is often conducted in the galleries. Later, Courtney provided me more insight about the services the Carle offers to their community. I was later provided insight on how Courtney came to the Carle, along with the approaches and methods that are used in the museum to promote literacy and engagement.

ericcarlebooks

The Eric Carle Museum uses several approaches to promote literacy, arts and engagement. The Visual Thinking Stategies, the Whole Book Approach, and inspiration from the Reggio Emilia educational learning project. The Visual Think Strategies is a learner-centered method to examine and find meaning in visual art through a sequence of carefully selected fine art images…Students look carefully, develop opinions, express themselves, consider multiple viewpoints, speculate together, argue, debate, and build on each other’s ideas, and sometimes revise their conclusions[i]. Furthermore, this strategy uses art to help children practice respectful, democratic, collaborative problem solving. The Carle uses VTS open-ended question to engage the children in discussions about the illustrations in a book. However, the Whole Book Approach further emphasizes this dialogue by allowing children to explore all parts of the book, cover to cover, page to page. Lastly, the Carle embodies the ideas of Reggio Emilia educational learning methods. The Reggio believe that children have the right and the ability to express their thinking, theories, ideas, learning and emotions in many ways. Therefore, Reggio educators provide children with a wide range of materials and media, and welcome a diversity of experiences, so that children encounter many avenues for thinking, revising, constructing, negotiating, developing and symbolically expressing their thoughts and feelings[ii]. Emily Prahbakers, who is the Museum Educator, further explained these methods. With her masters from Simmons in Children’s Literature and Library Science, Emily conducts literacy and art programs within the museum and in the community. Emily uses and is a firm believer in encouraging children to have a dialogue about art and literature. Promoting the use of dialogue with children allows for them to make personal and worldly connections with the theme, and message of the book. She believes that a group interaction can empower, and permit children to explore the world around them. This approach leads children to engage in open-thinking. I share the same belief and practice similar methods with the work I do at my library. After witnessing the bizarre feeling of having children stare out of boredom, I have encouraged and ignited dialogue during story time so that they can be an active part of the reading experience.

carlelibrary

Speaking to the Director of Education and the Museum Educator allowed me the share interest in children’s literature, plus promoting and advocating for dialogue in literacy for young children. The Carle is a unique facility to praise children picture book illustrations. Museums and libraries have the power to provide alternate educational methods to encourage children to have fun while learning. The service that is available at the Eric Carle Museum is probably the most organic educational interaction a child can experience today.

[i] Eric Carle Museum

[ii] The North American Reggio Emilia Alliance

 

The Barnard Zine Library Observation

The Zine Collection at Barnard’s Wollman Library can easily be found on the far right wall of the first room on the first floor of Lehman Hall. In fact, it’s the whole wall. In June 2010 there were nearly 1,400 zines in this section, the open stacks, with even more in the archives. The collection now has over 4,000 individual issues of zines, even though many of them are awaiting processing and so are not yet fully represented in the catalog or on the shelves. The collection grows regularly and the librarians who maintain it work hard to keep up.

The administration of the Zine Collection takes place on the second floor of the library, overseen by it’s founder Jenna Freedman with the assistance of Stephanie Neel and several interns. The collection was pitched and accepted in the summer of 2003 by Freedman and was awarded an initial materials budget of only $500. From there it took about a year of planning and work to get the zines onto the shelves.

The collection aims to serve the needs of current readers and scholars and those of future researchers. Zines are primary source documents that tell the story of contemporary life, culture, and politics in a multitude of women’s voices that might otherwise be lost. The zines are written by women (cis- and transgender) with an emphasis on zines by women of color, although they collect zines on feminism and femme identity by people of all genders. The zines are personal and political publications on activism, anarchism, body image, third wave feminism, gender, parenting, queer community, riot grrrl, sexual assault, trans experience, and other topics. The aim is also that readers will enjoy the collection simply for its fun, vibrancy, humanity, and artistic value, which it has in abundance. The variety of titles include Sneer, Shotgun Seamstress Fanzine, Wave: A Feminist Zine, Kerbloom!, Licking Stars Off Ceilings and other colorful names. If you’re unfamiliar with zines, the value and strength of this genre of publication is clear when you see it in person, en masse, at the Wollman Library.

Zines had a large underground popularity in the 1980’s and 1990’s through to today after emerging in the 1970’s, mostly out of the U.S. and the U.K. punk rock scenes. The easy and inexpensive means of reproduction by photocopier enabled people to create small print runs of original material at a low cost, which was then distributed primarily at rock concerts, independent bookstores, comic shops, through the mail and other venues. Some publications were (and still are) sold while others are free for the taking, depending on the particular zine. In high school and undergraduate college–far before I knew about Barnard’s collection–I’d read and contributed to zines and always liked the format. Most were hand-made (or hand-made via computer design) and the culture of independent production, creativity of expression/thought attracted me to the format, as I know it did others. My own personal interests drew me to the original comics and literature, underground music and art/photography aspects of the zine genre, although politics and humor overlapped in one way or another most of the time. These topics are all represented in Barnard’s collection.

The zines that are available circulate in the regular library collection and can be checked out by patrons. It may be notable that magazines–the zine’s big-sister genre in many ways–are not circulated. This may have more to due with library policies than anything else but it stuck out to me because one of the main aims of this archive is to make the material widely available. For example, I’m sure I can find most issues of Rolling Stone without too much difficulty but I’d be hard-pressed to find a copy of The East Village Inky from February 2008 many other places without quite a bit of detective work.

If you’re not simply looking through the stacks and want to find specific zines you can find them in Barnard’s CLIO OPAC, cataloged with the Cutter system. The call numbers start with “ZINES” followed by the Cutter number, which is an alphanumeric scheme ordinarily based on the author or main entry. Since there are twice as many zines in the archives and hundreds more that haven’t been processed yet, if there is something in particular that you’re looking for and can’t find it, you’re encouraged to ask for assistance from the Zine Librarian. The small staff does their best to make issues available as quickly as they can but the growth of the collection slows the process. Since the collection’s inception in 2003, zines have become a part of the library budget and donations occur regularly.

What delighted me about the collection is the passion with which it was created and continues to be overseen by Jenna Freedman. Among her other responsibilities, she spends one day a week devoted to adding materials to the catalog. There are also Twitter and Facebook accounts that are used to promote the collection as well as other online resources that can be found. There is a blog about the collection that gets updated frequently on the Barnard Library website and there is also an active Barnard Zine Club on campus. Freedman often speaks at conferences about the importance of zines and has made it her own priority to “put zines on the map.”

The focus of this zine collection is women’s voices, which is clear from looking through it, but the culture of the collection feels more inclusive than that. It may be my own biased opinion from my own previous experience with zines but I felt welcome and intrigued by the archive. There’s a wide spectrum of opinions and the walls of accessibility can barely be felt.

Cataloging Plunder: Thoughts on the Digital Text-Sharing Underground

Pirate-Coloring-Pages-Chest

The hacker tenet, “Information wants to be free,” can be read as both a description of the potential of digital information economies and as an extension of library notions of information democracy. As digital relations of production radically destabilize traditional notions of intellectual property, they force information specialists and cultural producers to rethink information access for a new era.

The dominant narrative of the digital era, chronicled by Lawrence Lessig (2004) in his book Free Culture, is that of a dramatic expansion of copyright law to protect the commercial interests of major media corporations. With the passage of the Sonny Bono Copyright Term Extension Act in 1998, the copyright term was lengthened to 95 years, preventing a massive number of works from entering the public domain (p. 135). As Lessig laments, the expansion of intellectual property law is pursued in the interests of a meager 2% of works that have any lasting commercial value. The real harm is to the remaining 98% of works that are not famous, not commercially exploited, and no longer available as a result (p. 221). Taken to such an extreme, commercial protection massively inhibits cultural exposure and innovation.

Despite claims of information democracy, we actually witness the “enclosure of the information commons” into a system of monopoly and lease by Silicon Valley conglomerates such as Amazon and Google. Rather than owning physical books, for example, we rent e-books for Kindle and Nook. With e-books, these corporations control devices, software platforms and content in a vertically integrated profit model. In his essay “Interface, Access, Loss” (2013), Sean Dockray points out how e-readers eradicate the “First Sale Doctrine,” which allowed owners of rightfully purchased works to share or re-sell them as they saw fit. He continues:

“The e-reader is an individualizing device. It is the object that establishes trusted access with books stored in the cloud and ensures that each and every person purchases their own rights to read each book. The only sharing that is allowed is sharing the device itself… This is no library — or, it is a library only in the most impoverished sense of the word” (190).

In other words, the e-reader’s interface is not an OPAC coupled with a library card – it is a marketing tool, pure and simple. And as a marketing tool, it privileges access to works deemed commercially profitable for a mass audience.

But in opposition to this expansion of immaterial private property, a digital text-sharing underground has emerged that truly does believe that “information wants to be free.” Collaboratively-maintained “pirate libraries” (my term) such as aaaaaarg, Monoskop, UbuWeb, and Memory of the World offer public access to resources focused on contemporary art, critical theory, media studies and related fields. Though these sites differ somewhat in content, architecture, and ideological bent, all of them flout intellectual copyright law to varying degrees, offering up “pirated” books and media with the aim of advancing information access and creative scholarship.

As acts of civil disobedience, these projects promise both the realization and destruction of the public library. They promote information democracy while calling the professional institution of the Library into question, allowing amateurs to upload, catalog, lend and maintain collections. Because they offer free access to copyrighted media, it is easy to see how intellectual property owners could cast these text-sharing networks as threats to publishers, to artists’ profits, or to “real” libraries. This view of the sites’ threats to book sales, in my opinion, is exaggerated and alarmist. Rather, I propose treating pirate libraries as “digital alternative spaces” that allow for the use (and creative misuse) of art and academic discourses outside of institutional settings. The pirate library actualizes a gift economy where, as Matthew Stadler (2013) writes:

“… Literature is not owned. It is, by definition, a space of mutually negotiated meanings that never closes or concludes, a space that thrives on — indeed requires — open access and sharing,” (175).

While democratic in the sense that they are free and collaboratively maintained, these resources are not necessarily democratic in the populist sense. They attract a modest but engaged audience of critics, artists, designers, activists, and scholars.

UbuWeb
UbuWeb

UbuWeb, founded in 1996 by conceptual artist/writer Kenneth Goldsmith, is the largest online archive of avant-garde art resources. Its holdings include sound, video and text-based works dating from the historical avant-garde era to today. Though informal, non-commercial and independently run, the site has come to be recognized as an important scholarly resource. UbuWeb focuses on making available out of print, obscure or difficult to access artistic media, stating that uploading such historical artifacts doesn’t detract from the physical value of the work; rather, it enhances it. This sharing of out of print/hard to find materials, common across the pirate libraries, is illegal, yet good for society, as Lessig argues. It increases exposure without harming artists, as the work is otherwise unavailable or under-available (69). UbuWeb intentionally uploads lower-quality video and audio files, emphasizing that researchers should go to the rightful owner for archival-quality copies. Additionally, the site will remove media from its archive upon artist’s request.

Monoskop.org, a like-minded project, describes itself as “a wiki for collaborative studies of art, media and the humanities.” Its significant holdings — about 3,000 full-length texts and many more excerpts, links and citations—include avant-garde and modernist magazines, writings on sound art, scanned illustrations, and media theory texts. As a wiki, any user can edit any article or upload content, and see their changes reflected immediately. Like UbuWeb, the site makes clear that it is offering content under the fair-use doctrine and that this content is for personal and scholarly use, not commercial use.

Aaaaaarg.org, started by Los Angeles based artist Sean Dockray, is probably the largest of these resources, hosting full-text pdfs of over 50,000 books and articles. The library is connected to a an alternative education project called the Public School, which serves as a platform for self-organizing lectures, workshops and projects in cities across the globe. Aaaaaarg’s catalog is viewable by the public, but upload/download privileges are restricted through an invite system, thus circumventing copyright law.

I own a physical copy of this book.
A Screenshot of Claire Bishop’s “Participation” Anthology in Aaaaaarg’s browsing interface.

While Dockray has expressed criticism of intellectual property law in some writings and interviews, criticizing this form of property was not Aaaaaarg’s initial intent. He says, “It was simply about… the sharing of knowledge between various individuals and groups that I was in correspondence with at the time but who weren’t necessarily in correspondence with each other.” Though the library is easily searchable, it doesn’t maintain high-quality metadata. Dockray and other organizers intend to preserve a certain subjective and informal quality, focusing more on discussion and collaboration than correct preservation and classification practice.

Memory of the world, a younger “pirate library,” offers a collection of about 5,000 texts, but frames itself through a somewhat utopian philosophy of building a truly universal library. Through democratizing the tools of librarianship – book scanning, classification systems, cataloging, information – it promises a broader, de-institutionalized public library. In Public Library (an essay), Memory of the world’s organizers frame p2p libraries as “fragile knowledge infrastructures built and maintained by brave librarians practicing civil disobedience which the world of researchers in the humanities rely on.” This civil disobedience is a politically motivated refutation of intellectual property law and the orientation of information networks toward venture capital and advertising. While the pirate libraries fulfill this function as a kind of experimental provocation, their content, as stated before, is audience-specific rather than universal.

Between the cracks of the new information capital, the digital text-sharing underground fosters a the coming-into-being of another kind of information society, one in which the historical record is the democratically-shared basis for new forms of knowledge. Furthermore, we should not view alternatives to corporate monopoly as covert and illicit, carried out (metaphorically) under cover of night. Rather, piracy is normal and the public domain it builds is abundant. While these practices will continue just beneath the official surface of the information economy, it is high time for us to demand that our legal structures catch up.

Works Cited:

Dockray, S. (2013). Interface, Access, Loss. In M. Lewandowska & L. Ptak (Eds.), Undoing Property? Berlin: Sternberg.

Fuller, M. (2011, May 4). In the Paradise of Too Many Books: An Interview with Sean Dockray. Retrieved November 20, 2014, from http://www.metamute.org/editorial/articles/paradise-too-many-books-interview-sean-dockray

Lessig, L. (2004). Free culture: How big media uses technology and the law to lock down culture and control creativity. New York: Penguin Press.

Mars, M., Zarroug, M., & Medak, T. (n.d.). Public library (an essay). Retrieved November 20, 2014, from http://www.memoryoftheworld.org/blog/2014/10/27/public-library-an-essay/

Myers, J. (2009, August 26). Four Dialogues 2: On AAAARG. Retrieved November 20, 2014, from http://openspace.sfmoma.org/2009/08/four-dialogues-2-on-aaaarg/

Scanners, collectors and aggregators. On the ‘underground movement’ of (pirated) theory text sharing. (n.d.). Retrieved November 20, 2014, from http://openreflections.wordpress.com/2009/09/20/scanners-collectors-and-aggregators-on-the-‘underground-movement’-of-pirated-theory-text-sharing

Stadler, M. (2013). From Ownership to Belonging. In M. Lewandowska & L. Ptak (Eds.), Undoing Property? Berlin: Sternberg.

Some Related Resources Not Mentioned in this Essay:

Creative Commons

Internet Archive

The Piracy Project