Besser--ASIS Image Educ 11/5/01 1 Educating Information Professionals Howard Besser UCLA School of Education & Information howard

Besser--ASIS Image Educ 11/5/01 1

Educating Information Professionals

Howard Besser

UCLA School of Education & Information

http://www.gseis.ucla.edu/~howard


Summary-

_ UCLA Curriculum, Aims, & Impediments_ General curriculum incorporating Museums_ Examples from Courses I’ve taught_ Our MIAS Program


UCLA Curriculum-

_ The New Information Studies_ Lots of Emphasis on Cultural Heritage_ Curricular Reform problems


The New Information Studies

_ Creating Digital Libraries_ Electronic Publishing_ Building Collaboratory Environments_ Revamping Information Studies Education_ Distance Independent Learning_ Cultural Heritage Institutions


Cultural Heritage Instruction Includes-

_ A) Knowledge About Objects/Data_ B) Knowledge About Handling

Objects/Data_ C) How to Solve Problems_ D) How to Communicate


A) Knowledge AboutObjects/Data

_ History (information processing, organizations, technology, literary traditions)

_ Traditions of librarianship (commitment to public service, commitment to free access to information)

_ Traditions of archives (organic nature of documentation, provenance, relative value of records)

_ Traditions of Museums (provenance, interpretation, documentation)


B) Knowledge About Handling Objects/Data

_ Cataloging & indexing_ Archives_ Technological processes_ Multimedia/Compound documents_ knowledge of special requirements in handling, organizing, and

accessing film, video, still images_ design, composition, and presentation_ Recordkeeping_ Preservation of all types of formats_ Administration_ Subject or Domain Speciality/Focus


C) How to Solve Problems

_ Systems analysis_ Research/Analysis_ Management_ Technology trends_ Leading/Organizing groups/teams/projects_ Facilitating_ Synthesizing of different disciplines_ Prototype development


D) How to Communicate

_ Instruction_ Writing_ Facilitating_ Teamwork, particularly on Projects


To be fully effective, we need

_ Instructional Material_ Cluster of Courses_ Engaging Projects_ Work with Professionals in the Field_ Professional Development_ Certification of Professional Proficiency


Curricular Reform Problems

_ Undergraduate Courses_ Program Length_ Experiential Component_ Number of Outside Courses Allowed_ Infrastructure Requirements_ Placement_ Required Courses_ Course Development_ Need for Certification Program, Continuing Education


Teaching with MESL-


Samples from a MESL Site


Creating New Image Sets (Views)


Teaching Tools


Teaching Distance Classes


Some Courses I’ve Taught

_ Visual Materials: Metadata, Standards, and Best Practices for Digital Libraries (Spring 00)

_ Digital Collections of Still & Moving Images (Winter 00)

_ Social & Cultural Impact of New Information Environments (1993-)

_ Digital Visual Materials in Cultural Heritage (Spring 99)

_ Web Design and Development (1997-99)


Examples of CourseGoals and Exercises-


Digital Visual Materials (1)

_ This course will explore important issues around the use of visual materials (such as moving image film, photographs, drawings, maps, etc.) in cultural heritage institutions such as museums, archives, and libraries. The course will deal with special issues posed by visual materials in terms of representation, selection, evaluation, organization access, file format, repurposing, longevity, intellectual property, etc.


Digital Visual Materials (2)

_ What are the issues involved in making visual materials persist over time? How do we decide which materials should persist over time?

_ How do intellectual property issues affect preservation, access, and use of visual materials ? (e.g., the implications of the millennium copyright bill?)

_ As the digital world moves toward multiple uses and viewing works from different angles, how does this affect notions of context and its preservation?

_ What challenges do visual materials pose for representation (e.g., cataloging, description) in terms of facets described, collection vs. item-level, provenance vs. subject-based access, and controlled vs. uncontrolled vocabularies?

_ How do digital objects challenge traditional archival notions of evidence? Can ways be found to authenticate digital works, and track provenance and versioning?

_ How do reformatting and multiple formats of the same work change how we look at a work? (e.g., are videos the same as films? Are digital photographs the same as analog photos?)

_ Is there a social context to viewing an object? (is viewing a video at home the same as viewing a film in a theater? Is viewing a mural on a screen the same as viewing it in-situ?)

_ Who attributes value to a work, and under what circumstances? How does one deal with the different values that different communities may have towards any particular set of works?

_ Are there ethical considerations in format conversions (e.g., film colorization, pan-and-scan?) _ How do politics affect cultural heritage institutions as they strive to serve new audiences? (the Enola Gay

incident?)


Visual Materials: Metadata, Standards, and Best Practices for

Digital Libraries (Spring 00)_ Apr 3--Interoperable Digital Libraries & importance of Metadata &

Standards_ Apr 10--The Museum Educational Site Licensing Project and what

we've learned_ Apr 17--Making of America II_ Apr 24--California Digital Library Architecture & Standards-1_ May 1--California Digital Library Architecture & Standards-2_ May 15--Digital Longevity-1_ May 22--Digital Longevity-2_ Jun 1--National Information Standards Organization Technical

Imaging Metadata_ Jun 5--Final Presentations


Visual Materials: Metadata, Standards, and Best Practices for Digital Libraries


Visual Materials (final projects 1/2)

_ Whose Truth? Context and Meaning in Digital Image Collections: By Rich Gazan

_ An analysis of the JARDA test database and UCLA digital imaging project management database online: By Karen Baxter

_ Apples & Oranges?: A Comparison of AACR2R, CDWA, and the VRA Core and their Effectiveness in Organizing Digital Images: By Nina Schneider

_ Instructional Slide Libraries and Digital Image Databases: By Rina Vecchiola

_ The Dissemination of Web Culture in On-line Movie and Video Marketing: Repurposing Film/Video Narrative for Cyberconsumption: By Lindy Leong


Visual Materials (final projects 1/2)

_ Digital Longevity By Anonymous _ An Introduction to Digital Libraries By Christina Gammell _ Short Film Distribution on the Web: By Heather Cleary _ When a Photo is Worth 1003 Words: Digital Image

Manipulation in Nature Photography, Journalism, and the Courtroom: By Lori Rosen

_ Too Late to Turn Back Now: By Heather Sabin _ Tonight's TV, Tomorrow's DVD: By Snowden Becker


Visual Materials (final project)


Repurposing and Recontextualization


Visual Materials(Multiple Narratives, Editing, and Repurposing)





Fictional Narratives_ The Experience of the HB-208S.01; Excerpts and Recommendation From

Probe HB-208S.01, of the Planet Besser, by Alain Dussert_ The Detective, the Academic, and the Movie Star, by Robert Dirig_ All the time in the world - [on going home], by_ A story about Luis Fernando - A music man from Havana, by Melissa Taitano_ Cuba on the Move! An Introduction to Cuban Transportation with our Host,

Pedro, by Richenda Brim_ An Art-Lover in Cuba: A Fictional Photo-Essay, by Sarah A. Smith_ Sonja's Dream trip to Cuba, by Sonja Hannah_ Chicoticos Mios: A Canine Quest, by Anonymous_ The Encounter, the Search, the Discovery, by



Fact-based Narratives

_ Castro's Cuba ; A look at modern Cuba through the words of Fidel Castro, by Robert Dirig

_ Domestic Monuments; Historic Preservation in Havana, by_ "No lo salva ni el médico chino.", by Melissa Taitano_ Architecture in Havana, by Richenda Brim_ The United States vs. Cuba: A Fact Based Photo-Essay, by Sarah A. Smith_ Cuba in Photos, by Sonja Hannah_ Cuban Music Defies Trade Embargo, by Susan Sundquist_ The Cuban Family Code, by

_ A Survey of Cuba, by Alain Dussert


Moving Image Archive Study (MIAS)-

_ Contextualization_ Who’s involved_ Subjects_ Instructors_ Courses_ Continuum_ Schedule


MIAS contextualization

_ Prior education was primarily apprenticeship in a limited range of technical skills

_ We plan a broader education grounded in historical, critical, and theoretical study

_ We plan to emphasize moving image preservation as an ongoing process of activities along a continuum

_ We plan to integrate digital issues throughout all aspects of the program_ We received support from USDE Fund for the Improvement of Post-

Secondary Education (FIPSE) and NEH_ We responded to recommendations by the Librarian of Congress and

the National Film Preservation Board in their exhaustive analysis of the state of film preservation-


Redefining Film Preservation: A National Plan

_ Create a systematic graduate program for educating new film preservation professionals and continuing education opportunities for those already in the field. Because film preservation is rapidly changing, so too are the educational needs of film preservation professionals. Traditionally, film archivists have learned their skills on the job. As preservation has matured and technology grown more complex, ad hoc instruction is no longer adequate. New professionals require background in a broader range of subjects.

_ -Recommendation 4.11


MIAS co-venture

_ Dept of Information Studies_ Dept of Film & Television_ Film Archive


MIAS subjects

_ Aesthetics and history of film_ Cultural responsibilities of selection and

curatorship_ Access and programming for the public_ Collection management_ Cataloging and intellectual control_ Technical aspects of preservation and

restoration


MIAS Instructors

_ UCLA faculty_ UCLA professional staff_ Academic scholars_ Top-level preservationists_ Technical experts_ Other Archive specialists_ Guest lecturers


MIAS Required Courses

_ American Motion Picture History_ Television History_ Bibliography and Methods of Research in

Film and Television_ Information Structures_ American Archives and Manuscripts


MIAS Seminars (4 required)

_ Film Curatorship_ Archeology of the Medium_ Preservation/Restoration_ Collection Development and Management_ Moving Image Cataloging_ Access to Moving Image Collections


Courses I’ve already taught

_ Digital collections of still and moving images

_ Visual Materials: Metadata and Best Practices for Digital Libraries

_ Multimedia: Issues in using visual material in cultural heritage organizations

_ Social and cultural impact of new information environments


MIAS sees a continuum

_ Curatorship_ Laboratory preservation_ Storage management_ Cataloging_ Access


MIAS grads will combine

_ Aesthetic judgement_ Historical knowledge_ Awareness of social relevance_ Familiarity with new technologies


MIAS Schedule

_ Began rolling out classes and cross-listing F 1999

_ Campus approval of Program early 2001_ Currently under review by University-wide

curriculum committee_ Upon approval, will admit approx 5

students/year through each department



Educating Information Professionals

Howard Besser

UCLA School of Education & Information

http://www.gseis.ucla.edu/~howard

http://is.gseis.ucla.edu/impact/

http://www.gseis.ucla.edu/~howard/repurposing.html

http://www.gseis.ucla.edu/~howard/Classes/208-s00/208.html

http://www.gseis.ucla.edu/~howard/Classes/287.htmlhttp://skipper.gseis.ucla.edu/students/is287a/html/All/Vietnam/287projects.html

http://skipper.gseis.ucla.edu/students/is287a/html/All/Final/287termprojects.htm

Documents

Besser--ASIS Image Educ 11/5/01 1 Educating Information Professionals Howard Besser UCLA School of Education & Information howard