Unlocking the Treasure Chest: Archiving in the Digital Age

In his 2003 article titled “Scarcity or Abundance? Preserving the Past in a Digital Era,” historian Roy Rosenzweig wrote of his concern about the “fragility of evidence” in today’s digital world. In the past, archivists collected, organized, and preserved paper documents and photographs, known today as “analogue” records. Most of these are now being “made-digital”, meaning they are photographed, scanned, and converted into digital media. With the rise of technology, more and more records are “born-digital;” that is, they are initially created in electronic form, not intended to have an analogue equivalent.

Though digital records provide greater access to information and save shelf space, Rosenzweig laments their short life span.

“Digital and magnetic media deteriorate in ten to thirty years,” he writes.  But that’s not even the biggest problem. “The life expectancy of digital media may be as little as ten years, but very few hardware platforms or software programs last that long. Indeed, Microsoft only supports its software for about five years.”[1. Rosenzweig, Roy, “Abundance or Scarcity? Preserving the Past in a Digital Era,” The American Historical Review, Vol. 108, No. 3 (June 2003): 741-42.]

Imagine, if you will, that a treasure chest sits on the ground before you. You know it is full of something – gold, gems, riches, or perhaps something not so desirable. Your curiosity to find out what’s inside leads you to unlock it, but wait – the key doesn’t work! It’s an old treasure chest and the type of key needed to open it is no longer being made. Then, in a stroke of luck, you manage to find a key that fits! You turn the key, hearing the click of the lock that signifies you’ve opened the chest. You attempt to pry it open, only to find it’s rusted shut. You can’t open the treasure chest, and you’re unable to discover what it held.

This is the conundrum archivists are facing in the digital era. They have access to countless old files and floppy disks, but these records are no good if they can’t be opened because the software needed to run them is obsolete. Even if the software or hardware is available, the likelihood that the disk has deteriorated is high, and so the information contained within remains hidden.

A corollary to the short lifespan of digital records is the need to archive them as soon as possible, rather than allowing years to pass before they are collected. Rosenzweig provides an interesting example:

“What might happen, for example, to the records of a writer active in the 1980s who dies in 2003 after a long illness? Her heirs will find a pile of unreadable 5¼” floppy disks with copies of letters and poems written in WordStar for the CP/M operating system or one of the more than fifty now-forgotten word-processing programs used in the late 1980s.”[2. Ibid., 745-46]

As thought-provoking as this example is on its own, it’s considerably even more captivating because it mirrors a real-life situation.

In 1996, playwright and composer Jonathan Larson, best known for his hit Broadway show Rent, died suddenly the night before the musical was to open. He left behind seven years of drafts, compositions, and letters saved on 189 floppy disks. The Library of Congress acquired these records in 2003. Five years later, Doug Reside, New York Public Library’s Digital Curator of Performing Arts, obtained permission to work with the files in the hopes of discovering what they contained.

In a 2012 interview, Reside commented, “There were over 30 files containing texts of Rent, many of which contained within themselves early drafts preserved by Microsoft Word 5.1′s “fast save” feature. There were also music files in early versions of Digital Performer and Finale and letters Larson wrote to his agents, to Stephen Sondheim, and to friends about the show.”

Unfortunately, Larson wrote his drafts on software that is now obsolete, and saved them to storage systems that are now outdated. Simply opening the files on a modern-day computer was not an option.

First, Reside copied the materials bit-for-bit and stored them on a more stable medium at the Library.[3. Doug Reside, “‘No Day But Today”: A look at Jonathan Larson’s Word Files.” New York Times, 2012 <http://www.nypl.org/blog/2011/04/22/no-day-today-look-jonathan-larsons-word-files>.] This process is known as migration, defined by Rosenzweig as “moving documents from a medium, format, or computer technology that is becoming obsolete to one that is becoming more common.”[4. Op. cit., Rosenzweig, p.747.] Then, in order to read the drafts, Reside used a “Basilisk II emulator, which allowed him to see the files exactly as Larson had seen them, right down to the chunky fonts and irritating pop–up error messages.”[5. Jennifer Schuessler. “Tale of the Floppy Disks: How Jonathan Larson Created ‘Rent’.” New York Times, 2012. <http://artsbeat.blogs.nytimes.com/2012/02/01/tale-of-the-floppy-disks-how-jonathan-larson-created-rent/?_r=0>.]

The final draft of Rent, as Larson saw it January 15, 1996.[6. Op. cit., Reside.]

 Using a text editor called Text Wrangler, Reside was able to uncover the last 14 revisions Larson made, highlighting the playwright’s creative process. Because of Reside’s work, we now know what hidden information Larson’s floppy disks contained.

But as both Rosenzweig and Reside point out, other cases may not be so successful. What if Larson hadn’t died so young? What if he had gone on to write more shows, leaving behind an even larger body of work? What if his records hadn’t been made available so soon after his death? Most likely his work – his drafts, revisions, early compositions – would remain a mystery, hidden behind a deteriorated medium, unreadable by software and hardware now obsolete.

As the use of technology increases, archivists, librarians, and historians must find a way to keep up before records are lost forever.

RIVAA: Small Community Gallery of the Unique Island

Roosevelt Island

Between the island of Manhattan and Queens, there is a narrow island named Roosevelt Island in New York City’s East River. Roosevelt Island Visual Art Association (RIVAA)[1.  RIVAA. (2013). rivaa.com, About Me Part, website], a non-profit organization composed of an international diverse group of artists, dedicates to enhancing the quality of life in the community through art, community events and workshops in the unique island. Supported by private donations and artist contributions, RIVAA opened the first gallery on Roosevelt Island in 2002. RIVAA is not just a gallery. It works closely with the community. RIVAA supports the community in its efforts to enhance cultural development and collaborates in educational events to promote public involvement through the arts. I took two days to participate in the outdoor art for “Fall for the Arts” annual festivals and the daily works of RIVAA’s gallery.

Fall for the Arts festival is a creative art activity that the whole community can participate. In the main lawn of Roosevelt Island, all the artist of RIVAA will spend one day to paint or sculpture while the resident can join in the painting or give the opinion to the artist and the artist will teach the young and kids how to paint or mix colors. Those paintings and sculptures will be exhibited on the lawn for two months. This event shows the community gallery’s property of participation in public involvement and education for the community. The gallery is not only an institute of art collection and exhibition but also a bridge and communication medium between community and artist. This kind of responsibility gives the community gallery more works to do, such as musical performances, theatre, dance, book signings and poetry readings and various community gatherings.

Fall for the Arts Festival

Which means inside the gallery, things usually are not simple. The artists in RIVAA will volunteer to organize and do the daily works in the gallery by a swift worksheet. At the same time the organization has its own management team with backgrounds in business, finance or management to focus on the efficiency and cost-effectiveness of the gallery. This kind of combination makes lots of misunderstanding between the managers and the artists. The artists are visual-oriented which means all they matter is whether this art product is looked beautiful. While the managers are usually been marketing directed and mostly care about the budget and social influence. In the book of The Alienated Librarian (Nauratil, Marcia J. 1989)[2. Nauratil, Marcia J. (1989). The Alienated Librarian. New York: Greenwood Press], it pointed out “libraries have traditionally been product-oriented. The materials, Programs, and information ……have been directed toward increasing public awareness of this value. In contrast, the market-oriented organization identifies the needs and desires of various market segments, develops products and services to appeal to selected segments, and then promote them.” This kind of difference between the manager and the artist makes they have some silent conflict inside the gallery. “The marketing orientation lies in its essential compatibility to the privatization and commoditization of information.” which makes the community gallery looks not exactly like its self-introduction. Nauratil also mentioned “quality of work-life movement has been toward participative management. Worker participation can range from slipping ideas into a suggestion box to codetermination- shared decision making between labor and management.” With no doubt the more participation can reduce divergences and enhance collaboration. But I think the first thing should be find out an agreed, unified principle and purpose to work on together. A work environment without burnout is probably an impossible goal. But a pleasant working conditions, reduced paperwork, time-out, variety, and clear organization goals can buffer job stress and help individuals to feel better about their works.

One interesting thing between the managers and artists is when artist has no clue of the name of his/her paint the manager usually will force to name it to label and record the paint. The fact is when the painter drew it s/he doesn’t consider too much meaning and just want the paint looks vivid (especially for some abstract paint). But with the label of name, when people watch the paint people get to connect the literature words and the deep meaning of the work combine with their own experience and apprehension. In the book of Archive Fever: Freudian Impression[3. Derrida, Jacques and Eric Prenowitz. (1995). “Archive Fever: A Freudian Impression” Diacritics 25(2):9-25, 53-63] Derrida asserts that archive cannot remain outside what it memorializes and this removes some of the objectivity with which records and archival documents are typically treated. A well-know advertisement of Dove aired this year also indicates the similar opinion with Derrida. In the video, several women describe themselves to a forensic sketch artist who cannot see his subjects. The women also are described by strangers they just met. The sketches are compared, with the stranger’s image invariably being both more flattering and more accurate.

dove you are more beautiful than you thought Dove video advertisement

As a part of the society, records managers are likely keenly aware of the socio-juridical systems that lead “truth” to the records they manage. But during the process of records in different medium and under different people the records itself have lots of change. As in the Dove advertisement, everyone see thing with various perspectives, when you familiar something it will be hard to objective to describe it as when you describe it you are analysis and assemble it with all your experience and your value standard in your mind. This kind of change can be positive also can be destructive. When records the historical information this kind of interpretation under a certain situation and people might change the truth of the history. This will absolutely be a disaster for the future. While the better thing is the RIVAA community gallery has no need to think about such significant problems.

The distinguished difference between the artists and managers is that the artists own their works while the managers own the power of those works. The fact is that tourists don’t come to New York City because of Bloomingdale’s, Fifth Avenue. The majority of them come because of the Metropolitan Museum of Art, Lincoln Center, the Guggenheim Museum, Broadway, and art galleries. Macy’s and Madison Avenue shops make money part of because of art. A place exists arts, the place has blooming business and flourish communities. The power of art and culture in building strong community has long been recognized. Michel Foucault was a French philosopher excavated the relationship between power and knowledge. In Foucault’s[4. Foucault, Michel. (1982). The Archaeology of Knowledge, Part 3 ] theories, materials and military are only one element of power. Power is not stable and controllable position but an energy-stream that through the whole society. One source of power is expressing the knowledge. Foucault didn’t see power as a form, but explain it as a way to using social institution to express a truth in order to infliction their purpose to the society. Which means the arts and the artists have no power but the managers and the institutions who and which owned them have the power. So non-profit or profit purpose of an art gallery should always be a question. Small gallery is a microcosm of the public information institution.

That’s a Fine Wallet You’re Wearing: A Macabrely Hilarious Jaunt Through a New Jersey Archive

The North Jersey History and Genealogy Center, which happens to be a part of the Morristown Public Library in Morristown, New Jersey houses multitudinous records of people not just from Northern New Jersey but from all over the state as well. Many of the documents range in date from around the late 1800’s to the 1920’s, although there are a vast amount of records that go back even further than that. James Lewis, the head of the Genealogy Center says that they are lucky to have a humidity and temperature controlled vault (which uses halon gas) because very few public libraries have enough funding for such technology. Within the vault there are an assortment of documents, including many now-defunct New Jersey newspapers such as the Democratic Banner, Jerseyman, and Iron Era. They also have a digital lab, which is extremely rare for a New Jersey pubic library. However, these nuances only scratch the surface of what the NJHGC has to offer.

 

Many people have heard of Tammany Hall and/or Boss Tweed, especially if you have seen the movie Gangs of New York, in which the historical figure has a prominent role. At the time of this “corrupt pol’s” reign, political cartoonist Thomas Nast was skewering him in Harper’s Weekly. Nast’s other claim to fame was “inventing” the version of Santa Claus we have come to know today, with his big, bushy beard and rosy cheeks. Although Nast was not originally from Morristown, he lived there for quite some time and raised his children in the New Jersey Town. The Genealogy Center owns a copious amount of Nast’s original artwork, as well as a large, original painting by him of Horace Greeley, the newspaper magnate, whom he also was not fond of. Another notable artist that the Genealogy Center has collections of is A.B. Frost, who is famous for illustrating the Uncle Remus and Brer Rabbit books by Joel Chandler Harris, although, as Joan M. Schwartz and Terry Cook would say, the Thomas Nast collection is clearly the “privileged” one. On the other hand, one wonders if the Nast records were consciously given precedence over the Frost ones, or if it simply comes down to what has been preserved from the beginning and what is available.

Some things are painstakingly documented, archived, and preserved. Other things are seen as not important enough to even remember. Some things haunt us forever and stay with us, which, according to Jacques Derrida, is an archive in itself. Despite the fact that the Genealogy Center is bright and welcoming, there is a dark crevice lying within its vaults.

In 1833, there was a French immigrant named Antoine Leblanc, who worked on a family farm in Morristown for only a few weeks after having just arrived in the country. Feeling that he was unappreciated and underpaid (as in not at all), he decided to kill the couple and their servant. After he was caught for his crimes he was hanged and skinned. Why did they skin him? Well obviously to make wallets, lampshades, and book covers. These corpulent keepsakes are said to still exist and one of them is housed at the NJHGC where Weird New Jersey came and did a story about it. The Genealogy Center also has Leblanc’s death mask, which arguably is not as intriguing as the wallet, yet still quite eerie. Every year a retired judge does a presentation on the story.

Since we are talking about archives, it would be unfair to leave Jacques Derrida out of the equation. In Archival Fever: A Freudian Impression, he says that the archive, “keeps, it puts in reserve, it saves, but in an unnatural fashion, that is to say in making the law […] or in making people respect the law.” Archives and the power they hold have long been a scholarly issue and the reason one brings it up here is because the Antoine Leblanc wallet and death mask easily tie into this debate. These artifacts are a haunting reminder of an atrocious crime, as well as the atrocious way the criminal was dealt with. Thus, we are not allowed to forget the barbarity of man towards man and in turn, are subjected to an adverse view of mankind. This is a grim way of viewing archives individually or Derrida’s overall Archive as a whole and only works under certain conditions, as in when governments do not allow the people access to them. What we should take away from the Leblanc artifacts is something much less sinister; archives do not have instructions as far as what can and cannot be put into them.

Leblanc’s death mask reminds one of the skull of Hamlet’s poor Yorick. Coincidentally, the Genealogy Center is home to the Morristown Shakespeare Club minutes, which date back to 1878. The club is the second oldest in the United States and was founded by all women, which was very rare for the time. After each one of their meetings, the minutes are delivered to the archive, which deposits them in boxes and is currently in the process of digitizing them. In spite of this, the North Jersey History and Genealogy Center is a place where the printed page still takes precedence over the computer screen, which is quite refreshing.

Works Cited

Derrida, Jacques. Archive Fever: A Freudian Impression. Chicago: University of Chicago Press, 1996. Print

Schwartz, Joan M., Terry Cook. “Archives, Records, and Power: The Making of Modern Memory.” Archival Science 2 (2002) 1-19. Print.

Government Shutdown and Libraries

The recent government shutdown in Washington DC has been an unavoidable news subject of the last few weeks, from dismay with House Republicans holding the government hostage, to the concerns about glitches users experienced trying to access new health care websites. But there have been some surprising reverberations in the seemingly calm world of librarians and researchers as well; the Library of Congress was closed and its website offline for a few days, as were websites for the U.S. Census Bureau, the National Science Foundation, the Bureau of Economic Analysis, the Institute of Education Sciences, and the National Oceanic and Atmospheric Administration. Other websites like PubMed were operational but went without updates. The National Archives and Records Administration also had to put 1,932 of its employees on unpaid furlough, meaning partial closures of the 13 Presidential libraries across the country which are NARA-administered. These were all major losses for researchers across the country whose work relies on both physical records and electronic databases.
And there were other ways in which the shutdown was felt. Inside Higher Ed’s website noted that the shutdown was causing disruption in disparate conferences, such as a digital humanities conference sponsored by the National Endowment for the Humanities, or the annual conference for the Society for Advancement of Hispanics/Chicanos and Native Americans in Science held in Austin, Texas. New research grants at the NIH, NSF, and other federal agencies were stopped as well, and intramural research at the NIH was also largely on hold while new patients were not being admitted into clinical trials at the agency’s medical center in Bethesda, Maryland.
The shutdown began October 1, when lawmakers failed to pass a budget agreement after heated debate over implementation of Obama’s Affordable Care Act. This in turn led to the furlough of almost a million federal workers, and the closure of federal institutions like museums and national parks. As to be expected, blame for the shutdown-related problems and disruptions was shifted back and forth between parties. House Republicans introduced bills to provide stopgap funding for the NIH through mid-December, as well as bills to cover funding for the District of Columbia’s operating budget, national parks and museums, and veteran’s benefits. But these bills are unlikely to pass the Senate, and the White House as vowed to veto them, decrying the “piecemeal fashion” of these bills, and calling on the House to “reopen all of the Government.” The American Council on Education, took a cautious stance on the Republican proposal, with Senior Vice President for Government Affairs Terry Hartle saying “We would obviously like to see the entire government reopen and some departments in particular, NIH and NSF, would top our list. But this is an intense, totally political controversy. It’s unlikely that we’re going to insert ourselves in it.”
The stance of neutrality for those representing education resources is understandable and predictable in this situation. In the world of research, academics, and libraries, there is always a need to at least maintain the appearance of non-partisanship, and perhaps a sense that it is best not to rock the boat while waiting for everything to return to a state of normalcy. But should there be more of a sense of outrage? Would it be better to approve of Republican measures to provide stopgap funding for essential services to keep them running, or is it more important to fight the political fight with politics? There are certainly those in the field who believe in the ultimate importance of defending health care. And yet, perhaps there should be some resentment on the part of those in these services (again, always with the ideal of neutrality in mind) whose work is caught up in the larger political machinations of Washington.
There have also been some questions regarding the decision to shutdown websites; while closing physical institutions is perhaps understandable, the maintenance of a website shouldn’t be so difficult or costly. But websites require workers as well, and left unattended could be vulnerable.
It is tempting to read the situation as a failure of bureaucracy, where foolish top-down policies are put into play by the controlling men at the highest point in the federal food-chain, and the effects ripple below to the people below, be they library workers, veterans, park workers or visitors. But perhaps it is a more systemic level problem: our federal institution systems are perhaps rigid and lumbering, and all the actors in this drama are probably doing the most towards what they genuinely believe is right.
Several decades ago Michael Lipsky wrote about the problems facing workers he called “street-level bureaucrats”, meaning the lowest level of government workers who actually work face to face with the public. While he outlined how problematic their work could be (mostly referring to policemen, school teachers, and judges), he also spoke to a possibility for these low-level workers to actually implement policy beyond that which was dictated from above. Is there room in this government shutdown situation for lower level players to affect action? It might be hard to see where librarians fit into this picture of “street-level bureaucrats”, but one bright spot of the shutdown was Washington D.C. mayor Vincent Gray deeming librarians and other local government workers “essential.” In the face of this situation, there has been one bright spot. Normally, such a shutdown would see “non-essential” services like parks and libraries closed in Washington D.C. (due to the special status of the city, which needs Congress’s approval for any budget). But Mayor Vincent Gray defied the federal government, and opted to keep D.C.’s public libraries open.
Maybe there is perhaps a tension here- it is true that it can be harder to see the direct relationship between the work of a librarian in a library and the work of a policeman keeping law and order. But librarians and other researchers do perform vital services for the community on both a local and national level, and it is important that as profession librarians see themselves as being as worthy as others. Professional neutrality need not mean professional self-effacement. Beyond the temporary shutdown situation, there is room for the field of librarianship to assert itself, and improve itself. In the meantime, the Library of Congress’s website at least is now up again. Now if some work could be done on some of the more archaic LCC categorizations (yes, I mean “Oriental language and literatures”) before the next shutdown. That will be for another blog.

Resources
Lipsky, Michael (1969). “Toward a Theory of Street-Level Bureaucracy.” Paper presented at the Annual Meeting of the American Political Science Association, NYC

IMLS, NARA, and Library Of Congress Closed During Government Shutdown

Contemporary Libraries as a Third Place

Traditionally, libraries have played a role in promoting literacy and knowledge appreciation. More and more, libraries are filling another critical need in our society, by furnishing a sort of refuge for patrons in search of a “communal connection in an ever-more isolated world”. Libraries are widely accepted as community centers and have increasingly conformed to what Ray Oldenburg (urban sociologist) called the Third Place.

A third place can be defined as a community center, separate from the home and workplace, that are “anchors of community life and facilitate broader more creative interaction”. Third places may accommodate the regular, voluntary, &/or informal gatherings of individuals beyond home and work life. Conceptually, these spaces are meant to boost social equality by means of “leveling the status of guests, provide a setting for grassroots politics, create habits of public association, and offer psychological support to individuals and communities”.

As Alison M. Lewis stated in Questioning Library Neutrality, libraries have been one of the places where citizens can be exposed to a variety of viewpoints, including unpopular or minority views, which, in our democratic society, has been held up as a public good. In the article The Professional is Political: Redefining the Social Role of Public Libraries (Questioning Library Neutrality), Durrani and Smallwood stress how important it is for librarians to understand working people’s lives and struggles, be one of them, and then seek ways of creating a relevant library service. Creating a people-oriented library service comes with the challenge to develop a service that is open to all, irrespective of class, race, gender, ability, age, sexual orientation, political beliefs, etc.

The New Republic published an article in March of 2013, titled The Revolution at Your Community Library: New Media, New Community Centers. The article describes several points making contemporary libraries the new community center. It is in these libraries that offer something not found elsewhere in the urban landscape; “heavily used, not-for-profit communal spaces that facilitate many and various kinds of informal social interactions and private uses”. As a third place community center, the library adapts to meet the needs of society and evolves to serve the public:

“The unemployed, under-employed, and self-employed frequent them. Immigrants attend English-as-a-second-language classes there. Homeless people park there. Caretakers and the young charges read, or just escape social isolation without paying for that right at the local mall. Working parents use them as free, safe depositories for untended offspring. Retirees get to the classics they have long deferred, work on their long-dreamed-of-memoirs, dig into their family genealogies. Bootstrap community organizations stage art shows, concerts, performances or lectures.”

To Cossette, the library is a human endeavor. The contemporary library is a center of liberalism, but its function is not to preach it but be liberalism in operation (Humanism in Libraries). In the last pages of Cossette’s dissertation, libraries are defined as being a social institution that exists under the pressures of society as a whole and have the potential to be a “powerful lever for social transformation”. Cossette may have been picturing the ideal library similar to the one imagines in the New Republic article, and certainly within the definition of Oldenburg’s Third Place.

The idealized contemporary library as a community center are abundant on the web, from news sources, blog entries, to scholarly articles. A New York Times article, Libraries Could be Our Shelters From the Storm, imagines urban libraries that can literally serve the public as a community center and provide shelter during potentially threatening disasters. The article points to people’s need for familiarity in times of stress/need, and the public library is exactly that: places that serve us well every day serve us best when disaster strikes. It was during last years Hurricane Sandy, that the potential for libraries as community centers were realized by more than regular patrons. New York Public Libraries became safe haven during the super storm, much more than churches, schools, and malls, thus proving the communities trust in the public library.

Perhaps it is the open-to-all policy, or the institutions neutral characteristics that make the library ideal community centers. Libraries will continue to serve the public, in determining the needs of the community through education, preservation, and information, whether it’s rain or shine. As author Zadie Smith once said, “libraries are the only thing left on the high street that doesn’t want your soul or your wallet”.

 

Text Sources:

Cossette, A. (2009). Humanism and libraries: an essay on the philosophy of librarianship. Duluth, Minn: Library Juice Press.

Lewis, A. M. (2008). Questioning library neutrality essays from Progressive librarian. Duluth, Minn.: Library Juice Press.

Oldenburg, R. (1989). The great good place: cafés, coffee shops, community centers, beauty parlors, general stores, bars, hangouts, and how they get you through the day. New York: Paragon House.

 

Additional Reading:

http://www.newrepublic.com/article/112443/revolution-your-community-library

http://www.nytimes.com/2013/10/03/arts/design/next-time-libraries-could-be-our-shelters-from-the-storm.html?_r=0

http://www.theatlanticwire.com/national/2013/10/how-libraries-can-stop-next-hurricane-disaster/70149/

http://lj.libraryjournal.com/blogs/annoyedlibrarian/2013/10/07/libraries-saving-the-day/

 

 

A Dystopian, Vampire Romance – tales of eBooks, publishers and public libraries

The Coldest Girl in Cold Town is the latest Y.A. novel by Holly Black, published last month by Little Brown (part of the Hachette Book Group). It falls easily into that most ubiquitous of Y.A. fiction categories: dystopian, vampire romance. A week after publication, I purchased the Kindle edition for $4.99 (I had my reasons). While the New York Public Library purchased two eBook editions, for which there are currently multiple holds on the library website, and 72 hardcover copies (of which 22 are currently available to borrowers). Why so many hardcopies and only two of the eBooks edition? It couldn’t possibly be due to the sky-high price extracted from NYPL by the publisher to acquire an all too temporary license to the eBook edition?

In his recent opinion piece posted on Wired magazine’s website (October 2, 2013) Art Brodsky writes about The Abomination of EBooks: They Price People Out of Reading. While he isn’t too concerned with the fact that eBooks don’t offer the same sensorial experience as printed books, for him:

“The real problem with ebooks is that they’re more “e” than book, so an entirely different set of rules govern what someone — from an individual to a library — can and can’t do with them compared to physical books, especially when it comes to pricing”, (the way eBooks) “are priced differently to consumers and to libraries. That’s how eBooks contribute to the ever-growing divide between the literary haves and have-nots.”

Noting that the mark-up to libraries in some instance can be as much as 300%, Brodsky post examines the variety of other restrictions that come with eBooks, not just in terms of what device an eBook may be read on – which he claims is discriminatory enough in itself – he also tells of how libraries are only allowed to circulate an eBook a certain number of times before a decision must be made to renew the library’s eBook license. Not exactly a vision of a library utopia with equal access to all!

But then should we be surprised?

“That corporations dominate our profession as publishers, hardware manufacturers, software providers, database creators, and network gatekeepers, and that an attendant corporate ethic increasingly infuses how library management defines its modus operandi”

as Peter MacDonald has previously asserted (Corporate Inroads and Librarianship: The Fight for the Soul of the Profession in the New Millennium, essay from Questioning Library Neutrality, ed Alison Lewis 2008. Original essay published in Progressive Librarian, Nos. 12/14. Spring/Summer 1997).

As of this week it may even seem like the already difficult relationship libraries have with eBooks has hit a new crisis as not one but two eBook subscription services were rolled out in quick succession. In September Oyster arrived and was portrayed in the media as “a plucky young NYC-based start up”, and then just this week the social publishing service, Scribd, announced it’s own subscription service had landed HarperCollins as it’s first major publisher to come on board and lend it some traction in the race to be the “Netflix for the eBook”. The Forbes commentary said it all:

“And even though libraries have done this for books, for free, for more than a century, so far there hasn’t been a digital, all you can eat subscription platform for books.”

And clearly we need that eBook buffet.

So where does this leave the public library? Perhaps, like the heroine of many a romance novel, in need of a complete make-over.

“As heretical as it may seem in these times, marketing probably deserves financial preference over the more basic library activities”

(Maria J Nauratil in The Alienated Librarian pg 77, quoting Daniel Carroll’s Library Marketing: Old and New Truths Wilson Library Bulletin 57, November 1982 pg 216). But it must be incredibly demoralizing to be trying to get the message out that public libraries are there to cater to patrons, who are often the most under served in the community, while at the same time coping with underfunding, as well as pressure to maintain their collections in the face of strident commercial competition.

So what about a happy/happier ending? While it might not make everyone happy all of the time, there is much worth considering in Eric Hellman’s August, 2013 blog post about an alternative business model for Libraries and eBooks: A Rational Framework for Library eBook Licensing. Hellman offers up a range of practical suggestions for Libraries and publishers to cooperate over eBook licensing, including the currently contentious notion that if the library buys an eBook, it should get to keep the eBook. However, he is also advocating compromise when he suggests libraries could pay up to a 500% mark-up for the most popular eBooks but a much reduced price for eBooks where the library will most likely have some hand in making them a success. While Hellman acknowledges his proposals would require a radical rethinking of how things are done, never an easy ask, the benefits to both publishers and libraries would be immense.

Going Too Far Green?

When e-readers first came out, I wanted nothing to do with them. Any book lover can tell you that in addition to the characters and the story and the plot, there is a passion for the feel and smell of the book, for the emotion of curling up somewhere and entering elsewhere.

Personally, I love to not only sit and commit hours to reading but to read throughout with my day, in every moment of downtime; elevator ride, check out line, while walking down the street– you name it! Thus, as most readers can contend, I have forever been faced with the readers’ dilemma of how to have my large bulky book on me at all times. As a woman I often carry a small purse – nothing is fitting in there! And what do you do when you only have 3 chapters left in that encyclopedia-sized book?? What about the fear of finishing a book while waiting at a doctor’s office? You have only been in the waiting room for fifteen minutes and you know you have the better part of an hour left, what do you do with yourself now? Carry two encyclopedias??

When I was younger I dreamed up a brilliant solution. It was something to do with adjusting the spine of a book so that you could carry just portions of a book with you wherever you went. It was a simple slip down binding mechanism – in my vision – and could be customized as needed to take, say, just the middle third of the book on one errand or just the last chapter rather than the whole section. I am not an engineer. This ingenious idea lived only in my head. I, nonetheless, had no doubt that I would be a bagillionaire in no time. Who couldn’t use this invention!?

Enter the e-reader. This little device essentially cost me my “bagillions” while simultaneously changing the face of the literate universe.

Like many, I was extremely resistant at first. As I mentioned before, there is nothing as comforting as the smell of a books pages as you flip through them. What was this electronic alien invader, trying to sneak in and take the essential “book smell” away from my reading life? I was not having it. Until, that is, my friends ignored my very proud stance, and gave me a kindle for my birthday one year. Traitors. At first I fake-smiled and hid it in my closet. One day I very innocently turned it on. Another day, I looked at just a sample of a book someone recommended. Next thing I know…oops I own an entire virtual library – how’d that happen!?

When you(me) get past your(my) resistant exterior and stop fighting based on principle, anything can happen it seems. In no time my kindle went from being the enemy to an addition of my body. My kindle is my fifth limb. It is as essential as my keys, phone and wallet when I leave the house. I purchase bags based on them having good kindle-storing/protecting pockets. I keep the charger on me. I have the app on my phone and computer. Did I mention that I am an addict?

What affect is this having on libraries today though? Certainly there are less physical books on shelves. Likewise, I proudly borrow from the New York Public Library’s e-book selection at every opportunity. Does this mean that more people are reading more often and more easily? That’s a good thing. But, what if I were to tell you that books might be done away with altogether!? I’m sorry, reader, if you are anything like me then that was a punch in the gut and I gave you no warning. The horror! Am I right!? You need only google “digital-only library” to learn that reports are rampant that the next phase of libraries may be subject to digital-only collections. Reema Khrais (2013) noted one of the earlier attempted launches of a digital-only library at the Santa Rosa Branch Library in Tucson Arizona in 2002, was unsuccessful for a number of reasons, not least of which it was simply said to be “premature.” Try, try again, more are on their way (Beres, 2013).

I have already admitted that I caved and joined the nerdy digital world. Some might say that I have therefore forfeited the right to be devastated. Maybe I just am resistant as I was with my e-reader at first, and need to be persuaded – with time -that this is the best move. Perhaps I am just a sappy nostalgic, one who hates the cold image that the idea of an “all-digital library” conjures. Maybe this is for the best, less killing trees and greater accessibility, not to mention fewer late fees?

In their works on street-level bureaucracy, Lipsky (1969) and Bovens, et al. (2002) discuss the affect and a reform from the influence of street-level, active and in person bureaucrats to a more scene- or system-level bureaucracy. That is, for example, a traffic cop is street-level whereas the automated red-light camera might be scene-level and the system automatically spitting out a picture and a ticket and mailing it to your home is system-level. It is a change from the human element to the machine, and these authors discuss both the good and the bad. A cop has the ability to use his digression when doling out tickets, good or bad, he can decide. The machine, however, is rigid. If we remove the human element is it now more “fair” across the board or does it “undermine the legitimacy of governance” (Bovens, et al., 2002, p.182)?

When thinking about the notion of an all-digital library, I am made aware of the bureaucratic shift that is involved. There will be less interpersonal interaction in a digital library, less searching on shelves and borrowing hard copies. No arguing about late fees or room for opinion. In my experience with the New York Public Library (NYPL), when borrowing an e-book, the system gives you a set number of days in which the book is on your device, after which it is automatically removed. No questions asked, no one there to ask them. The system warns you when your loan time is ending. Is this fair? Is it better, is it worse? What if I told you that a physically borrowed book can be renewed for extended loan, whereas the system currently does not permit renewals on e-books. Does that matter? Is that less fair? Is this just a quirk in the system? “Equality For E-Books” rally, coming to you soon!

Digital libraries will of course carry more than just pleasure-reading collections. Will you be able to borrow periodicals? What happens with print documents that haven’t been reformatted to digital copies? What about articles from magazines or papers, etc., that the library doesn’t subscribe to? Can you pay? Should you have to? Maybe the digital age actually opens us up to more accessibility; an article published in Europe might come up in a simple search conducted by a researcher in Alaska. The questions are endless.

Perhaps all we can do is bear in mind all of these uncertainties, try to recognize any undue influence this media might be having, and considering it when drawing conclusions. Who is to know what the future will hold. Good or bad, the digital age is here and is spreading like wildfire. Nothing, not even the sanctity of our precious “book smell” is exempt it seems.

 

Bibliography

Beres, D. (2013, April 1). 50,000 Shades of Grey: The Wonder of Bookless Libraries. RD. Retrieved from http://www.rd.com/recommends/50000-shades-of- grey- the-wonder-of-bookless-libraries/
Bovens, M. & Zouridis, S. (2002). From Street-Level to System-Level Bureaucracies: How Information and Communication Technology Is Transforming Administrative Discretion and Constitutional Control. Public Administration Review, 62(2), 174-184.
Chappell, B. (2013, September 14) Bookless Public Library Opens In Texas. North Country Public Radio. Retrieved  from http://www.northcountrypublicradio.org/news/npr/222442870/bookless- public-library-opens-in-texas
Khrais, R. (2013, January 15) A New Chapter? A Launch Of The Bookless Library. NPR. Retrieved from http://www.npr.org/2013/01/15/169412670/a-new- chapter-a-launch-of-the-bookless-library
Lipsky, M. (1969). Toward A Theory of Street-Level Bureaucracy. Institute for Research on Poverty, 48-69.

Curator, publisher, aggregator, librarian: creative professional?

In March of 2012, a heated debate ensued after Maria Popova of Brainpickings introduced the curator’s code—two Unicode characters (ᔥ, the “via”, and ↬, the “hat tip”) meant to help people credit the origins of the links they share online. The “via” indicates a direct link to a piece of content, while the “hat tip” is used to credit another person who’d previously shared the content. Though these terms had been around before the advent of the curator’s code, the code was an attempt to standardize the terms and to publicize the ethics of recording how links are shared.

via
Brainpickings

The curator’s code is a piece of Popova’s broader position that arrangement and information architecture are meaningful (she uses the term “combinatorial creativity”). The core idea behind the code is that “content curation and information discovery” are valuable, creative forms of labor, and those laborers are worthy of being getting credited for that work.

Sometimes called curation or aggregation (many people on both sides of the debate don’t feel there is an adequate term), this kind of work can take on a few different forms. It might be a twitter feed comprised of links briefly commented on, or a blog post (on a site like HuffPo) featuring a longer summary and a link back to an original article. Basically, “content curation and information discovery” fall under the umbrella of the act of grouping, collecting, or listing other sources.

In the context of journalism the link back to the original source is especially important to the original creator of the content, since it can mean more page views (which is tied to revenue). Linking back also builds social capital—as David Carr said in an interview, “…often the only compensation that’s out there. That ego compensation or artistic compensation.” In that way it can also be important to an artist or social media personality. The principle of linking back (with or without a “via”) isn’t a foreign concept, since it does basically what a copyright notice does—identify the author (or owner) of a thing.

And that aspect of the curator’s code was generally accepted. Besides some aesthetic issues and practical gripes with the Unicode characters, the backlash flared when the definition of who should get credited with authorship was broadened to include the aggregator/curator, with particular issue taken with the word “curator.” “ ‘Curation’ is an act performed by people with PhDs in art history” commented Matt Langer (on Gizmodo). As Marco Arment elaborated in his post (titled “I’m not a curator”):

I completely disagree with Popova on the value of discovery.

The value of authorship is much more clear. But regardless of how much time it takes to find interesting links every day, I don’t think most intermediaries deserve credit for simply sharing a link to someone else’s work.

Reliably linking to great work is a good way to build an audience for your site. That’s your compensation.

But if another link-blogger posts a link they found from your link-blog, I don’t think they need to credit you. Discovering something doesn’t transfer any ownership to you. Therefore, I don’t think anyone needs to give you credit for showing them the way to something great, since it’s not yours. Some might as a courtesy, but it shouldn’t be considered an obligation.

Langer noted

… when we do this thing that so many of us like to call “curation” we’re not providing any sort of ontology or semantic continuity beyond that of our own whimsy or taste or desire. “Interesting things” or “smart things” are not rubrics that make the collection and dissemination of data that happens on the Internet anything closer to a curatorial act; these categories are ultimately still reducible to “things I find appealing,”…

Joe Lazauskas, reacting to Langer’s post, noted that for him sharing content and creating original content are not equally valuable activities, and agreed that “there’s no standard that distinguishes curation from sharing, it’s just a means of attributing artfulness and profession to the act of presenting non-original content to an audience.”

***

Whichever side of the curator’s code debate one goes with, its questions about the definition and cultural value of curation are important, and relevant in other contexts. For example, like web curators, librarians engage in “the act of presenting non-original content to an audience,” selecting and communicating sources they have not created to users. If not when web curators do it, can a librarian’s collection, gathering and sharing, arrangement, aggregation, selection, and curation be considered artful, valuable, creative, and/or professional? This is an important question for a field that has historically struggled with its professional identity—particularly regarding the cultural value and impact of its activities. In her book The Alienated Librarian, Marcia J. Nauratil traces thwarted professional development and public recognition to the feminization of the field, but another root might be our culture’s devaluation of the work of curation/knowledge organization—clearly seen in the reaction to the curator’s code.

How can we come to an understanding that these activities are creative, not in the sense that something original and new is created, but in the sense that meaning is created? In books like Questioning Library Neutrality, the political impact of accessions and collection development becomes clear. One core tenet that emerges is that the choice to include or not include a source in a collection is not neutral, but rather carries weight. In the library these choices of inclusion and exclusion impact the users, representing or under-representing their interests—and in that way they are creative, in that they create meaning or a message or an effect on people. Another aspect that comes up in QLN is that how a source is cataloged—for example, what subject terms are used and the specific wording chosen for them—imparts bias. A “neutral” position still communicates something—you say something by saying nothing. Maybe another way to phrase that is silent or explicit arrangement says something—it creates meaning, and in that way it is interpretive. Even though the brand of interpretation is different from what many people would traditionally accept as creative, seeing collection and organization through the lens of neutrality can lend more credibility to the idea of curation—thereby lending credibility to the project of librarians and others who gather and present information to others.

Links/Bibliography
*I tried to trace where I got my links from, but it was actually harder than I expected (since my way of working is to open a bunch of tabs and look at everything at the end). I’ve been thinking about this topic since last year, so that added to the confusion–I’d bookmarked some of the following pages then, and for this post did some additional googling.

Popova’s previous writings:

In a new world of informational abundance, content curation is a new kind of authorship (6/10/11) [↬ Megan Garber]
Networked Knowledge and Combinatorial Creativity (8/1/11) [↬ Popova, Introducing the Curator’s Code]

Introductions to the curator’s code:

Maria Popova, Introducing the Curator’s Code: A Standard for Honoring Attribution of Discovery Across the Web (3/9/12)
Swiss Miss (3/9/12)
David Carr, A Code of Conduct for Content Aggregators (3/11/12) [↬ Swiss Miss]
Megan Garber, The Curator’s Guide to the Galaxy (3/11/12)
Duncan Geere on Wired, ‘Curator’s code’ proposed for web attribution (3/12/12)
Brooke Gladstone’s On the Media interview with Popova (3/23/12)

Reaction to the curator’s code:

Twitter discussion of the curator’s code
Daniel Howells’ post (3/11/12) [↬ Swiss Miss]Jennifer Daniel’s satire on Bloomberg (3/12/12) [↬ Michael Surtees]
Marco Arment, I’m not a curator (3/12/12) [↬ Daniel Howells]
Matt Langer, Stop Calling it Curation (3/12/12) [↬ Daniel Howells]
It’s Nice That post (3/13/12) [↬ Daniel Howells]
Michael Surtees’ post (sometime in March? undated) [↬ Daniel Howells]
Brad Zackarin, The Curator’s Code in the Classroom (3/14/12)
Iain Claridge, My Collector’s Code (3/14/12)
Maria Popova, Einstein on Kindness, Our Shared Existence, and Life’s Highest Ideals (3/19/12)
Glen Isip’s post (3/20/12)
Joanna June on Hack Library School, We are all curators (3/23/12)
Maria Bustillos on Buzzfeed, Why we need “Curators” (4/3/12) [↬ curatorscode.org]
Joe Lazauskas, Rethinking the Curator’s Code: The Hidden Dangers of Elevating Content Sharing (6/20/12)
Learning by Doing, The Curator’s Code: The Art of Online Attribution (8/6/13)

For more, see the press and debate section of the curator’s code website.

Related stuff:

Jesse Hicks’ interview with David Carr on The Verge (4/3/12) [↬ curatorscode.org]
Curator’s code suggested in a libguide for the Mina Rees library (CUNY)

 

The Shifting Social Role of Libraries

In his essay written as part of a Library Science graduate program in the 1970’s, Andre Cossette responds to what he sees as a theoretical weakness in the field, developing a philosophy of librarianship in an effort to separate the nature of librarianship from its technical practices and define an ultimate purpose. Inspired by ideas of another writer in the field at that time, Jesse Shera, Cossette suggests the following definition: “Librarianship is the art and science of the acquisition, preservation, organization, and retrieval of written and audio-visual records with the aim of assuring a maximum of information access for the human community” (1976, p. 33).

Since the publication of Cossette’s essay, advances in information and communication technology have greatly impacted the modern notion of information and its storage and retrieval. While some librarians and library leaders may still cling to this notion of librarian as gatekeeper, in today’s world of open access to information this perception is increasingly challenged. Libraries struggle with how to use and exchange bibliographic data in an increasingly networked, linked data environment. As they become just one of many options for information access, and arguably fall behind in terms of user experience, libraries seem to be at a crossroads and in serious need of a redefinition in terms of aim, objectives and function.

In the Fall of 2010, the editors of Library Journal organized an online summit, eBooks: Libraries at the Tipping Point, where Eli Neiburger, the IT and Production Director at Ann Arbor District Library gave a talk in which he enumerated the ways in which he sees “libraries are screwed”. Stating that the traditional value of libraries has been the local copy, Neiburger goes on to describe how this notion of a copy has lost its embodied value in an information market where there is no longer a difference between transmission and duplication. To transmit a digital object is the same as to duplicate it, and in our constantly connected culture where you can download anything from anywhere, “the idea of having a local copy only makes sense to a hoarder”. He goes on to describe digital materials already being produced that libraries cannot circulate and how little sense it makes asking the modern patron with persistent internet access to wait to receive a digital object. The very idea of owning a copy of media is something that could potentially become an alien concept to future users, and this is all happening at the same time as tax payers are forced to decide what municipal services they can do without.

Out of this belief that the circulating collection itself has become outmoded, Neiburger offers a potential look at the future, by looking to the past. The original use of libraries was not to purchase commercial content for the community but to store the content of the community. He sees the future of libraries as resting on this community data—but not just data about the community; also the creations of the community. Through access to production tools, event venues, and a permanent non-commercial online space for the patron’s creative works the library becomes a platform for the community.

One great example of what Neiburger describes may be the “4Th Floor” at the Chattanooga Public Library. Their website describes the vision as such:

The 4th floor is a public laboratory and educational facility with a focus on information, design, technology, and the applied arts. The 14,000 sq foot space hosts equipment, expertise, programs, events, and meetings that work within this scope. While traditional library spaces support the consumption of knowledge by offering access to media, the 4th floor is unique because it supports the production, connection, and sharing of knowledge by offering access to tools and instruction.

Providing technology tutorials, demonstration days, field trips, art and design lectures, and access to 3D printers: the 4th floor combines art, technology, and education in its mission to help the community re-imagine ways to “incubate, educate and create”. Perhaps this type of community space represents one possible future for libraries?

What is clear is that libraries have lost their once monopolistic role as information providers and as we head into a new digitized era, the value of the local collection will continue to be challenged. We need to reposition ourselves in this shifting environment, finding ways to provide unique experiences and content if libraries and librarians hope to remain relevant. The library as a physical community space still seems to hold a great deal of value. This becomes even more crucial in our corporate driven culture in which non-commercialized public spaces are disappearing, and venues for public political interaction are few and far between.

However, libraries need to employ a greater degree of self-awareness in order to provide these open intellectual spaces. In his essay, The Myth of the Neutral Professional, Robert Jensen discusses how the ideology of political neutrality keeps librarians and other professionals from understanding the relationship between power and the professions. Pointing to the fact that the 20th century has been defined by three developments of great political importance: democracy, the growth of corporate power, and the growth of corporate propaganda as a means of protecting corporate power from democracy, Jensen states that the, “liberal, pluralist, and democratic features of the system are constantly in tension with capitalism and the state” (2008, p. 89). In a democratic society, where the state does not have direct control of the institutions where intellectual work is done, the myth of the neutral professional serves as propaganda, a way to neutralize professionals who have been “given the resources that make it easy to evaluate the consequences of that distribution of power and potentially affect its distribution” (Jensen, 2008, p. 91).

As places for people to engage in politics as participants and not simply spectators disappear, the library represents one of the last remaining public spaces for people to come together and engage ideas. Jensen points to the importance of programming within this context, explaining that while programs should not advocate a single viewpoint, the choices involved will inevitably be informed by individual politics. “In all of these situations, the question isn’t whether one is neutral, but whether one is truly independent from control and allowed to pursue free and open inquiry” (Jensen, 2008, p. 95).

In seeking out this independence, the ideas of social theorist, Herbert Marcuse seem relevant. Included in the collection of essays, Critical Theory for Library and Information Sciences, Ajit Pyati of the University of Western Ontario explores how Marcuse’s theories might apply to LIS, specifically the influence of “technological rationality”. Writing during the height of the advanced industrial society, Marcuse’s idea of a form of technological dominance serving to institute new, more effective, and more pleasant forms of social control is relevant to a discussion of how discourses of information technology are being used to perpetuate capitalist logics of consumption today. Pointing to the commodification of information and the decline of the democratic public sphere, Pyati finds Marcuse’s theoretical concerns about technology relevant in terms of bringing social justice concerns to the forefront, counteracting repression, domination, and injustice as well as also pointing out the potential liberating possibilities of the technological society.

For freedom indeed depends on technological progress, on the advancement of science. But this fact easily obscures the essential precondition: in order to become vehicles of freedom, science and technology would have to change their present direction and goals; they would have to be reconstructed in accord with a new sensibility—the demands of life instincts. Then one could speak of a technology of liberation, product of a scientific imagination free to project and design the forms of a human universe without exploitation and toil. (Pyati, 2010, p. 240)

Marcuse’s words bring to mind Chattanooga and the 4th floor, as well as Neiburger’s assertion that libraries must find ways to offer unique experiences and content. Pyati states, “As a field that bridges both the academic and professional worlds, LIS is in a unique position to train public intellectuals who can speak for issues in the public interest and advocate for socially just outcomes in the information society” (2010, p. 246). Perhaps the future will see what Shiraz Durrani and Elizabeth Smallwood describe as a “people-oriented library service” in their essay The Professional is Political: Redefining the Social Role of Public Libraries. For this type of library to exist, there must be a clear understanding of the social forces within which the library services operate in order to develop a service that is open to all and reaches out to those that have been excluded in the past. Libraries must stop operating in isolation from outside progressive forces and join with organizations such as youth groups, unions, and political organizations. “But before libraries reach that stage, they need to liberate their minds from the social, cultural and political norms of class-divided society…we will need to see the whole picture and not just the aspects we are shown” (2008, p. 125).

More than thirty years later, Cossette’s simplistic definition of librarianship no longer seems to rings true. Although the technical aspects of library work may still mirror what he described, the absolute necessity for librarians to reinvent themselves in a new cultural, technological and political landscape will force members of the profession to confront these issues whether they are ready to do so or not.

 

References

Cossette, Andre (1976). Humanism and libraries: An essay on the philosophy of librarianship. Duluth, MN: Library Juice Press.

Durrani, Shiraz, & Smallwood, Elizabeth. (2008). The professional is political: redefining the social role of public libraries. In Alison Lewis (Ed.), Questioning library neutrality: Essays from progressive librarian (119-140). Duluth, MN: Library Juice Press.

Eli Neiburger (2010, September 29). Libraries at the tipping point: how ebooks impact libraries. Retrieved from http://www.youtube.com/watch?v=bd0lIKVstJg

Jensen, Robert. (2008). The myth of the neutral professional. In Alison Lewis (Ed.), Questioning library neutrality: Essays from progressive librarian (89-96). Duluth, MN: Library Juice Press.

Pyati, Ajit. (2010). Herbert Marcuse: liberation, utopia, and revolution. In Gloria J. Leckie & Lisa M. Given & John E. Buschman (Eds.), Critical Theory for Library and Information Science (236-247). Denver, CO: Libraries Unlimited.

 

Librarians and the Need to Prove Their Worth

Imagine that you are the principal of your old high school.  It is a tough economic time, and you’re preparing for major budget cuts and less funding.  Your school is allowed two of the following positions: Music Teacher, Art Teacher, Librarian, Nurse, and Physical Education Teacher.

 

Who would you choose?

 

Why?

 

Principals are faced with such decisions every year.  While some still recognize the value of skilled and experienced librarians, many have few doubts about getting rid of them.  Parents rally to raise money for such extracurricular activities as marching bands or sports teams, but are rarely willing to do the same for libraries.  The result: school libraries are closing and librarians are being laid off.  At James Logan High School in California, “the 4000 students…are starting the school year without access to the aisles of books and computers sitting in a darkened room, unused.”[i]

However, principals and parents aren’t solely to blame.  This issue extends beyond the realm of school librarians.  Regardless of the type of library, hours are being cut or librarians are being let go altogether.  Law firms and corporations view librarians as expendable in times of economic crisis.  Can you blame them either?  In a capitalist society, how can a profession that doesn’t provide direct financial benefits be seen as an asset?

It depends how one defines “librarian.”

According to Merriam-Webster, a librarian is “a specialist in the care or management of a library: a place in which literary, musical, artistic, or reference materials are kept for use but not for sale.”  Whether or not one acknowledges that the term has evolved over time, it’s difficult to comprehend what a librarian does from this definition.  It’s static and outdated, and if this is the public’s perception of what librarians are, the field will begin to disappear.

The only people who can adequately provide a definition are librarians themselves.  To be considered an indispensable part of society, librarians have to establish that they have a skill set that cannot be duplicated, substituted, or outsourced.  Using this skill set as the basis, librarians will be able to defend their contribution to the workplace, even if it is not an obvious financial one.  Until they do so, librarians will continue to be perceived as replaceable and will have no way to articulate an argument against this view.

The fact is librarians do possess a skill set: “the organization, representation and retrieval of knowledge and information.”[ii]  However, establishing this is only the first step. As Jack Anderson claims, it doesn’t matter “whether a librarian has mastered particular techniques or principles, because the latter do not demonstrate that they themselves can make a difference in society.”[iii]  Librarians now need to explain why this skill should matter to the public in a way the public can understand and digest.  Over the past few years, librarians have begun to do this and, in turn, successfully defend their worth.

Ironically, their arguments all start with the very skill librarians possess: research and retrieval of information.  Within school systems, librarians are conducting studies on their impact and articulating their findings to the public. Much of the focus is on the relation of school librarians to student achievement.  “In a 2010 study conducted in Colorado, more children scored ‘proficient’ or ‘advanced’ in reading in schools with a full-time, credentialed librarian than those without.”[iv]

This link between library programs and student achievement is well-documented, but there is also an effort to change the outdated stereotypes of librarians.  Flexibility is a term often used to explain librarians’ work in recent articles.  “Today’s librarian is less a stern guardian of the collection and more like a curator, eager to share resources she has found and the skills it takes to distinguish good information from bad.” [v] This new portrayal of librarians involves them in more than merely helping students check out books.  It instead emphasizes their working directly with students in both libraries and classrooms.  In addition, library programs are shown to help expose students below the poverty line to new technology they would otherwise not have access to.

These arguments and statistics, if explained to a principal in these terms, will help change his/her perception of the value of a librarian and may lead to second thoughts during budget cuts.

The logic is the same regardless of the type of librarian.  There are many arguments against having a law librarian, especially in the Internet age when information is so readily available.  John Lamb articulates this in his article, “Does It Pay to Hire a Law Firm Librarian?” He expresses the need for librarians to change in light of these technological advancements, or risk becoming irrelevant.

However, more interesting than his article was the response of law librarians, detailing their value.  The arguments are well articulated and include a theme of uniqueness to the abilities of librarians.  They are shown to possess the skills which help create relationships with clients, write research memos, and not only conduct research, but do it efficiently.  “In fact, our recommendation is that an attorney contact us if they spend more than 15 minutes researching without finding their answer.  Implementing this rule reduces the amount of potential write-offs to a mere 0.2 hours.”[vi]  These points all direct attention to the bottom line: the net value of a librarian position. They find that an attorney performing the duties of a librarian would result in $12,000 of billable time lost per week, which equals $624,000 lost annually.  This, as opposed to $65,000 for a librarian’s annual salary.

Librarians may be seen as liabilities in times of financial crisis, but the onus is on them to advocate for the profession and “earn the status of being indispensable.” [vii] They have the skills; they just need to translate them into an argument.

 


[i] http://www.sfgate.com/education/article/School-libraries-hit-hard-by-budget-cuts-3854938.php

[ii] http://lisnews.org/node/30540

[iii] Andersen, Jack. “Information Criticism: What is It?” (2005)

[iv] http://www.scholastic.com/browse/article.jsp?id=3757441

[v] http://www.scholastic.com/browse/article.jsp?id=3757441

[vi] http://www.abajournal.com/legalrebels/article/more_on_law_firm_librarians/

[vii] Andersen, Jack. “Information Criticism: What is It?” (2005)