Archive for January, 2015

New course proposal for “Street Art Graphics” digital archive project

The pegatinas writing assignment with Marina Llorente and the Weaving the Streets & People’s Archive project with John Collins have both gone so well that I’ve decided to develop a new course proposal that would offer students the opportunity to conduct research and write about street art stickers and ephemera related to street culture for the Street Art Graphics digital archive. One of the biggest game changers for the archive is that I’m trying to convince SLU to convert from ContentDM to Artstor Shared Shelf, a Web-based cataloguing and image management software system that would provide several improvements. In addition to higher quality image presentation, the Artstor cataloguing tool includes a vocabulary warehouse so that artists’ names, geographic locations, and subject headings are automatically linked to authority records from the Library of Congress and the Getty Art & Architecture Thesaurus, among others. Metadata schemas are highly customizable, as are different user roles for collaborative cataloguing. Artstor will also store and back up all of our source images for long-term, off-site preservation. Most important, however, is the fact that Shared Shelf allows users to publish content directly to the Web through Shared Shelf Commons, the Digital Public Library of America (DPLA), Omeka, Google, and other outlets. This last feature is what is most exciting. Despite how well Artstor presents images, I have avoided using it up until now because content is available only to paid subscribers (not very democratic of them, is it?). With Shared Shelf Commons, however, we could share our digital content freely with everyone in keeping with St. Lawrence University’s open access policies.

Here is what I have so far for the course overview and the initial list of required readings. Now I have to put together the assignments and the weekly schedule and submit this puppy to the art & art history department for their approval. Fingers crossed in advanced!

Street Art Graphics & People’s Archive Course Overview

This course offers students the opportunity to conduct research and write about street art graphics for an online digital archive available on St. Lawrence University’s Richard F. Brush Art Gallery Web site (http://www.stlawu.edu/gallery/digitalcollections/streetartgraphics.php) and on Artstor Shared Shelf Commons, a free, open access international digital image library of arts and sciences (http://www.sscommons.org/openlibrary/welcome.html#1). The Street Art Graphics & People’s Archive is based primarily on contemporary street art stickers and ephemera related to street culture from countries around the world, including Canada, Egypt, England, France, Germany, Indonesia, Russia, Spain, Ukraine, and the United States. Topics addressed include animal rights, consumer capitalism, environment, football, gender and sexuality, labor, police brutality, political protests, racism, social justice, and surveillance, among others. The course enables students to use real world examples of street art culture to understand current global issues and to be part of writing history through citizen journalism. Incorporating critical thinking and visual/media literacies, students will learn how to annotate images, hone their writing skills, and contribute their work to a vibrant and unique digital image archive. A digital geo-mapping project at the end of the semester will further contextualize items in the archive.

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Selected Readings

Burkeman, DB, and Monica LoCascio. Stickers: From Punk Rock to Contemporary Art. New York: Rizzoli, 2010. Print.

Chaffee, Lyman G., Political Protest and Street Art: Popular Tools for Democratization in Hispanic Countries. Westport, CT: Greenwood Press, 1993. Print. Chapter 1: pages 3-22; Chapter 3: pages 37-52.

Clough, Alice. Combating Urban Disengagement? Stickers as a Form of Street Art. London: University College London Department of Anthropology Working Paper 09/2011. Print.

Ferrante, Julia. ‘Street art’ provides context for understanding cities. 20 July 2011. Web.

Gregory, Lua, and Shana Higgins, eds. Information Literacy and Social Justice: Radical Professional Praxis. Sacramento, CA: Library Juice Press, 2013. Print.

Irvine, Martin. “The Work on the Street: Street Art and Visual Culture” in The Handbook of Visual Culture. London/New York: Berg. 2012. Print.

Leckie, Gloria J, Lisa M. Given, and John E. Buschman, eds. Critical Theory for Library and Information Science. Santa Barbara, CA: Libraries Unlimited. 2010. Print. (Chapters include “Transformative Library Pedagogy and Community-Based Libraries: A Freiran Perspective” by Martina Riedler and Mustafas Yunus Eryaman and “The Public Library as a Space for Democratic Empowerment: Henry Giroux, Radical Democracy, and Border Pedagogy” by Mustafas Yunus Eryaman.)

Morrone, Melissa, ed. Informed Agitation: Library and Information Skills in Social Justice Movements and Beyond. Sacramento: Library Juice Press, 2014. Print. (Chapters include “Whatcha Doin’ After the Demo? The Importance of Archiving Political Posters” by Vince Teetart; “To Spread the Revolution: Anarchist Archives and Libraries” by Jessica Moran; “Building an Archive from Below: Reflections from Interference Archive” by Molly Fair; “Librarian Is My Occupation: A History of the People’s Library of Occupy Wall Street” by Jaime Taylor and Zachary Loeb; and “Why Archive? and Other Important Questions Asked by Occupy Wall Street” by Sian Evans, Anna Perricci, and Amy Roberts.)

Pollock, Caitlin M. J., and Andrea Battleground. A Gallery for the Outlaw: Archiving the Art of the Iconoclast. Association of College and Research Libraries. 2013. Print.

Walker, Jill. Distributed Narrative: Telling Stories Across Networks. Bergen: University of Norway Department of Humanistic Informatics. 2004. Print.

Wallace, Margot. Writing for Museums. Lanham, MD: Rowman & Littlefield. 2014. Print.

Zinn, Howard. “Secrecy, Archives, and the Public Interest.” The Zinn Reader: Writings on Disobedience and Democracy. New York City, NY: Seven Stories Press. 2011. Print.

Pegatinas writing assignment – featured SLU student research – Jamie Abraham ‘15

The fall 2013 pegatinas final writing writing assignment for Dr. Marina Llorente’s ESP 439 seminar Literatura, cine y cultura en la España contemporànea went really well. Having the students first annotate the images made a big difference. Students were also given the chance to submit preliminary drafts of their work to get feedback on their writing. The students who annotated images, conducted additional research, and revised their writing subsequently aced the assignment. During the upcoming week, I am going to post examples from several students to be able to show others this process of writing about stickers. Today’s featured student is Jamie Abraham ’15, and she gave permission to have her work included on Stickerkitty. She analyzed a group of stickers about environmental issues in Spain. Here are two.

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  1. Text: Safe? — Nuclear? — No, Thank You!
  2. Image: Skull disguised as nuclear power plant
  3. Logo: Joves d’esquerra verda, an environmental organization that focuses on the betterment of Cataluña and a youth sub-organization of the political party Iniciativa per Catalunya Verds (Iniciativa por Cataluña Verdes).
  4. Link: joves.cat. Main website for Joves d’esquerra verda
  1. Texto: Segur? — Nuclears? — No, Gràcies!
  2. Imagen: Cráneo disfrazado como centrales eléctricas
  3. Logo: Joves d’esquerra verda, un grupo ecologista que enfoca en el ecosocialismo de Cataluña y es una sub-organización del partido político la Iniciativa por Cataluña Verdes.
  4. Enlace: joves.cat. Sitio de Joves d’esquerra verda

Description

This sticker was created by Joves d’esquerra verda. They provide a link to the interactive and informative Web site, and the organization’s logo is also presented on the sticker. The text Segur? translates to Safe?. Coupled with the image of a skull underneath the nuclear power machine illustrates the message that nuclear energy is not safe for citizens and will propose real issues for humans and the environment. A fifth of Spain’s energy is nuclear via seven power plants, with the recent closure of one in Garoña. This sticker highlights the lack of information provided by nuclear companies to citizens regarding issues of environmental and human health. However, it demonstrates the effort of a politically associated group, and more importantly a youth organization, that shows the proactivity of the younger generations. This sticker presents the widely translated phrase in opposition to nuclear energy Nuclears? No, gràcies. This indicates the large movement of regions refusing nuclear energy. The situation above ground seems innocuous; simple structures and blue skies suggest nothing is wrong. Segur? questions this appearance and underground the truth is revealed; the bold text No, gràcies is placed close to the skull to draw the eyes of the reader to the dangerous repercussions of nuclear energy.

Descripción

Esta pegatina fue creado por Joves d’Esquerra Verda. Provee el vinculo a su página web interactiva y informativa, y el logotipo de la organización se presentan en la pegatina. El texto Segur? se traduce en seguridad?. Junto con la imagen de un cráneo debajo de la máquina de energía nuclear ejemplifica el mensaje de que la energía nuclear no es segura para los ciudadanos, y propondrá problemas reales para los seres humanos y el medio ambiente. Un quinto de la energía de España es nuclear a través de siete centrales eléctricas, y un cierre reciente de uno en Garoña. Esta pegatina recalca la falta de información provee a los ciudadanos por las compañías nucleares sobre las cuestiones de la salud ambiental y humano. Sin embargo, demuestra el intento positivo de un grupo político, y más importante, un grupo juvenil, lo que muestra las acciones preventivas de los jóvenes. Esta pegatina ofrece la frase común del mundo en oposición de energía nuclear pero en catalán, Nuclears? No, gràcies. Esto indica el gran movimiento de las áreas que se niegan la energía nuclear. La situación sobre la tierra parece inocuo con el cielo azul y las maquinas simples. La pregunta Segur? duda esta escena y debajo la tierra se revela la verdad; el texto en negrita, No, gràcies se coloca cerca del cráneo para dibujar los ojos del lector a las repercusiones peligrosos de la energía nuclear.

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  1. Text: Nuclear? No, Thank You — No To The Centralized Temporary Storage — Close Garoña… And The Rest
  2. Image: Smiling sun symbol of antinuclear organizations worldwide, created in 1977
  3. Logo: Ecologists in action — Ecologistas en acción
  1. Texto: Nucleares? No, Gracias — No Al ATC (Almacén Temporal Centralizado) – Cierre De Garoña… Y De Todas Las Demás
  2. Imagen: Sol sonriente símbolo de organizaciones antinucleares mundiales, crea en 1977
  3. Logo: Ecologistas en acción

Description

Simple, yet effective sticker illustrating the necessity to abolish nuclear energy usage and to close power plants. The text is bold and grabs the attention of the audience. It is not overly aggressive, but is firm in its request. “No to nuclear energy. No to the ATC” (Almacén temporal centralizado de España/Centralized Temporary Storage), which is a project to expand current nuclear waste facilities to accommodate high activity level waste from Spain, France, and the UK. Opposition highlights the lack of economic benefits, the risks of building facilities and transporting high-level waste, and the overall discomfort and apprehension from citizens. This sticker calls for the closure of Garoña, a nuclear plant in Burgos, Spain, and continues to request closure of the rest of Spain’s seven nuclear power plants. The smiling sun is the international symbol of anti-nuclear organizations and its presence suggests the inclusion of the rest of the world in rejecting nuclear energy. Finally, the logo for Ecologistas en Acción propagates their presence in fighting for environmental issues.

Descripción

Simple, pero efectivo pegatina que ilustra la necesidad de abolir el uso de la energía nuclear y cerrar las centrales eléctricas. El texto en negro atrae la atención de la audiencia. No es demasiado agresivo, pero es firme en sus peticiones. “No a la energía nuclear. No a la ATC” (Almacén Temporal Centralizado de España), que es un proyecto de ampliación de las instalaciones de residuos nucleares actuales para dar cabida a los residuos de actividad alta procedentes de España, Francia y el Reino Unido. La oposición incluye la falta de beneficios económicos, los riesgos de la construcción de instalaciones y transporte de residuos de actividad alta, y el malestar general y la aprehensión de los ciudadanos. Esta pegatina pide el cierre de Garoña, una central nuclear en Burgos, España; continúa solicitud de cierre del resto de las centrales nucleares. El sol sonriente es el símbolo internacional de organizaciones antinucleares y su presencia sugiere la inclusión del resto del mundo al rechazar la energía nuclear. Por último, el logo de Ecologistas en Acción propaga su presencia en la lucha por las cuestiones ambientales.

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From here, I will work with Arline Wolfe, the SLU arts metadata technician, to polish the writing and to add links and subject headings to each item in the Street Art Graphics digital archive. The biggest news ahead, however, is that I’m making a case at St. Lawrence to have the University sign up for Artstor’s Shared Shelf Commons, a free, international, open access digital image library of arts and sciences. Artstor is one of the best platforms I’ve come across in terms of publishing digital image collections, but I’ve avoided using it in the past because content is only available to paid subscribers (like colleges, universities, museums, etc.). However, with the Shared Shelf Commons, users can now post materials and make them available to everyone, everywhere. More to follow!


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