Made possible by dramatic advances in networking technologies, cyberinfrastructure promises to combine new computing capabilities, massive data resources and distributed human expertise to enable qualitatively different creative product from new generations of "knowledge environments." Introducing this timely collection of observations on how this will affect liberal arts disciplines and institutions, David Green reviews the distance we've come in the last 15 years and identifies the main themes of the essays, interviews and reviews that follow.
Tim Berners-Lee presented the second annual Mellon Awards for Technology Collaboration (MATC) yesterday at the Fall Task Force meeting of the Coalition for Networked Information (CNI). $650,000 in prize money went to 10 nonprofits for "leadership in the collaborative development of open source software tools with application to scholarship in the arts and humanities."
While more information is available on the CNI site, the winners are as follows:
- American Museum of the Moving Image (Astoria, NY: www.movingimage.us) for the development and release of the OpenCollection museum collection management system (www.opencollection.org) [$100,000].
- Duke University (Durham, NC: www.duke.edu) for leadership and development work on the OpenCroquet open source 3-D virtual worlds environment (www.opencroquet.org)[$100,000].
- Open Polytechnic of New Zealand (Wellington, NZ: www.openpolytechnic.ac.nz) for leadership and development work on several open source projects including the New Zealand Open Source Virtual Learning Environment (http://eduforge.org/projects/nzvle/) [$100,000].
- Georgia Public Library Service of the University System of Georgia (Atlanta, GA: www.georgialibraries.org) for the development and release of the Evergreen open-source library automation system (www.open-ils.org) [$50,000].
- Middlebury College (Middlebury, VT: www.middlebury.edu) for the development and release of the Segue interactive learning management system [$50,000].
- Participatory Culture Foundation (Worcester, MA: www.participatoryculture.org) for the development and release of the open source Miro media player (www.getmiro.com) [$50,000].
- Talboks-och Punkstkriftsbiblioteket (The Swedish Library of Talking Books and Braille: Enskede, Sweden: www.tpb.se) for the development and release of open source tools supporting the Daisy Project for talking books for the visually impaired [$50,000].
- University of Illinois (Champaign-Urbana, IL: www.illinois.edu): one award for the development and release of the Firefox Accessibility Extension (https://addons.mozilla.org/en-US/firefox/addon/1891) [$50,000]; and one award for the development and release of the OpenEAI enterprise application integration project (www.openEAI.org) [$50,000].
- University of Toronto (Toronto, Ontario: www.utoronto.ca) for the development and release of the ATutor learning management system (www.atutor.ca) [$50,000].
The notion that education liberates runs deep in the digital storytelling movement. Small wonder then that liberal arts educators take such an interest in the project. Anyone planning to use digital storytelling, however, faces a number of non-trivial challenges, some logistical, some pedagogical, some bureaucratic:
- How does one run/structure a workshop?
- Who are good candidates for participation?
- What tools should participants use?
- How, if at all, will the stories be published?
- What about copyrighted content?
- How might digital storytelling be incorporated into a syllabus?
- Can digital stories be 'scholarly'?
We pass along this call for papers which has appeared on a number of listservs...
CHArt (Computers and the History of Art)
23rd Annual Conference
DIGITAL ARCHIVE FEVER
Thursday 8 - Friday 9 November 2007
London England - Venue to be confirmed
Museums, galleries, archives, libraries and media organisations such as publishers and film and broadcast companies, have traditionally mediated and controlled access to cultural resources and knowledge. What is the future of such "top-down" institutions in the age of "bottom-up" access to knowledge and cultural artifacts through what is generally known as Web 2.0 (encompassing YouTube, Bittorrent, Napster, Wikipedia, Google, MySpace and more)? Will such institutions respond to this threat to their cultural hegemony by resistance or adaptation? How can a museum or a gallery or, for that matter, a broadcasting company, appeal to an audience which has unprecedented access to cultural resources? How can institutions predicated on a cultural economy of scarcity compete in an emerging state of cultural abundance?
The North by South webpage explores multiple dimensions of the Great Migration of African-Americans from the rural South to Northern cities. Epic in scale, monumental in its long-term social and cultural impact, the Great Migration stands as the largest internal movement of people in the history of the United States.