Search Results for 'stickerette'

I.W.W. “stickerettes” bibliography

Compiled by Catherine Tedford with assistance

from McKael Barnes, SLU Class of 2020

Industrial Workers of the World. I.W.W. SongsSongs of the Workers: On the Road, in the Jungles and in the Shops – Joe Hill Memorial Edition (Tenth Edition). United States, I.W.W. Publishing Bureau, 1917.

Abbott, Lyman, Ernest Hamlin Abbott, and Hamilton Wright Mabie, eds. “The I.W.W. on Trial: Special Correspondence.” The Outlook, Vol. 119. United States, Outlook Publishing Company, 1918. 448-450. Print.[1]

The Outlook, July 6, 1918, page 449.

Botkin, Jane Little. Frank Little and the IWW: The Blood That Stained an American Family. University of Oklahoma Press, 2017.

Bubka, Tony. “Time to Organize! The IWW Stickeretts [sic],” American West 5, no. 1. January 1968: 21-22, 25-26, 73. Print.

Chaplin, Ralph. Wobbly, the Rough and Tumble Story of an American Radical. Da Capo Press, 1972. 194-195, 199-200, 205-207, 219. Print.

Clymer, Jeffory A. America’s Culture of Terrorism: Violence, Capitalism, and the Written Word. Chapel Hill: University of North Carolina Press, 2004. 193-199. Print.

Clyne, Charles F. The I.W.W. Indictments. International Socialist Review: A Monthly Journal of International Socialist Thought. United States, 1917. 276. Print.

Dinnerstein, Leonard, and Kenneth T. Jackson. American Vistas: 1877 to the Present. Oxford University Press, 1987, 129. Print.

Hall, Greg. Harvest Wobblies: The Industrial Workers of the World and Agricultural Laborers in the American West, 1905-1930. Corvallis: Oregon State University Press, 2001. 72-74, 93, 103-104, 110. Print.[2]

Haywood, William D. The Autobiography of Big Bill Haywood. 1929. 282. Print.

Industrial Workers of the World. Proceedings of the Tenth Convention Held at Chicago, IL, November 20 to December 1, 1916. 1917.[3]

Industrial Workers of the World. I.W.W. SongsSongs of the Workers: On the Road, in the Jungles and in the Shops – Joe Hill Memorial Edition (Ninth Edition). United States, I.W.W. Publishing Bureau, March 1916. Print.[4][5]

Industrial Workers of the World. I.W.W. SongsSongs of the Workers: On the Road, in the Jungles and in the Shops – Joe Hill Memorial Edition (Tenth Edition). United States, I.W.W. Publishing Bureau, 1917. 65. Print.[6][7]

Kornbluh, Joyce L. Rebel Voices: An IWW Anthology. University of Michigan Press, 1964. 59. Print.

McGovern, John F. “Sabotage Wanton Destruction of Property, Nothing More.” Minneapolis Star Tribune 14 Dec. 1919: 4. Web.

Miles, Dione, and Wayne State University. Something in Common: an IWW Bibliography. Wayne State University Press, 1986, 14. Print.

Myers, Richard. Slaughter in Serene: The Columbine Coal Strike Reader. United States, Bread and Roses Workers’ Cultural Center, 2005. 28. Print.

Prahl, Michael Torrance. “The federal government and the Industrial Workers of the World, 1917-1918: An attempt to crush a labor union.” University of Northern Iowa UNI ScholarWorks, 1990. 79, 86, 157-159. Web.

Rosemont, Franklin, and Roediger, David R. Haymarket Scrapbook. C.H. Kerr Publishing Company, 1986, 195. Print.[8]

Rosemont, Franklin. Joe Hill: The IWW & the Making of a Revolutionary Workingclass Counterculture. United States, C.H. Kerr Pub., 2003. 99. Print.

Salerno, Salvatore. Red November, Black November: Culture and Community in the Industrial Workers of the World. SUNY Press, 1989, pp. 178.

Smith, Walker C., et al. Direct Action & Sabotage: Three Classic IWW Pamphlets from the 1910s. United States, PM Press, 2014. 19-20. Print.

Stauffer, John, and Benjamin Soskis. “Solidarity Forever.” The Battle Hymn of the Republic: A Biography of the Song That Marches On. Oxford University Press, 2013. 189, 340.[9]

Tedford, Catherine. “Silent Agitators: Early Stickerettes from the Industrial Workers of the World.” Signal: A Journal of International Political Graphics & Culture 06 (2018):

Tyler, Robert L. Rebels of the Woods: The I. W. W. in the Pacific Northwest. University of Oregon Books, 1967, pp. 92.

Van Wienen, Mark W. “The New Society within the Shell of the Old: Wobbly Parody Poetical and Political.” Partisans and Poets: The Political Work of American Poetry in the Great War. Cambridge, Cambridge University Press, 1997. 95-102. Print.[10]

Weisberger, Bernard A. “Here Come the Wobblies.” American Heritage 18, no. 4 (June 1967): 30-35. Print.

Whalan, Mark. American Culture in the 1910s. Edinburgh University Press, 2010. 172-173. Print.


[1] Great illustration of three stickerettes for Wikipedia.

[2] Page 72 dates stickers to 1912.

[3] Full page ad for STICKERETTES for Wikipedia.

[4] Full page ad of man in clogs for Wikipedia.

[5] Also available at https://en.wikisource.org/wiki/Songs_of_the_Workers_(9th_edition).

[6] Full page ad of “The Scissorbill’s Prayer” for Wikipedia.

[7] The University of Washington Libraries digitized Katie Phar’s signed I.W.W. Songs (Ca. 1917) with stickers mentioned on page 64.

[8] Chaplin cartoon from Cook County Jail but not available in Google Books.

[9] Dates first mention of stickerettes dating to 1915, with “in April 1917, “four million sold in less than a week” following America’s entry in WWI.

[10] Dates first stickerettes to November 20, 1915 issue of Solidarity.

Ten new “stickerettes”!

I have acquired ten new I.W.W. stickerettes! They came from a packet with text on the cover that reads “Stickerettes – Silent Agitators – Fifteen Different Designs – Black And Red – Stick ’Um Up!” There is also an image of a black sab cat in a wooden shoe that was likely designed by or borrowed from Ralph Chaplin, whom I’ve written about before. Sorry for the poor screen shot of the envelope; it’s the best I could get.

Screen Shot 2016-06-26 at 6.40.55 PM

I can confirm the dates of these stickerettes, too. The I.W.W. headquarters were located at 1001 West Madison Street in Chicago, the address listed on the envelope, from July 1917 to March 1925.

stickerette_032

You can see the new stickerettes on my Flickr site here (scroll down to the bottom). I now have 41 stickerettes in my collection; a few of them are duplicate designs with one printed in black or red and the other printed in both black and red.

stickerette_033

stickerette_038

The stickerette “Why Be A Soldier? Be A Man, Join The I.W.W. And Fight On The Job For Yourself And Your Class.” is one that undoubtedly got the I.W.W. and union members in trouble with the U.S. government. On September 5, 1917, federal agents raided I.W.W. offices across the country, and 100 union leaders and members were later arrested and charged with sedition under the newly created Espionage Act of 1917 that was enacted a few months beforehand (along with another charge of violating postal laws by mailing out stickerettes and other printed matter).

stickerette_039

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Dates Confirmed for Early I.W.W. Stickerettes

I can finally confirm dates of some of the earliest I.W.W. stickers in my collection. The August 31, 1918, edition of The Literary Digest ran an article called “Branding the I.W.W.” that features three stickers with the caption, “Typical I.W.W. Propaganda—Stickers Circulated in the Northwest.”

1918-Aug-31_LitDigest_001

Unfortunately, the article doesn’t say anything about the stickers themselves, but it describes the conviction of 100 I.W.W. members for treason soon after the beginning of World War I and the subsequent passage of the U.S. Espionage Act. The artist and poet Ralph Chaplin, whom I’ve written about in previous posts and for the People’s History Archive, was one of those union members arrested and convicted, and I imagine he created these early stickers, known at the time as “stickerettes” or “silent agitators.”

stickerette_024

stickerette_025

Other articles in this edition include “Grenades to Suit Everybody,” Germany’s Gigantic War Profits,” and “Why Germany Destroys Art.”

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Three new “stickerettes”

Three new Industrial Workers of the World “stickerettes” for the Street Art Graphics digital archive!

stickerette_008

The text reads, “I.W.W. — For More of the Good Things in Life — Organize — One Big Union”

stickerette_009

This one reads, “Join the I.W.W. — We Know He Won’t Join — But How About You?”

stickerette_010

And this one reads, “One Big Union — The Key to Industrial Peace — OBU — Join the I.W.W.”

(I add the text here in case people are doing keyword searches.)  For more on “stickerettes,” see my previous posts:

I.W.W. “stickerettes”

“Stickerettes at NYU’s Tamiment Library

More on I.W.W. “stickerettes”

“Stickerette” ad in 1917 I.W.W. Solidarity newspaper

Two new “stickerettes”

Two new “stickerettes”

I’ve acquired two new unused stickerettes for my collection and sticker exhibition.  The smaller stickerette is a real favorite.  NYU has one, too.  It measures 3 1/4 x 2 3/8 inches, and the text reads: “The capitalist’s [heart] is in his pocketbook, And he uses the [club] Over you so he can wear [diamonds].  By organizing right, we can give him a [spade] With which to earn an honest living.”

stickerette_005

The second stickerette measures 6 x 6 inches and is the largest and rarest I’ve ever come across.  It was issued by the S.F. (San Francisco) Trades Union Promotional League in 1927, and the text reads “Labor Unionism, Labor Omnia Vincit.  The World’s Greatest Promoter of Human Justice.  Let us make it ever greater.  Public Schools.  Right of the Ballot.  Workers Compensation Legislation.  Health and Safety Legislation.  Child Labor Laws.  Eight Hour Day.”

stickerette_006

Both stickerettes are printed on a very lightweight cream paper with a gummed backing.  I would love to find a photograph of stickerettes being used back in the day!

“Stickerette” ad in 1917 I.W.W. Solidarity newspaper

This is the first image I’ve ever seen of someone putting up stickers.  I found it in two issues of an I.W.W. newspaper called Solidarity published in Cleveland on September 9 and 16, 1917.  Stickerettes were advertised in Solidarity between at least June 24, 1916, and August 25, 1917, though I’ve seen a reference that they might have been advertised as early as November 20, 1915.  In 1916, one could buy stickerettes in packages – 110 per package cost 15 cents, or a box of 1,100 cost $1.00.

solidarity_1916-09-09a

I’ve been trying to find photographs of stickerettes put up on buildings or other surfaces, too, but no luck yet.

More on I.W.W. “stickerettes”

I’ve had the luxury of spending several hours during the last few days doing research on the I.W.W. stickerettes that I posted about previously on June 3, 2012 and July 28, 2012.  I’ve decided that I need to include some historical background information about stickerettes in my sticker book, which I am tentatively calling Takin’ it to the Streets and Stickin’ it to the Man: Contemporary Sticker Art as Cultural Expression and Political Protest.  It’s a terribly long title.  The other title I’ve been thinking of lately, however, is simply Paper Bullets.  Short and sweet!

stickerette-Bolerium_001

The commercial artist Ralph Chaplin (1887-1961) was probably the first person to have produced stickerettes during 1915-1916, according to Mark van Wienen in Partisans and Poets: The Political Work of American Poetry in the Great War.  A million stickerettes were printed and distributed in early 1917, with another three million to be printed by May Day that year and 65,000 stickerettes in other foreign languages.  Van Wienen writes, “Stickerette mania grew so intense that a poem in [the I.W.W. weekly] Solidarity, ‘Stick ‘Em Up,’ dubbed May Day ‘Stickerette Day’.”

Now all the bosses and their stools will think they’re out of luck, To see the spots of black and red where Stickerettes are stuck; And after they have scratched them off and shook their fists and swore, They’ll turn around to find again another dozen more.

Upon the back of every truck, on packages and cards, Upon the boats and in the mines and in the railroad yards, From Maine to California and even further yet, No matter where you look you’ll see a little Stickerette!

By September of 1917, however, Chaplin and others in the I.W.W. were arrested under the U.S. Espionage Act on charges of sedition.  The Espionage Act was passed just after the United States entered World War I.  The New York Tribune ran an article, “I.W.W. Beaten in Two Attempts to Rule Out Evidence: Judge Permits Introduction of Pamphlets to Prove Sabotage” (May 7, 1918, p. 7), which described:

William Cahill, member of a job printing establishment in Chicago, testified that he had printed more than 1,500,000 stickerettes for the I.W.W.  These were designed by Ralph Chaplin, one of the defendents, whose pen name is “Bingo.”  Many of them advocated sabotage.”

Stickerettes are also mentioned in an essay entitled “Here Come the Wobblies!” by Bernard A. Weisberger for the American Heritage (1967, Volume 18, Issue 4), where he paints a lively picture:

The I.W.W. reached [the migrant worker] where he lived: in the hobo “jungles” outside the rail junction points, where he boiled stew in empty tin cans, slept on the ground come wind, come weather, and waited to hop a freight bound in any direction where jobs were rumored to be.  The Wobblies sent in full-time organizers, dressed in the same caps and windbreakers, but with pockets full of red membership cards, dues books and stamps, subscription blanks, song sheets, pamphlets.  These job delegates signed up their men around the campfires or in the boxcars (“side-door Pullmans” the migrants called them), mailed the money to headquarters, and then followed their recruits to the woods, or to the tents in the open fields where the harvest stiffs unrolled their bindles after twelve hours of work in hundred degree heat without water, shade, or toilets.  But there were some whom the organizers could not reach, and the I.W.W. sent them messages in the form of “stickerettes.”  These “silent agitators” were illustrated slogans on label-sized pieces of gummed paper, many of them drawn by Ralph Chaplin.  They sold for as little as a dollar a thousand, and Chaplin believed that in a few weeks a good “Wob” on the road could plaster them on “every son-of-a-bitch of a boxcar, water tank, pick handle and pitchfork” within a radius of hundreds of miles.

stickerette-Bolerium_002

The stickers were simple and caught the eye.  “What Time Is It? Time to Organize!” shouted a clock.  “Solidarity Takes the Whole Works,” explained a Bunyan-sized workingman with an armload of trains and factories.  The three stars of the One Big Union (Organization, Education, Emancipation) winked bright red over a black and yellow earth.  A “scissorbill”—a workingman without class loyalty—knelt on bony knees and snuffled to the sky, “Now I get me up to work, I pray the Lord I may not shirk.”  But the most fateful stickers to appear between 1915 and 1917, as the nation moved toward war, were those that urged: “SLOW DOWN. The hours are long, the pay is small, so take your time and buck ’em all;” and those on which appeared two portentous symbols: the wooden shoe of sabotage, and the black cat, which, as everybody knew, meant trouble.

The stickerettes I’ve included here are less agitational than most others, but they’re what I’ve got, so enjoy!  The only other stickerette in my collection is all text – in Hungarian.

stickerette-Bolerium_003

Stickerettes at NYU Tamiment Library

The Robert F. Wagner Labor Archives at NYU’s Tamiment Library contains close to 30 original stickerettes, i.e., the “silent agitators” I wrote about in my previous post.  I went down to NYC last week to see them in person and had no idea there would be so many different designs.  From what I’ve been reading, some were used as early as the 1910s, while a later one referred to the fighting in Viet Nam (sic).  I also saw a catalogue for an exhibition entitled “Wobbly” 80 Years of Rebel Art that was held at the Labor Archives and Research Center in San Francisco in 1987, so I ordered a copy of my own from AbeBooks.  The catalogue identifies some of the artists who made these stickers (William Henkelman, for example, a sign painter by profession), though most of the creators weren’t artists at all (C.E. Setzer a.k.a. “CES” or “X13” was a construction worker on the Los Angeles aqueduct).  According to the catalogue, “The IWW pioneered the use of these little pieces of gummed paper.  Over the years countless different ones in a variety of sizes were produced in quantities that must total in the millions.  Old and new, they are still in use by the IWW as a simple, succinct method to spread ideas or just to generally raise the consciousness of the passerby.”

I get asked all the time if it’s right or wrong to take stickers off the streets, but seeing the stickerettes at NYU confirmed my dedication to building a sticker archive.  The stickers in my collection are just not available anymore, and some day, I’ll donate the collection to an institution for future research and scholarship.

I.W.W. “stickerettes”

After learning recently about S.D.S. stickers (Students for a Democratic Society) in the U.S., I’ve been expanding my collection with a few more examples like these from the 1970s.

Online today, I came across something even older – stickers from the early 1910s-1920s that were created for the Industrial Workers of the World (I.W.W) and used as “silent agitators” or “silent organizers.”  On Facebook, the Labor Archives and Research Center at San Francisco State University features six stickers, which at the time were called “stickerettes,” and writes, “they were easy to anonymously stick on surfaces throughout the job site (including the back of a boss).”  In the State of Washington, Centralia College’s Kirk Library also shows a digitized collection of 17 stickerettes.

And in a new book called The Man Who Never Died: The Life, Times and Legacy of Joe Hill, American Labor Icon, William M. Adler, the author writes, “[t]he novel stickerettes represented a low-cost, high-visibility advertising campaign for the union.”  One from the book is pictured here.  Another book by Gibbs Smith of Joe Hill includes a reference to stickerettes, too.  Below is a screen shot of page 8 from Google books.

Apparently, these stickerettes were printed by the millions.  Working Class Heroes describes how “Hill dispatched caustic, if crude, cartoons to Industrial Solidarity, the union’s newspaper, some of which ended up on silent agitators—stickers meant to slapped up in mess halls, in lumber camps, in city flops and beaneries, and even factory floors.”

All of this in time for the June 5, 2012 vote to recall Wisconsin Governer Scott Walker and his attempts at union-busting.

Working from home during the COVID-19 crisis: Post #3

Working from home during the COVID-19 crisis: Post #3

Lophophora williamsii

I continue to work from home on digital image collection projects that I outlined in my first post from this COVID-19 series, focusing now on a series of confocal miscroscopy images generated by two faculty at St. Lawrence University: Jill Pflugheber, Microscopy Specialist, and Dr. Steven F. White, Lewis Professor of Modern Languages and Literatures. This digital project grew out of an exhibition this past spring at the Richard F. Brush Art Gallery at SLU called Microcosms: A Homage to the Sacred Plants of the Americas. Here is the exhibition text panel that the two faculty wrote to accompany the printed images:

“Confocal microscopy, also known as confocal laser scanning microscopy, is a specialized optical imaging technique that provides contact-free, non-destructive measurements of three-dimensional shapes. In this case, plants considered sacred by indigenous groups of the Americas were scanned at St. Lawrence University’s microscopy and imaging center. The procedure gathers information from a narrow depth of field, while simultaneously eliminating out-of-focus glare, as well as permitting the creation of optical sections through biological samples. Images are built over time by gathering photons emitted from fluorescent chemical compounds naturally contained within the plants themselves, creating a vivid and precise colorimetric display.

Psychotria viridis

To pay homage to sacred plants revered by indigenous groups throughout the Americas is a way of honoring the entire world in a time of environmental emergency. The exhibition—at the juncture of art, technology, and science—magnifies life in ways that may alter how humans perceive other living entities from our shared and threatened biosphere in more egalitarian terms. The plants reveal themselves as 21st-century extensions of biomorphic forms that were the genesis of abstract works by artists such as Wassily Kandinsky and Paul Klee one hundred years previous. Some of the plants contain the most potent psychoactive agents on the planet and serve as intermediaries that have enabled native communities to communicate with their ancestors, wage war on the enemies of their land, conceptualize entire cosmogonies, and maintain a nearly impossible equilibrium. Perhaps each stoma, trichome, and patterned fragment of xylem and vascular tissue in these vital portraits is not only a way into previously unseen vegetal realms, but also a way out of our collective crisis.”

As a side note, Steven is co-editor of Ayahuasca Reader: Encounters with the Amazon’s Sacred Vine (Synergetic Press, 2018). The gallery has presented two other exhibitions based on Steven’s research in this area with world-renowned ethnobotanist Luis Eduardo Luna: Inner Visions: Sacred Plants, Art, and Spirituality in 2016 (+ press release), and Visions that the Plants Gave Us in 1999 (+ more info here).

Diplopterys cabrerana

Creating metadata fields for this collection was also time-consuming for different reasons, but fun overall. The “data dictionary and cataloguing guide” that I created is listed at the end of this post, but here are some general points to make with regard to the work I’ve been doing:

  • I finally figured out how to use RightsStatements.org most effectively for this and other digital image collections at SLU. From the website: “RightsStatements.org provides a set of standardized rights statements that can be used to communicate the copyright and re-use status of digital objects to the public. Our rights statements are supported by major aggregation platforms such as the Digital Public Library of America and Europeana. The rights statements have been designed with both human users and machine users (such as search engines) in mind and make use of semantic web technology.”
  • I also figured out how to use the Creative Commons licenses most effectively for SLU digital image collections. This one was easy because the Microcosms images are copyright-protected by the two faculty.
  • Our cataloguing platform, Jstor Forum, is more nimble now than when I created the Street Art Graphics digital archive in the platform’s predecessor, Shared Shelf, in 2015. (Sorry, but who comes up with these ridiculous platform names, lol?) There are many more “Linked Authority Fields” embedded within most metadata fields that link to several lists of terms, such as the Art & Architecture Thesaurus (AAT), the Library of Congress Subject Headings (LCSH), and the Thesaurus of Geographic Names (TGN)—some of which are listed on the Library of Congress’s full Linked Data Service website.
  • Despite the funny name, I really like the Jstor Forum admin and cataloguing environments. Both are extremely user-friendly and intuitive, and the published collections emphasize the images in ways other platforms don’t. (I’m talking to you, ContentDM.)

Microcosms: Sacred Plants of the Americas

Data Dictionary and Cataloguing Guidelines

(with examples for peyote in this document)

Temporary album in Flickr: https://www.flickr.com/photos/slu-art-gallery/albums/72157713729253121

AAT = Art & Architecture Thesaurus

LCSH = Library of Congress Subject Headings

TGN = Thesaurus of Geographic Names

PLANT DETAILS (i.e., “work”)

1. Common Name: Linked Authority Field (AAT)

Common name of plant. Use Linked Authority Lists based on AAT and LCSH. [Accept multiple values.] Ex: Peyote

2. Genus: Linked Authority Field

Genus of plant. Use Linked Authority Lists based on AAT and LCSH. Ex: Lophophora

3. Species: Linked Authority Field

Species of plant. Use Linked Authority Lists based on AAT, LCSH, and “Microcosms: Species.” Ex: Lophophora williamsii

4. Indigenous Name: Linked Authority Field

Cultural names of the plant. Use Linked Authority Lists based on AAT, LCSH, and “Microcosms: Indigenous Names” (list based on Steven White’s exhibition labels). [Accept multiple values.]

5. Specimen Source: List Field

Person or institution that provided the plant or seed. List provided by Steven White. [Accept multiple values.] Possibly change this to Linked Authority Field?

6. Image View Description: Text Area

Text that describes the content and context of the work, including comments and an interpretation that may supplement, qualify, or explain the physical characteristics, subject, circumstances of creation or discovery, or other information about the work. (Jill Pflugheber to describe plant section.)

7. Subject: Linked Authority Field

Terms that identify, describe, and/or interpret what is depicted in and by a work. Use Linked Authority Fields based on AAT, LCSH, and TGN.

8. Culture (Linked Authority Field)

Name of the culture, people, or nationality from which the plant is used. Use Linked Authority Fields based on AAT and LCSH. [Accept multiple values.] Refer to exhibition labels that Steve supplied.

9. Ethnobotanical Use/Cultural Significance: Text Area

Dr. Steven White to write ~100 words. (Map to Description in Dublin Core.)

LOCATION OF PLANTS

10. Artstor Country: List Field (Required)

A type of “nationality” field, though not in adjectival form; country refers to the modern name of the country from which the artist came. A list of those currently in use by Artstor is provided. [Accept multiple values.]

11. Geographic Location: Linked Authority Field

Geographic location of the plant. Use Linked Authority Field based on TGN. [Accept multiple values.]

DATES OF CONFOCAL IMAGES

12. Image Date: Text Field

Date or range of dates associated with the particular view captured in the image. (Jill Pflugheber will provide acquisition dates.) Ex: 29 Mar 2020

13. Artstor Earliest Date: Number Field (Required)

Year that broadly delimits the beginning of an implied date span. Add five years from date of capture.

14. Artstor Latest Date: Number Field (Required)

Year that broadly delimits the end of an implied date span. Subtract five years from date of capture.

ABOUT THE CONFOCAL IMAGES

15. Artstor Classification: List Field (Required)

Term used to categorize a work by grouping it together with other works on the basis of similar characteristics, including materials, form, shape, function, etc. A list of the 16 terms accepted by Artstor is provided. Use: Science, Technology, and Industry

16. Work Type: Linked Authority Field (AAT)

Term or terms identifying the specific kind of object or work being described. Use Linked Authority Field based on Art and Architecture Thesaurus. Use “confocal microscopy” as default for all records.

17. Laser Excitation Wavelengths: Text Field (Default) (Map to Description)

Jill Pflugheber to provide. Use “488nm=green, 561nm=red, 640nm=blue” as default for all records.

OTHER

18. Repository: Text Field (Default)

The name and geographic location of the repository that is currently responsible for the work. Use “St. Lawrence University, Canton, NY (USA)” as default for all records.

19. SLU Project Coordinators: Text Field (Default)

Names and roles of individuals that played a role in the creation of the image. Use “Jill Pflugheber, Microscopy Specialist, and Dr. Steven White, Lewis Professor of Modern Languages and Literatures” as default for all records.

20. Notes: Text Area

Any additional misc. information to be shared publicly.

21. Local Notes: Text Area (Hidden)

Internal information not to be shared publicly. Field should be hidden but searchable.

22. Rights: Text Field

The copyright status of the digital object. Recommended best practice is to use a controlled statement from RightsStatements.org. Use “Image: Copyright 2020 by Jill Pflugheber and Dr. Steven F. White (Rights Statement – In Copyright http://rightsstatements.org/vocab/InC/1.0/)” as default for all records.

23. License: Text Field

The terms under which the digital object may be used by others. Recommended best practice is to use a controlled statement from CreativeCommons.org. Use “Use of this image is in accordance with Creative Commons by Attribution-NonCommercial-No Derivatives (CC BY-NC-ND)” as default for all records.

24. Original Filename: Text Field (Hidden)

Unique numeric or alpha numeric identification, usually a filename, of the original image from Jill Pflugheber. Field should be hidden but searchable.

25. Revised Filename: Text Field (Hidden)

Unique numeric or alpha numeric identification, usually a filename, of the revised image from Jo Skiff. Field should be hidden but searchable.

**NOTE: After the “Fields” are created, all of the fields and the order of the fields need to be re-created in the “Cataloging Form Fields” tab.

Useful websites

Jstor Global Plants (hoping to submit our collection to Jstor in addition to Artstor and DPLA)

World Flora Online

Possibly NAPRALERT (requires registration approval)

Native American Ethnobotany Database

Entheology: Plants (for indigenous plant names and cultures)

USDA Natural Resources Conservation Service Culturally Significant Plants

USDA Natural Resources Conservation Service Classification

Useful Tropical Plants Database

DPLA and Wikimedia Commons

In other news, I took a webinar last week on April 21, 2020, sponsored by the Digital Public Library of America and the Wikimedia Foundation, that focused on increasing the discoverability and use of digital media. A system is being set up to upload images from DPLA into Wikimedia Commons that can then be inserted into Wikipedia pages, funded by a grant from the Alfred P. Sloan Foundation.

I’ve already done a little of this with I.W.W. “stickerettes” or “silent agitators” in the Street Art Graphics digital archive. This past year, for example, I uploaded images for the following Wikipedia pages: Silent agitators, “Black Cat” on Anarchist symbolism, “Scab” on Strikebreaker, and “Foundation of the Industrial Workers of the World” under Bill Haywood.

Anyhoo, I reached out to the webinar organizers and expressed my enthusiasm to participate in this endeavor. Given past support for the Street Art Graphics digital archive from the U.S. Council of Independent Colleges, I’m hoping they will contact me. Stay tuned!

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