Digital Texas Round-Up! TX Digital Humanities Conference and TX Conference on Digital Libraries

April has been a big month for digital scholarship in Texas. The Texas Digital Humanities Conference took place at UT-Arlington April 9-11, and the Texas Conference on Digital Libraries took place at UT-Austin April 27-28.

I had the privilege of attending and presenting at both conferences with the generous support of Southwestern University. Check out the Twitter hashtags for each conference (#TXDHC15 and #TCDL2015, respectively) for a useful rundown of attendees’ responses to and interactions with presenters. You can see my live-tweeted responses to events and panels @CharlotteLNunes. Following are some highlights and take-aways!

Texas Digital Humanities Conference

Presentations of note:

Rebecca Frost Davis provided a tour of the curateteaching/digitalpedagogy resource on GitHub associated with Digital Pedagogy in the Humanities: Concepts, Models, and Experiments, forthcoming from the Modern Language Association. Hannah Alpert-Abrams and Dan Garrette presented a fantastic poster on their OCR (Optical Character Recognition) efforts in Latin American colonial archives. Matthew Cole LaFevor presented the idea of “toggling between quantitative and qualitative research methods” to teach historic maps alongside Google Earth images of the same regions.
Opening keynote Adeline Koh‘s much-tweeted Storified live-tweeting of Alan Liu‘s closing keynote, “Against the Cultural Singularity: Towards a Critical Digital Humanities” does a great job of distilling main points. I especially liked Liu’s remark that advocating open access (pardon the paraphrase here) “is the modern equivalent of storming university administration buildings in the 1970s.” I was delighted and inspired by the consistent support and enthusiasm for open access I encountered at both TXDHC and TCDL. The potential of open access to ensure the more equitable distribution of knowledge and information is immense. George Siemens picked up the social justice thread in his remarks, as well: “If you’re poor you’re going to stay poor because the education system isn’t going to help you.” Ultimately Siemens’ presentation was implicitly optimistic in that he provided a roadmap for a “more human digital university.” I’m proud that, as evidenced by Koh’s opening keynote on social media and revolution and closing keynotes by Liu and Siemens, the digital humanities as conceptualized at this conference was strongly tied to values of social justice.

Digital tools, resources, and projects I was happy to learn about:

Courtesy Adeline Koh: Mukurtu, a free, open source digital cultural heritage platform geared toward indigenous communities.
Courtesy of Rebecca Frost Davis: the Century America digital history project.
Courtesy of Tanya Clement: a useful Digital Humanities taxonomy.
Courtesy of Liz Grumbach: the TAPAS (TEI Archive, Publishing, and Access Service) Project.

Texas Conference on Digital Libraries

Presentations of note:

In “Elements of Successful Online Publishing,” Dillon Wackerman made a case for the library as publisher in the era of open access. Matt Christy, co-Project Manager on the Early Modern OCR Project (eMOP), encouraged libraries with OCR needs to take advantage of eMOP workflow documentation and project code, all of which is publicly available since the project is funded by the Mellon Foundation.
Jennifer Hecker, Digital Archives Access Strategist at UT Libraries Technology Integration Services, presented with a team of UT Libraries collaborators on a “Zine Party” they hosted to catalogue the UT Fine Arts Library’s collection of zines. The team offered fascinating reflections on the challenges and rewards of involving the public in metadata tasks. The discussion brought to mind recent scholarship including Crowdsourcing Our Cultural Heritage (edited by Mia Ridge), which debates the merits and shortcomings of public crowdsourcing projects in libraries, archives, and higher education. Although the Zine Party was a great success in terms of fulfilling the library mission to engage the public, the metadata produced by the event required the intervention of an experienced metadata librarian before it could be used in the library catalogue. To me, this is not evidence that the public shouldn’t be involved in crowdsourced metadata/cataloguing/transcription projects; on the contrary, such projects represent a proven fun and effective way to engage the public with special collections. But librarians and archivists need time and resources intentionally earmarked to support labor- and time-intensive crowdsourcing initiatives.

Digital tools, resources, and projects I was happy to learn about:

Courtesy of keynote Bess Sadler: the Stanford University Libraries EarthWorks project, which allows users to superimpose historic maps over GIS-generated maps; and Project Hydra repository software for digital asset management.
In general, over the course of the conference I learned more about Islandora, Fedora, and Amazon Web Services, all of which seem to be getting a lot of traction among libraries for digital asset management needs.

A good time was had by all! Huge thanks to the TXDHC and TCDL organizing committees for their hard work on these fantastic events!

Transcribing the “CellDweller Journal” with the American Prison Writing Archive

As part of our community engagement opportunity in “English 10-714: Freedom and Imprisonment in the American Literary Tradition: A Multidisciplinary Approach,” students recently transcribed part of the “CellDweller Journal” essay series archived at the American Prison Writing Archive (APWA) hosted by the Hamilton College Digital Humanities Initiative. By transcribing the essays, students enhance access to the archives by making the essays searchable by keyword.

Landing page of the American Prison Writing Archive

The APWA is the only digital archive that centrally collects the unmediated perspectives of incarcerated people in the U.S. The growing archive includes writings from people in prisons in New York, Arizona, Nevada, California, and elsewhere. According to the Collection Description, the APWA is “a place where incarcerated people can bear witness to the conditions in which they live, to what is working and what is not inside American prisons, and where they can contribute to public debate about the American prison crisis.”

The APWA’s goal of connecting people across prison walls was strongly appreciated by students in the class. Reflecting on our class blog on the experience of transcribing APWA writings, students expressed their eagerness to feel a sense of connection with those writing from prison. One student wrote, “This is what I had been waiting for all semester! We finally received the opportunity to read and transcribe essays written by people in the prison system.” Another expressed that she “was incredibly excited to have gotten the opportunity to not only read, but go so far as to transcribe a letter from someone incarcerated.” Our class is very grateful to Doran Larson, Project Director of the APWA, for providing this opportunity to engage closely with the perspectives of people who are incarcerated.

Using this Transcription as Close-Reading Worksheet, students reflected on the significance of their experiences transcribing essays by Levert III “Sékou” Brookshire, an inmate at the Arizona State Prison Complex. Brookshire, aka “CellDweller,” composed a series of essays employing striking formal features such as single quotation marks, metaphors, and rhetorical questions in order to convey pointed statements on broad issues such as education and white-collar crime.

An essay archived at the American Prison Writing Archive, titled “Fractured Mirror of Society” by Levert III “Sékou” Brookshire

In their blog posts, many students noted the unique style, both visually and in terms of voice, that distinguishes the CellDweller series. According to one student blogger, “The fact that the works are handwritten creates such a deep and personal connection with the letter and easily allows me to [empathize] with its narrator”; another wrote that CellDweller’s “unique literary style” powerfully expresses the “agency [of] the author.”

Many students appreciated the sense of connection and identification with the author that is enabled by the transcription process. “As a Latina,” blogged one student, “I have always felt oppressed. The dominant culture and race in the United States has never felt welcoming to me and I have often felt like I am resisting the oppressor even when I just go to school… When I first read Cell Dweller’s essay ‘Swimming Against the Current’ I felt a strong sense of connection with the author. The essay talks about resistance and perseverance found in those who have been oppressed unjustly… [B]eing allowed to transcribe the essay and be part of the process to get these words born within walls built by the oppressors out to the free public was an empowering experience.”

Other students reflected that transcribing the essays offered specific and unique insights that did not present themselves upon initial reading. Wrote one student, “In transcribing this story for the APWA, I had to engage more with the text by not just looking at the words but at each individual letter, making sure I transcribed it exactly the way the author meant that letter… This process really encouraged me to slow down and take my time with reading certain pieces.”

Some student bloggers emphasized the significance of specific formal features that struck them during transcription: “As I began the transcription process, I began to notice certain stylistic choices that the author made. The use of quotation marks and commas definitely struck me as unusual, but only because they were used in such abundance… looking at them made me read more closely… simply by attempting to comprehend the reasoning behind the placement of each quotation mark and comma. In some cases, I believe the quotes were used to emphasize sarcasm while other times it marked what the author believes to be a social construct with no reasonable foundation.”

Still other students were struck by broad meanings that were revealed in the transcription process. The student who transcribed part II of CellDweller’s “Fractured Mirror of Society” essay remarked that her understanding of the essay after transcribing it differed vastly from her understanding upon her initial reading. “The implication… that those imprisoned are reflections of those on the outside, albeit broken, albeit warped; that was the understanding that I took away after my first reading. That is the assumption, of course, that prisoners are the broken ones…. However, as I transcribed, as I wrote with my fingers what he wrote with his, I came to realize that outside society, not prison, is where the fractures occurred.”

As an instructor, I was both moved and impressed by the insights and reflections that students conveyed in blog posts about their transcription experiences. One student provided a fascinating study of the implications of the CellDweller’s handwriting based on her own experience growing up in El Paso. In a post titled “What Does It Mean To Write Hood?” the student wrote,

“In El Paso there are many gangs and a lot of ‘at risk’ youth. In middle school and high school students start getting into gangs or start to affiliate with them in some way or another officially or not. Being involved in this kind of lifestyle kids start talking and writing differently. The style kids adopt is very square and blocky, usually in all caps. The penmanship Cell Dweller was using was just like that style… Teachers would not accept assignments written in this style. They would make us rewrite the assignments or give us zeros if we didn’t turn something in that looked more decent and less aggressive. I was trained to discredit anything written in this ‘hood’ style.”

The student blogger continues that although she initially discredited the essay as a result of this training, she was soon drawn in by the philosophical depth of the CellDweller’s voice and message. The student concluded,

“The style I was taught to discredit deserved so much more attention and credit for being so enlightening. The ideas that Cell Dweller presented were resonant of those I find in my philosophy text books. How in the world could someone who writes like this be so intelligent and thoughtful when the society I grew up in told me they couldn’t be? I was forced to look at the essay in a different way and thus look at myself and my upbringing more reflectively.”

Thanks again to the APWA for providing us with such a meaningful and unique public humanities opportunity! As a class we are glad to help enhance the accessibility of the CellDweller essay series.

*All student bloggers in the class, including those cited above, completed this Social Media Privacy Agreement at the beginning of the semester.*

“An Out-Of-This-Classroom Experience”: Students Engage with the Texas After Violence Project

As part of our ongoing partnership with the Texas After Violence Project in “English 10-714: Freedom and Imprisonment in the American Literary Tradition: A Multidisciplinary Approach,” students in the class recently completed an orientation session on GLIFOS Social Media, the digital archiving software used by the Human Rights Documentation Initiative (HRDI) in order to host digital primary source collections. Kathryn Darnall, Digital Asset Management Intern at the HRDI, provided us with a comprehensive yet highly accessible overview of GLIFOS, including many opportunities for students to interact with the technology and experiment with its functions.

Screenshot from the GLIFOS page for a TAVP interview with Ireland Beazley. Students will input metadata on editing pages like this one in order to make interviews available on the public page of the HRDI.

Student responses to the GLIFOS orientation on our class blog highlighted the centrality of digital archiving tasks to our class’s commitment to community engagement. In one post, titled “An Out-Of-This-Classroom Experience,” a student commented, “This is a chance for me to gain valuable skills about real-life computer technology. More than that, I am most excited about the chance to do something substantial for an organization outside of an academic setting.” Another student pointed out that while participating in digital archiving tasks advances the TAVP mission, just as importantly, these tasks enhance liberal arts education:

“Even though the main goal of working with the TAVP is to help a non-profit and engage in activism, which I personally believe is central to feminist studies, as students, when we transcribe or create a table of contents for the video, we are better able to engage, critically think, and basically have a more meaningful interaction with the TAVP videos.”

Both student blog contributors mentioned the insights they are gaining into the profound “ripple effects” of the death penalty throughout Texas communities. One student blogged that at this point in the class’s work with the TAVP,

“I have been able to expand my perceived web of peoples affected by the death penalty. First it starts with the victim and the person sentenced, then to the family of the victim, then extending towards the perpetrator’s family, next to the lawyers on both sides of the case, after that the jurors of the case, and somewhere in between, the friends of the victim/perpetrator and witnesses of the crime. I hope that my understanding of this web continues to expand through more experiences with the TAVP.”

Another student blogger echoed this sentiment:

“I am most excited about working with the Texas After Violence Project because of the vast array of perspectives they collect regarding the death penalty… Since I am interested in a career in the field of law, whether that be as a lawyer or a law enforcement agent, I am excited to be able to learn concrete ways the legal system effects not only those incarcerated but the ripple effect it has on family and friends as well.”

In addition to completing the GLIFOS orientation, students also engaged with the TAVP this past week by contributing to a class HistoryPin gallery featuring selected clips from TAVP oral history interviews. You can explore our gallery here.

Screenshot from class HistoryPin gallery of TAVP oral history interview clips.

*All student bloggers in the class, including those cited above, completed this Social Media Privacy Agreement at the beginning of the semester.*

Presenting on Archives and Digital Humanities at the Coalition for Networked Information Fall Meeting

Last December I had the privilege of reporting on the Latina History Project at a panel titled “Archives and Digital Humanities” at the fall meeting of the Coalition for Networked Information in Washington, D.C. I really enjoyed hearing about the work of my fellow panelists, Mary Elings of the #HackFSM Project at UC Berkeley, and Jen Wolfe and Tom Keegan of the Archives Alive Project at the University of Iowa. Hear our conversation in the video above.

Using Digital Collections in the Theatre History Classroom

I recently enjoyed visiting Dr. Sergio Costola‘s Theatre History class to talk to students about how they might incorporate digital archival collections in final projects for the class. Dr. Costola’s class centers on theatre and performance history around the anti-abolitionist riots that took place in New York City in 1834. I highlighted several digital collections I thought might be of use to the class, including:

The Harry Ransom Center Digital Collections

The New York Public Library Digital Collections

The Library of Congress Digital Collections

The Digital Public Library of America

Students shouted out keywords corresponding to topics they’ve addressed in the class, and it was a fascinating to see what popped up in basic keyword searches. For example, here’s a screen shot of our search of the term “burlesque” in the NYPL Digital Collections:

Before we began searching, we opened the session with a discussion of Kostas Kiriakakis’ brilliant comic A Day at the Park.

This whimsical graphic take on questions versus answers allowed us to start a discussion about the inquiry-based nature of archival exploration. After discussing the features of the characters in the comic and what the dialogue between them might tell us about how to approach archival research tasks, students completed this Archival Research Glossary Exercise. The glossary pulls from the Society of American Archivists Glossary of Archival and Records Terminology. Once they finished the exercise, we discussed basic terms. For example, what’s the difference between a primary source and a secondary source? How do libraries and archives relate to each other? And what’s a finding aid? Covering basics like these ensures that students are on the same page and prepared to approach final projects using primary sources.

New Year, New Opportunities to Teach with Archives!

I’m looking forward to an exciting semester working with Southwestern University undergrads on projects involving a host of digital archives initiatives: the Digital Public Library of America, the Human Rights Documentation Initiative, and the Rule of Law Oral History Project, to name just a few. The beginning of the semester is a good time to evaluate teaching resources that have worked well in the past and think about incorporating new ones. Inspired by my colleague and fellow Council on Library and Information Resources Postdoc Monica Mercado’s (@monicalmercado) Twitter appeal this morning on behalf of her independent study undergrads–“does anyone have an article they like on *doing* archival research?”–I’ve collected here my go-to resources for facilitating undergraduate engagement with archives. I developed these resources with the support of the Bridging Disciplines Programs at UT-Austin in 2013, when I was still a wee graduate student. I’m happy to report that I still find them useful for getting everyone (students and faculty) on the same page about what archives are and how undergrads can orient themselves to the archival research task.

Without further ado:

Archival Research Glossary and Exercise. This glossary pulls from the Society of American Archivists Glossary of Archival and Records Terminology. The accompanying exercise enables students to familiarize themselves with common concepts and terms they’ll encounter in physical and digital archives.

Archival Artifact Analysis Worksheet. This basic worksheet challenges students to make analytical observations about a selected archival object. It also asks students to think about next steps for researching context, thus initiating the process of identifying secondary sources to contextualize primary sources.

Undergraduate Archival Research Considerations. This hand-out offers strategies and considerations for undergraduates new to the archival research task.

Archives and Interdisciplinary Education. This hand-out for faculty offers strategies and considerations for involving students in archives-based coursework.

Tax Preparation to Quinceaneras: Analyzing the 1990-91 Austin Hispanic Directory

As part of their work for the Latina History Project, student interns are inventorying a collection of primary source materials pertaining to Central Texas Latina history. We’re also organizing the materials into protective mylar sleeves and acid-free folders for storage in acid-free boxes.

Tori (left) and Nani (right) preserving the archival materials by putting them into protective mylar sleeves and acid-free folders

Official archival file folders! They’re much heavier and stiffer than regular file folders.

In addition to preserving the materials, we’re identifying items for potential digitization, and spending time analyzing these items, as well. Today Nani and Tori analyzed the 1990-1991 Austin Hispanic Directory: Community Resources and Features Annual, subtitled Bilingual Yellow Pages for Consumers and Tourists.

Using this Archival Artifact Analysis Worksheet, the students analyzed the directory inside and out.

Note the Mexican-inspired graphic art… And the ad for Southern Bell Telephone, which “proudly supports the educational achievement of the Hispanic community in Austin.”

“The sleeves! I can’t get over the sleeves!” –Nani

Nani and Tori made several compelling observations about the artifact. Noting an advertisement on the inside cover for bilingual phone referrals on everything from “tax preparation” to “party planning including quinceañeras” to “wrecker services,” Tori was struck by the ad’s opening line: “If you are seeking goods and services where Hispanics are welcomed… call us.” Tori perceived that there may have been a subtext to this invitation–perhaps Hispanics were not always welcomed at all Austin businesses.

The students discussed that cover of the directory, which is an attractive bright blue, appeals to a wide Austin audience. In addition to being “FREE!”, the directory is bilingual and targets both “consumers and tourists.” Nani pointed out that the various crests on the cover refer to Mexico, Spain, and the U.S.; to her, the fact that the crests are arranged prominently around the Texas Lone Star suggests the cohesion of these nationalities within Texas. Tori and Nani agreed that this sense of multi-national cohesion and integration carries through the whole of the directory. They discussed that as it features prominent members of the community involved in education, politics, banking, hospitality, and other professional milieus, the directory portrays the Austin Hispanic community of 1990-91 not as a marginalized population, but as a fully integrated, professionally accomplished, very central part of the Austin community at large.

Transcribing Central Texas Latin@ History

During today’s Latina History Project Session, student interns did important work to enhance access to Southwestern University’s Special Collections pertaining to Latina/Latino history in Central Texas. They’re bringing their impressive Spanish language skills to bear transcribing a 1984 oral history interview with Conceptíon Lopez, who moved from Mexico to Georgetown in 1920, at which time he was one of only four Mexicans living in the town. The interview was conducted by Laurie Rothhammer, who was an undergraduate history student at Southwestern.

Nani (left) and Tori (right) transcribe an oral history interview in Special Collections.

The hour-long interview is in both Spanish and English. Before its digitization, the interview looked like this:

Cassette tape recording of the Conceptíon Lopez interview

Now it looks like this!

Screenshot of the Conceptíon Lopez interview MP.3

Tori and Nani are working with the MP.3 version in order to minimize wear on the cassette tape. By transcribing and translating the Spanish portions of the interview into English, they’re improving the accessibility of the oral history for researchers, hearing-impaired users, and non-Spanish-speaking users.

Before jumping into the transcription process, the three of us had a discussion about why transcription is so important when it comes to oral history. Nani remarked that transcription is a form of preservation; if the original recording is lost, the transcript might provide a back-up of the contents. Tori pointed out that transcriptions can aide researchers and expedite the research process, since transcripts are keyword-searchable while recordings are not. Together, we reviewed the Baylor University Institute for Oral History Style Guide for tips on how to address the common challenges that arise in oral history transcription. For example, how should a transcriber handle false starts, feedback words, and non-verbal sounds? The Style Guide provides tips for maintaining the integrity of the narrator’s voice without necessarily generating a verbatim transcription.

Digitizing Texas Cultural Heritage: A Look Inside the Digitization Process

Southwestern University’s Smith Library Center Special Collections is in the midst of an ambitious digitization initiative with generous grant support from the Institute of Museum and Library Services (IMLS)

and the Texas State Library and Archives Commission (TSLAC).

The Digital Texas Heritage Resource Center will make items from Southwestern’s Texana collections digitally available to the public by connecting them with the University of North Texas Portal to Texas History, which is a Digital Public Library of America (DPLA) Hub. (Read about the relationship between the Portal to Texas History and the DPLA here.) We at Southwestern are very excited to connect Southwestern’s unique special collections with state and national networks that are significantly enhancing access to archives for students, scholars, and educators.

As part of the team working on the Digital Texas Heritage Resource Center, I’ve been working on transcription and metadata tasks for the Thomas Falconer Correspondence. Falconer was a British lawyer turned explorer on the Texas frontier. As a colleague of Falconer’s relayed in an 1841 letter, during a trip to Austin in that year Falconer was enticed to join “an exploring party of 300 armed men consisting of traders to the Mexican posts + other hardy adventurers… [T]he large scope for scientific observation proved an irresistible inducement to his joining in traversing the fierce wilderness hitherto scarcely pressed by the foot of civilized man.” On the way to its destination of Santa Fe, the expedition was brought to a halt and its members taken prisoner by Mexican soldiers; Falconer describes the episode in his book “Narrative of an expedition across the great southwestern prairies, from Texas to Santa Fe; with an account of the disasters which befell the expedition from want of food and the attacks of hostile Indians; the final capture of the Texans and their sufferings on a march of two thousand miles as prisoners of war, and in the prisons and lazarettos of Mexico.” Falconer’s writings provide insights into the border tensions that would culminate in the U.S.-Mexican War of 1846-1848.

Below is one letter I’m trying to transcribe; can you read that script?? Tricky, isn’t it! The letter, dated December 5, 1841, recounts a steamboat trip Falconer once took on the Mississippi River, from Louisville to New Orleans.

Zooming in: check out Falconer’s teeny-tiny drawing of the steamboat!

In addition to improving access for researchers and students, transcribing the letters is useful for the process of collecting metadata, as it allows us to identify people, places, and historical events to include in the “Keywords” section of Adobe Bridge.

Above is a screenshot of Adobe Bridge, the program we use to manage the metadata for each digitization. The digitizations appear on the right side of the screen; to the left are the metadata fields, covering categories such as Creator, Date Created, Description, Source, and Copyright Notice.

Below, Emily Russell, University of North Texas Capstone Student Extraordinaire, is pictured at the digitization station where all the magic happens. Along with the rest of our team of interns and archivists, we take turns doing work at this station. Emily is contributing her digitization and metadata expertise to the Digital Texas Heritage Resource Center as part of her graduate degree in Information Science.

Emily Russell getting things done at the digitization station. To the right is the flatbed scanner used to digitize documents and photos; on the computer, we save multiple versions of each scan and enter metadata for each image into the Adobe program Bridge.

The Digital Texas Heritage Resource Center initiative is off to a great start. Updates to follow as items become available at the Portal to Texas History!

Off and Running with the Latina History Project

One initiative I’m working on in my position as Postdoc in Digital Scholarship at Southwestern University is the Latina History Project (LHP). Co-directed by Southwestern faculty members Dr. Brenda Sendejo (Anthropology) and Dr. Alison Kafer (Feminist Studies) the LHP aims to enhance undergraduate education about Latina history in the Central Texas region. As part of my contribution to the project, I’m working with two stellar student workers and juniors at Southwestern, to explore and process archival materials pertaining to Southwestern’s own Latina histories.

Box of folders… or TREASURE TROVE of Central Texas Latina history? Tori (left) and Nani (right) are on the case!

Dr. Mary Visser (Art) has graciously provided the LHP with a trove of primary source materials related to an important aspect of Southwestern’s own institutional history as it connects with Latina history. During the early 1990s, Dr. Visser collaborated with Lupita Barrera Bryant to curate a photography exhibition at Southwestern. “Rostros y Almas/Faces and Souls” featured photography by Mary Jessie Garza.

Invitation to “Rostros y Almas/Faces and Souls: Photography by Mary Jessie Garza” at Southwestern in 1992. The exhibition invitation includes details in both Spanish and English. The cover photo is titled “Rosie Serna.”

According to the invitation pictured above, the exhibition includes images of “contemporary women of Mexican descent who have contributed to the emerging culture of Texas and the nation.” The box of materials Dr. Visser provided includes separate information folders for each woman photographed for the exhibit, negatives of all of the portraits taken for the exhibit, and materials that Visser and Bryant researched to learn about potential subjects. Tori and Nani and I have made some headway inventorying the materials, and thinking about how best to organize them into the protective mylar covers and acid-free boxes and folders that Dr. Visser gave us for purposes of preserving the materials.

Proudly posing with acid-free boxes and folders.

During our first inventory session, we came across a host of interesting stuff. We especially appreciated these gems:

Gotta love early-nineties business casual!

In addition to exploring the materials from Dr. Visser, we also visited Southwestern’s own Special Collections to explore holdings pertaining to Latina/Latino history. Kathryn Stallard, Director of Special Collections, gave us a helpful orientation in the Reading Room.

Here’s Tori getting down to the business of archival analysis!

So far, so fun! I look forward to seeing where the Latina History Project takes us as we continue with archival processing and analysis tasks.

archiveseducate

An educator's journey in archives and undergraduate teaching

Archives and Special Collections