Podcasts about harvard university library

After meeting with Hilton Adams on death row, our investigators decide on a quick flight up to Boston to follow up on a thread at the Harvard University Library. On the way, they decide to stop in Arkham to check in on Lydia Prime and Gertie, who seem to have gone radio silent. Unfortunately, Lydia2 wrecks their car before they get very far. What else can go wrong in Session 63 of The CTHULHU FILES, Masks of Nyarlathotep?

durée : 00:59:19 - Concordance des temps - par : Jean-Noël Jeanneney - Comment en est-on arrivé à 1789 ? À partir des rumeurs, des gazettes et des chansons mais aussi des troubles et insurrections qui parcourent le royaume et surtout Paris tout au long du XVIIIe siècle, Robert Darnton reconstitue l'"humeur révolutionnaire" qui conduisit à la prise de la Bastille. - réalisation : Vincent Abouchar - invités : Robert Darnton Historien américain, spécialiste des Lumières et de l'histoire du livre sous l'ancien régime. Ancien directeur de la Harvard University Library.

Dr. Musa Abdullah reports on a book that Harvard University removed after it was reported to be made with human leather. --- Send in a voice message: https://podcasters.spotify.com/pod/show/africandiasporanews/message Support this podcast: https://podcasters.spotify.com/pod/show/africandiasporanews/support

EPISODE 1786: In this KEEN ON show, Andrew talks to Abby Smith Rumsey, author of MEMORY, EDITED, about what we should remember and what we should forget about historyAbby Smith Rumsey is an intellectual and cultural historian. She focuses on the impact of information technologies on perceptions of history, time, and identity, the nature of evidence, and the changing roles of libraries and archives. Her most recent book is When We Are No More: How Digital Memory is Shaping our Future (2016). Rumsey served as director of the Scholarly Communication Institute at the University of Virginia; Director of Programs at the Council on Library and Information Resources; and manager of programs relating to preservation of and access to cultural heritage collections at the Library of Congress. She served on the National Science Foundation's Blue Ribbon Task Force on the Economics of Digital Preservation and Access; the American Council of Learned Societies' Commission on the Cyberinfrastructure for the Humanities and Social Sciences; and the Library of Congress's National Digital Information Infrastructure Program. Board service includes: Chair, the Center for Advanced Studies in the Behavioral Sciences; the Radcliffe Institute's Schlesinger Library Advisory Council; the Stanford University Library Advisory Committee; the Society of Architectural Historians; the Rare Book School at the University of Virginia; and the Harvard Board of Overseers Committee to Visit the Harvard University Library. Rumsey received a BA from Harvard College and MA and PhD in Russian and intellectual history from Harvard University.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.

Welcome back to the Tech Policy Grind Podcast by the Internet Law and Policy Foundry. In this episode, Class 4 Fellow Rebecca Kilberg interviews Dr. Stephen Abrams, Head of the Digital Preservation program at the Harvard University Library. How do priorities for digital preservation develop? How similar are digital preservation strategies and policies to those used in traditional preservation contexts, and where do they differ? What new costs must be accounted for, and what unexpected benefits are being uncovered? Our experts explore how preservationists are adjusting to novel challenges and opportunities while developing the digital arm of a field devoted to “ensuring the continuity of human memory.” Check out the Foundry on Instagram, Twitter, or LinkedIn and subscribe to our newsletter! If you'd like to support the show, donate to the Foundry here or reach out to us at foundrypodcasts@ilpfoundry.us. Thanks for listening, and stay tuned for our next episode! DISCLAIMER: Rebecca engages with the Foundry voluntarily and in her personal capacity. The views and opinions expressed on air do not reflect on the organizations Rebecca is affiliated with.

In s3e33, Platemark podcast host Ann Shafer talks with Ruth Lingen, printer and owner of Line Press Limited, located in the Dumbo neighborhood of Brooklyn. Line Press Limited does just about everything except screenprinting. Ruth is a jack-of-all-trades, and loves book arts the most, from papermaking to typesetting to printing and binding. After studying with the legendary Walter Hamady, Ruth got her start in New York with Joe Wilfer in the very early days of Pace Prints. She printed for many artists while at Pace, including Chuck Close and Jim Dine (for whom she still prints every summer in Walla Walla). Ruth worked closely with Bill Hall and Julia D'Amario at Pace, both of whom are previous guests on Platemark: Bill is featured in s3e6  and Julia appears in s3e15. Ruth has collaborated with more than 50 of the world's greatest artists—on prints (some for Pace editions, some on her own) and very special limited edition artist books. In addition to Dine and Close, she has collborated on editions with such art-world luminaries as Robert Ryman, Mary Heilmann, Kiki Smith, Claes Oldenberg, Bob Holman, Robert Creeley, Jessica Stockholder, Jeremy Sigler, Donald Traever, Al Held, and John Chamberlain. Lingen's work can be found in the collection of The Metropolitan Museum of Art, The Getty, and the Brooklyn Museum, as well as in more than 20 libraries, from the New York Public Library to the Harvard University Library. Louise Nevelson (American, born Ukraine, 1899–1988). Untitled, 1985. Cast paper relief. 14 x 14 ¼ in. Published by Pace Editions. Edition of 250. Suzanne Anker (American, born 1946). Organic Abstract Cast Paper Sculpture, 1990. 20 x 20 in. Unique. Chuck Close (American, 1940–2021). Emma, 2002. Woodcut in the Ukiyo-e style. 43 x 35 in. (109.2 x 88.9 cm.). Published by Pace Editions. Edition of 55. Chuck Close (American, 1940–2021). Phil / Manipulated, 1982. 24-color handmade paper. Published by Pace Editions. Edition of 20. Chuck Close (American, 1940–2021). Roy Paper/Pulp, 2009. Stenciled handmade paper. 35 ½ x 28 ½ in. Published by Pace Editions. Edition of 30. Chuck Close (American, 1940–2021). Self Portrait/Spitbite, 1988. Spitbite etching. Sheet: 20 ½ x 15 5/8 in. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Lucas/Woodcut, 1993. Color woodcut with color stencil (pochoir). Sheet: 1181 × 914 mm. (46 1/2 × 36 in.). Baltimore Museum of Art. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Self-Portrait I (Dots), 1997. Reduction linoleum cut. 24 x 18 in. Published by Pace Editions. Edition of 70. Ed Ruscha (American, born 1937). Clown Speedo, 1998. Aquatint. Sheet: 36 x 26 ½ in.; plate: 27 ¾ x 20 in. Published by Pace Editions. Edition of 35. Francesco Clemente (American, born Italy, 1952). Art Pro Choice II, 1991. Three-color relief print. Sheet: 20 x 16 in. Published by NARAL. Edition of 125. Alan Shields (American, 1944–2005). Synchromesh, from the series Soft and Fluffy Gears, 1987. Punched, glued, sewn, and assembled handmade paper. Sheet: 21 x 18 ½ in. Co-published by Pace Editions and Tandem Press. Edition of 15. Michael Young (American, born 1952). Impossibility of Perpetual Motion I, 1990. Relief print with screenprint and sand. 33 1/2 x 29 ¼ in. Published by Spring Street Workshop. Edition of 35. Jane Hammond (American, born 1950), Untitled (monoprint), 2008. Relief print with collage elements created using lithography, linoleum cut, rubber stamp, digital and relief printing, with additional watercolor and hand coloring by the artist. 30 x 22 in. Published by Pace Editions. Unique. Jim Dine (American, born 1955). A Garden, 2010. Two-color woodcut. Sheet: 58 x 44 in. Edition of 12. Jim Dine (American, born 1955). The Felt Skull, 1994. Woodcut on felt. 39½ x 31 ½. Published by Pace Editions. Edition of 7. Jim Dine (American, born 1935). Love and Grief, 1992. Diptych of woodcuts with hand coloring. Overall: 41¼ × 65½ in. (105 × 166 cm.). Published by Pace Editions. Edition of 17. Jim Dine (American, born 1935). The Orange Birthday Bathrobe, 2010. Lithograph, woodcut, etching, and rubber stamp. Sheet: 138.4 x 97.8 cm. Cristea Roberts Gallery. Edition of 28. Jim Dine (American, born 1935). Bleeding Boy, 2008. Linoleum cut. Image: 64 3/4 × 38 5/8 in. (164.5 × 98.1 cm.); Sheet: 68 1/4 × 40 in. (173.4 × 101.6 cm.). Allen Memorial Art Museum, Oberlin College. Edition of 14. Jim Dine (American, born 1935). Raven on Lebanese Border, 2000. Softground etching and woodcut with white hand coloring. Sheet: 781 × 864 mm. (30 3/4 × 34 in.); plate: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore, MD. Published by Pace Editions. Edition of 8. Robert Ryman (American, 1930–2019). Conversion, 2001. Three-color relief print on aluminum. 15 x 15 in. Published by Pace Editions. Edition of 25. John Chamberlain (American, 1927–2011). Conversations with Myself, 1992. Artist book, with letterpess and additional drypoint print. Page: 6 x 6 in. Published by Pace Editions. Edition of 108. Jim Dine (American, born 1935), printed by Julia D'Amario. Astonishing, Health and Sunshine, 2021. Spitbite aquatint, drypoint and lithograph with hand-coloring on Shiramibe paper, mounted onto three sheets of Hahnemuhle Copperplate White paper. Sheet (each): 142.7 x 83.1 cm.; image (each): 125.7 x 68 cm. Cristea Roberts Gallery. Edition of 11. Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Spreads from Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Michael Stipe (American, born 1960). The Name Project, 2022. Artist's book project compiled from 45 editioned book objects. Sizes vary. Editions vary between 4 and 6. USEFUL LINKS Line Press Limited https://www.linepresslimited.com/ Timelapse of Roy paper pulp print being made https://www.youtube.com/watch?v=7upgJA6Azpo Ruth describing making Lucas paper pulp. Good one. https://www.youtube.com/watch?v=lZttkbmtqKo Ruth's talk at William Paterson University Art Galleries https://www.youtube.com/watch?v=J6lq3x3O1HU

In s3e33, Platemark podcast host Ann Shafer talks with Ruth Lingen, printer and owner of Line Press Limited, located in the Dumbo neighborhood of Brooklyn. Line Press Limited does just about everything except screenprinting. Ruth is a jack-of-all-trades, and loves book arts the most, from papermaking to typesetting to printing and binding. After studying with the legendary Walter Hamady, Ruth got her start in New York with Joe Wilfer in the very early days of Pace Prints. She printed for many artists while at Pace, including Chuck Close and Jim Dine (for whom she still prints every summer in Walla Walla). Ruth worked closely with Bill Hall and Julia D'Amario at Pace, both of whom are previous guests on Platemark: Bill is featured in s3e6  and Julia appears in s3e15. Ruth has collaborated with more than 50 of the world's greatest artists—on prints (some for Pace editions, some on her own) and very special limited edition artist books. In addition to Dine and Close, she has collborated on editions with such art-world luminaries as Robert Ryman, Mary Heilmann, Kiki Smith, Claes Oldenberg, Bob Holman, Robert Creeley, Jessica Stockholder, Jeremy Sigler, Donald Traever, Al Held, and John Chamberlain. Lingen's work can be found in the collection of The Metropolitan Museum of Art, The Getty, and the Brooklyn Museum, as well as in more than 20 libraries, from the New York Public Library to the Harvard University Library. Louise Nevelson (American, born Ukraine, 1899–1988). Untitled, 1985. Cast paper relief. 14 x 14 ¼ in. Published by Pace Editions. Edition of 250. Suzanne Anker (American, born 1946). Organic Abstract Cast Paper Sculpture, 1990. 20 x 20 in. Unique. Chuck Close (American, 1940–2021). Emma, 2002. Woodcut in the Ukiyo-e style. 43 x 35 in. (109.2 x 88.9 cm.). Published by Pace Editions. Edition of 55. Chuck Close (American, 1940–2021). Phil / Manipulated, 1982. 24-color handmade paper. Published by Pace Editions. Edition of 20. Chuck Close (American, 1940–2021). Roy Paper/Pulp, 2009. Stenciled handmade paper. 35 ½ x 28 ½ in. Published by Pace Editions. Edition of 30. Chuck Close (American, 1940–2021). Self Portrait/Spitbite, 1988. Spitbite etching. Sheet: 20 ½ x 15 5/8 in. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Lucas/Woodcut, 1993. Color woodcut with color stencil (pochoir). Sheet: 1181 × 914 mm. (46 1/2 × 36 in.). Baltimore Museum of Art. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Self-Portrait I (Dots), 1997. Reduction linoleum cut. 24 x 18 in. Published by Pace Editions. Edition of 70. Ed Ruscha (American, born 1937). Clown Speedo, 1998. Aquatint. Sheet: 36 x 26 ½ in.; plate: 27 ¾ x 20 in. Published by Pace Editions. Edition of 35. Francesco Clemente (American, born Italy, 1952). Art Pro Choice II, 1991. Three-color relief print. Sheet: 20 x 16 in. Published by NARAL. Edition of 125. Alan Shields (American, 1944–2005). Synchromesh, from the series Soft and Fluffy Gears, 1987. Punched, glued, sewn, and assembled handmade paper. Sheet: 21 x 18 ½ in. Co-published by Pace Editions and Tandem Press. Edition of 15. Michael Young (American, born 1952). Impossibility of Perpetual Motion I, 1990. Relief print with screenprint and sand. 33 1/2 x 29 ¼ in. Published by Spring Street Workshop. Edition of 35. Jane Hammond (American, born 1950), Untitled (monoprint), 2008. Relief print with collage elements created using lithography, linoleum cut, rubber stamp, digital and relief printing, with additional watercolor and hand coloring by the artist. 30 x 22 in. Published by Pace Editions. Unique. Jim Dine (American, born 1955). A Garden, 2010. Two-color woodcut. Sheet: 58 x 44 in. Edition of 12. Jim Dine (American, born 1955). The Felt Skull, 1994. Woodcut on felt. 39½ x 31 ½. Published by Pace Editions. Edition of 7. Jim Dine (American, born 1935). Love and Grief, 1992. Diptych of woodcuts with hand coloring. Overall: 41¼ × 65½ in. (105 × 166 cm.). Published by Pace Editions. Edition of 17. Jim Dine (American, born 1935). The Orange Birthday Bathrobe, 2010. Lithograph, woodcut, etching, and rubber stamp. Sheet: 138.4 x 97.8 cm. Cristea Roberts Gallery. Edition of 28. Jim Dine (American, born 1935). Bleeding Boy, 2008. Linoleum cut. Image: 64 3/4 × 38 5/8 in. (164.5 × 98.1 cm.); Sheet: 68 1/4 × 40 in. (173.4 × 101.6 cm.). Allen Memorial Art Museum, Oberlin College. Edition of 14. Jim Dine (American, born 1935). Raven on Lebanese Border, 2000. Softground etching and woodcut with white hand coloring. Sheet: 781 × 864 mm. (30 3/4 × 34 in.); plate: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore, MD. Published by Pace Editions. Edition of 8. Robert Ryman (American, 1930–2019). Conversion, 2001. Three-color relief print on aluminum. 15 x 15 in. Published by Pace Editions. Edition of 25. John Chamberlain (American, 1927–2011). Conversations with Myself, 1992. Artist book, with letterpess and additional drypoint print. Page: 6 x 6 in. Published by Pace Editions. Edition of 108. Jim Dine (American, born 1935), printed by Julia D'Amario. Astonishing, Health and Sunshine, 2021. Spitbite aquatint, drypoint and lithograph with hand-coloring on Shiramibe paper, mounted onto three sheets of Hahnemuhle Copperplate White paper. Sheet (each): 142.7 x 83.1 cm.; image (each): 125.7 x 68 cm. Cristea Roberts Gallery. Edition of 11. Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Spreads from Jim Dine (American, born 1935). Electrolyte In Blue, 2023. Bound volume with letterpress, intaglio, and lithography. Edition of 7. Michael Stipe (American, born 1960). The Name Project, 2022. Artist's book project compiled from 45 editioned book objects. Sizes vary. Editions vary between 4 and 6. USEFUL LINKS Line Press Limited https://www.linepresslimited.com/ Timelapse of Roy paper pulp print being made https://www.youtube.com/watch?v=7upgJA6Azpo Ruth describing making Lucas paper pulp. Good one. https://www.youtube.com/watch?v=lZttkbmtqKo Ruth's talk at William Paterson University Art Galleries https://www.youtube.com/watch?v=J6lq3x3O1HU

In the episode, Isabelle Imbert welcomes Bharti Lalwani, art critic and perfume maker, and Dr Nicolas Roth, visual librarian at Harvard University Library, gardener and historian of horticultural knowledge and practices in India. Bharti and Nicolas have collaborated on an online exhibition: Bagh-e Hind, the Garden of India, a unique project combining art history and perfume making to recreate smells of Rajput and Mughal paintings. In the episode, they talk about the creation of the exhibition, smells, shared visual cultures, the accessibility of art history to all, and more. If you've liked this episode and want to support the Podcast, buy me a coffee!Mentioned in the Episode and Further LinksFollow the Art Informant on Instagram and TwitterFollow Bharti on Instagram and check Lithrab PerfumeryFollow Nicolas on Instagram and AcademiaBagh-e Hind exhibitionAli, Daud, and Emma J. Flatt, eds. GardenandLandscapePracticesinPre-colonialIndia:HistoriesfromtheDeccan. New Delhi: Routledge India, 2012.Click here for more episodes of the ART Informant.Click here to see the reproductions of artefacts discussed in the episode. 

Robert Darnton is an American cultural historian and academic librarian who specializes in 18th-century France. He was director of the Harvard University Library from 2007 to 2016. Bob joins me to talk about one of his many books called "Censors at Work: How States Shaped Literature" about Communist East Germany and censorship, a component of the party program to engineer society. Behind the unmarked office doors of Ninety Clara-Zetkin Street in East Berlin, censors developed annual plans for literature in negotiation with high party officials and prominent writers. A system so pervasive that it lodged inside the authors' heads as self-censorship, it left visible scars in the nation's literature. --- Support this podcast: https://podcasters.spotify.com/pod/show/out-of-the-blank/support

LIsten in to this fascinating and very insightful talk by the curator of the Smithsonian's American Brewing History Initiative, Theresa McCulla. In this talk she discusses the integral role women have held in brewing beer from the very beginnings right through to the birth of the craft beer movement.  Theresa McCulla, Ph.D., is Curator of the American Brewing History Initiative at the Smithsonian Institution's National Museum of American History, where is she building an archive of the history of homebrewing and craft beer in the United States. Previously, she worked for Harvard University Library, Harvard University Dining Services, and the Central Intelligence Agency. McCulla earned a PhD in American Studies and an MA in History from Harvard University, a Culinary Arts Diploma from the Cambridge School of Culinary Arts, and a BA in Romance Languages from Harvard College. She is writing a book about the history of food and race in New Orleans.This podcast is brought to you by the Women's Craft Fermentation Alliance, a 501(c)(3) dedicated to enabling, empowering and encouraging women and non binary folks in all facets of the craft fermentation space. Your host for this podcast is Michele Wonder, co-founder of the Women's International Beer Summit, an award winning homebrewers and BJCP Certified Beer Judge. Find Theresa at...Website: https://theresamcculla.com/Twitter: @theresamccuFind WCFA & Women's International Beer Summit at...Website: https://wcfa.beer/Instagram: https://www.instagram.com/womensintlbeersummit/YouTube: https://www.youtube.com/channel/UCEguV3C9sLZSuV9DKUcSlowAdditional Links:https://scarc.library.oregonstate.edu/ohba.htmlhttps://archives.csusm.edu/brewchive/https://www.hagley.org/research/digital-exhibits/beer-and-brewing-history

On Darren Maule's Get Fact'd, find out which university had a small fire in their library, what do you think comes after the English expression "Jack of all trades" and much more! #DarrenKeriSkyOnECR #GetFact'd

Episode 26 - Positivity to the PeopleShana and Ty attempt to accentuate the positive. Positive thinkers and positive thoughts (and questions). Niche Book Bar Coming To Bronzeville - Jeramey Jannene - Aug 2nd, 2021https://urbanmilwaukee.com/2021/08/02/eyes-on-milwaukee-niche-book-bar-coming-to-bronzeville/McHenry, E. (1995). Dreaded Eloquence: The Origins and Rise of African American Literary Societies and Libraries. Harvard University Library.UWM Institute for Urban Education -  https://uwm.edu/education/institute-urban-edu/

durée : 00:38:16 - Le Temps du débat - par : Emmanuel Laurentin, Bruno Baradat - Fenêtre ouverte sur le monde, évasion par l'imaginaire : nous contraignant à l'immobilité, les confinements ont-ils remotivé notre rapport à la lecture ? Marquant un attachement certain à l'objet, le statut de "bien essentiel" accordé aux livres acte-t-il pour autant la recrudescence de lecteurs ? - réalisation : Alexandre Manzanares - invités : Robert Darnton Historien américain, spécialiste des Lumières et de l'histoire du livre sous l'ancien régime. Ancien directeur de la Harvard University Library.; Tiphaine Samoyault Essayiste, traductrice et critique littéraire (rédactrice en chef du site En Attendant Nadeau), professeure de littérature comparée à l'Université Paris 3 - Sorbonne Nouvelle et directrice d'études à l'EHESS.

Here are 10 page-turning facts about books that you didn’t know, that you didn’t need to know:Lord of the Ring author, J.R.R Tolkien typed the whole trilogy with just two fingers!ExhaustingOver 1200 PagesOnly way he knew how to type “Old book smell” is produced by the breakdown of two chemical components in paper, cellulose and lignin.   byproducts of this process produce pleasant and familiar scentsVanilla, Flowers, AlmondsIt can even work like carbon dating and determine the age of old books In January 2017, Amazon Sold Out of Physical Copies of 1984.Book by George Orwellbiggest trending topics in the media were “fake news” and “alternative facts”inspired consumers to buy every physical copy of 1984 from Amazon, worlds largest online retailer, before the end of the month.  Books used to have curses in the beginning and end of books.Transcribing a book could take years. Most people were illiterate so it fell on Clergy. Medieval book curses involved punishments such as: being mutilated by demonic swords, the gouging of eyes, bookworms eating away at the entrails of thieves. book turn into a serpent in the hands of those who borrow and do punctually not return them.Most curses  involved excommunication There is at least 1 book at the Harvard University Library that is bound with human skin.Anthropodermic bibliopegyTitle translates to Destinies of the SoulFrom the 1880’s Winnie the Pooh and The Hobbit have something in commonThey were both written as bedtime storiesTheir respective authors wrote them to read to their children as they went to sleepThe Hobbit seems a little intense to put kids to bed The original manuscript of Of Mice and Men was destroyedIt was eaten by John Steinbeck’s puppyIt was 2 months worth of work that he had to do overHe was quoted saying "I was pretty mad, but the poor little fellow may have been acting critically."Maybe that’s why Lennie kills the puppy The Harry Potter books are the most banned books in AmericaIts said to be because of religious beliefsA bunch of Protestant, Catholic, Christians, and Muslims have argued against the booksMost of the fight comes from devout evangelical christian groups because witchcraft is dangerous for children to read aboutSome people claim that it should be banned it schools because witchcraft is a recognised religion in the US The Cat in the Hat only used 236 unique wordsWhich was surprisingly low for Dr. Seuss’ editor As a joke, his publisher bet him he couldn’t write a book with fewer wordsGreen Eggs and Ham was written as a jokeIt was purposefully written to have fewer words than the cat in the hatOne of the most repeated words is “I” which is written 84 times its tied with “not”

(Audio in English) Teknologien utvikler seg fortere enn vi kan snu oss. Google gir oss uendelige mengder informasjon. Hva vinner vi med denne raske utviklingen? Hva går tapt? Og hvordan kan bibliotekene – kunnskapsformidlerne – bruke endringene til sin fordel? Bokhistoriker Robert Darnton er foregangsmann i den amerikanske debatten om digital litteratur. Et digitalt verdensbibliotek hvor kulturarven er åpen for alle er opplysningsfilosofens drøm, hevder han, og det naturlige skrittet videre i bokens historie. Darnton er en bejublet historieprofessor tilknyttet en rekke prestisjetunge universiteter, som nylig takket av som direktør for Harvard University Library. See acast.com/privacy for privacy and opt-out information.

Robert DARNTON, professeur émérite à l'Université de Princeton, directeur de la Harvard University Library

The role of the library in the digital age is one of the compelling questions of our era. How are libraries coping with the promise and perils of our impending digital future? What urgent initiatives are underway to assure universal access to our print inheritance and to the digital communication forms of the future? How is the very idea of the library changing? These and related questions will engage our distinguished panelists, who represent both research and public libraries and two of whom serve on the steering committee for the Digital Public Library of America. Robert Darnton is Carl H. Pforzheimer University Professor at Harvard, Director of the Harvard University Library and one of America’s most distinguished historians. He serves on the steering committee of the Digital Public Library of America and has been a trustees of the New York Public Library since 1995. In a recent essay in the New York Review of Books, Darnton defended a NYPL plan to liquidate some branches in the system while renovating the main Fifth Avenue branch. The essay sparked a number of responses. In November of last year, Darnton provided a status report on the DPLA. Darnton is the author of many influential books including The Case for Books, Past, Present, and Future and The Great Cat Massacre. Susan Flannery is director of libraries for the City of Cambridge and past president of the Massachusetts Library Association.

Description: Andrea Goethals, digital preservation and repository services manager at the Harvard University library, talks with the Library of Congress’s Mike Ashenfelder about her career transition from architecture to information technology and about her repository work at the Florida Digital Archive and in Harvard University’s library system. Goethals also talks about her work on the Global Digital Format Registry and with the preservation working group of the International Internet Preservation Coalition.

Helen Shenton, former head of Collection Care at the British Library, presents a personal perspective on preservation from her current position as executive director at the Harvard University Library.

New York Law School’s James Grimmelmann and Robert Darnton of the Harvard University Library look at the ruling against the tech company. Plus: When Apple boots apps, and our on-line personalities cross over to real life.

Nancy Rosenblum, Associate Editor of the Annual Review of Political Science, talks with Sidney Verba at Harvard University. In this interview, Dr. Verba reflects on the lively contrasts and changes encompassed by his career, which included 24 years as Director of the Harvard University Library as well as his ground-breaking work on inequalities in citizen participation in democracies.