 Good evening everyone. Wow, what a great crowd. It's good to see all of you here tonight. It's my great pleasure to welcome you here to the Marriott Library. I'm Alberta Comer, Dean of this wonderful library and University Library here at the Utah University. This lecture, which is the fourth on women of the 20th century, is cosponsored by the Friends of the Marriott Library, the Clyde Legacy Advisory Board, and the Marriott Library. I'm pleased to report that the program remains successful in attracting and acquiring collections and has had increased financial support from donors. The public continues to tell the advisory board and the library that the focus on such an important archive is long overdue and very highly valued. To date, and these are impressive numbers, so make sure you're impressed, the archive includes a hundred and five collections of correspondence, journals and scrapbooks, as well as more than a hundred oral history interviews, 287 photograph collections, and 193 film and audio recordings. Some of the most recent contributions include the Francis Johnson Chase Papers, the Pauline Clyde Pace Papers, and the Susan R. Madsen Papers, as well as many others. Please join me now in acknowledging the extraordinary efforts of Eileen H. Clyde and the advisory board members who have worked diligently to ensure the success of the archives and the selector series. The board members include, in addition to Ms. Clyde, Carol Lee Hawkins, Chair, Dr. Marie Cornwall, Dr. Cece Foxley, Kevin Clyde, Ken Okazaki, and Dr. Gregory Prince. Would the board members please stand now and be recognized? And since she didn't stand the first time around, I want special recognition for Ms. Eileen Clyde. Would you please stand? We're very pleased to work with her. She's our special and wonderful friend, and she has done so much in helping to develop the program. She's a stellar example of an individual whose accomplishments have helped to shape the story of women in the 20th century. Her career includes her work as an educator and community leader, as well as that of being a wife and mother. In her 60-plus year record of providing leadership and advice, she has helped many women achieve their potential. The record of her experience is set in the roles she has played as a first citizen chair of the Utah Commission on Criminal and Juvenile Justice and Chair of the Utah Task Force on Gender and Justice in the Utah Courts. She served as vice chair of the Utah State Board of Regents for 12 years. Ms. Clyde was the chair of the Coalition for Utah's Future and served in the general presidency of the Relief Society of the Church of Jesus Christ of Latter-day Saints. The goal of the Eileen H. Clyde 20th Century Women's Legacy Archive is to identify women, such as Ms. Clyde, who have helped to create social and cultural change during the 20th century. This initiative has dramatically enhanced the library's research holdings and capabilities for our faculty and students in the larger community. Increasingly, the materials we are receiving that document the lives and actions of individuals and institutions are digitally born and will be used by researchers in this format. It's a challenge for archivists to not only collect this material, but to catalog, preserve, and make it easily accessible. Our keynote speaker is a perfect scholar to help us understand the rise of the digital record and the importance of preserving the materials in this format. Dr. Diane Harris is the Dean of the College of Humanities here at the U, where she's also a professor in the History Department. She holds a PhD in Architectural History from the University of California at Berkeley. Her scholarship, which has a broad temporal and geographic reach spanning from 18th century Lombardy to the post-war United States, is united by constant interest in the relationship between the built environment and the construction of racial and class identities. She is particularly well known for her scholarly contributions to the study of race and space, focusing on the visual, the material, and the spatial. Her work consistently seeks answers to questions about the way representations, objects, and built forms, such as cities, buildings, and landscapes, contribute to the formation of social and cultural histories. In addition to her numerous scholarly articles, her award-winning publications include the co-edited volumes, Villas and Gardens in Early Modern Italy in France, and Sights Unseen Landscape and Vision. She's the author of The Nature of Authority, Villa Culture, Landscape and Representation in 18th Century Lombardy, and Maybeck's Landscapes, Drawing in Nature. Her most recent book, Little White Houses, How the Post-War Home, Constructed Race in America, was published in 2013. Dean Harris is past president for the Society of Architectural Historians, for whom she also served as editor-in-chief for a major Mellon Foundation-funded digital humanities initiative called Sahara. She is editor for the University of Pittsburgh's Press Culture, Politics, and the Built Environment series. She served on the advisory board for the study of American architecture at Columbia University from 2009 to 2012, and as chair of that board from 2012 to 2015. She's also the recipient of a 2006 Iris Foundation Award from the Bard Graduate Center in New York for outstanding scholarly contributions in the history of art, decorative arts, and cultural history. She's been the principal investigator for several large grants from the Andrew Mellon Foundation, including a $3 million grant to create Humanities Without Walls, which is a consortium of Humanities Centers at 15 research-extensive universities throughout the Midwest and beyond. Dean Harris currently serves on the board of the National Humanities Alliance and the Utah Humanities Council, and in 2016 she was nominated by President Barack Obama to serve on the National Council of the Humanities. Welcome, Dean Harris. Well, can you all hear me? I think I'm mic'ed up okay. Good. Well, good evening. It is such a pleasure for me to be here tonight. Such an honor. I want to thank the Clyde family. It's really just a privilege to be here to give this lecture tonight. And I want to especially thank Dean Albert Acomar, who is a fabulous collaborator for the College of Humanities and a wonderful, gifted, creative, thoughtful, imaginative dean for the Marriott Library. I'm so lucky to have her. And to Greg Thompson, who sent me this invitation over the summer to be this year's Clyde lecture. Greg and all the staff at this library have been just superb to work with. In the short time I've been here, and I'm very, very grateful for what they do every day. Like many of you, I've long been a fan of libraries and librarians, but never more so than right now in this tumultuous and difficult time in our nation's history. In peaceful times, we may simply think of librarians as human gateways too and guardians of information and our cultural heritage as the often brilliant scholars of information science and as the generous colleagues who help us and our students every day as we seek answers to an enormous range of questions and research problems. Increasingly, we faculty also think of them as research and teaching partners. But we should be aware that librarians are also key participants in the preservation of democracy and that they've long played an important role in the preservation, not just of books, documents and special collections, but also of our privacy, our intellectual freedoms, and indeed our civil rights. As a recent article in The Guardian noted, libraries in the Trump era are serving as important sanctuary spaces for immigrants. Librarians are verifying facts and are authenticating web content for their patrons, they're hosting community conversations, working to counter efforts at censorship, and preserving endangered data and importantly our access to that data. Librarians fight for the preservation of their patrons' privacy, remembering that data privacy may well become an even greater issue in the months and years to come and for the right to information for all Americans. As the American Library Association recently stated, quote, our nation's 120,000 public, academic, school, and special libraries serve all community members, including people of color, immigrants, people with disabilities, and the most vulnerable in our communities, offering services and educational resources that transform communities, open minds, and promote inclusion and diversity. They are also, as one librarian put it, making America read again, which is its own wonderful brand, I think, of powerful resistance. In short, libraries like the one we are sitting in right now are great bastions of democracy and we need to thank and salute our wonderful librarians for the work they do every day. So just a preamble, I salute you, thank you, Marriott librarians. Tonight, I'm going to focus on three of my own research projects, a bit of a biography of my intellectual trajectory to demonstrate how they might not have developed as they did, were it not for the fact that someone, somewhere, at some point in time, saved everything and then realized they needed to find a way to preserve and make available what they had saved. I chose the title of my lecture tonight with the hope that many would recognize it is somewhat tongue-in-cheek, especially the librarians in the room whom I do not wish to panic and who know that we, of course, cannot save everything unless we become, like this image, slowly or even rapidly buried by the material evidence of our own cultural production. But what I hope we will see is that the making of exciting, creative, rich histories relies very heavily on the hope that somewhere, someone was a hoarder, that the odd bits and scraps of the past made it into someone's dark and hopefully dry and insect-free drawer or closet, preferably on acid-free paper and then to a wonderful library like this one, that someone realized that a scrap of paper, a doodle scribbled on the back of an envelope, a bit of text from a public address, a copy of an old advertisement, might all be useful and of importance to a historian in the future. So let's see, now I have to figure out how to advance the slide. Here we go. I should mention two anecdotes of the outset that make me particularly pleased to have been asked to give this evening's lecture. First, that my first ever peer-reviewed journal article came from the opportunity to work as a student in what was then UC Berkeley's documents collection, now known as the Environmental Design Archive. So what you see here in this image is what that collection used to look like in the old days when it was just a little room, a little dusty old room at the top of the Environmental Design Library before that was all remodeled and made fancy. So this is where my student job was. Now amazingly, I was given my own key and free access to that collection in 1987 when I was a master's student getting my master's degree in architecture and back when that collection was run by students and a faculty member without the expertise of the highly skilled archivists led by Waverly Lowell who now have made it into a world-class and beautifully preserved collection. I've long credited my passion for archival work from that wonderful exceptional experience. Being able to spend whatever free time I had browsing the drawings and papers from some of the most famous architects of California's past was just transformative for me and I'll talk about that a little bit more in a minute. Second, my second ever peer-reviewed journal article examined late 19th century and early 20th century books about gardening written by women for women. A project based on the special and rather rare collection of garden history texts that were once part of the personal library belonging to a woman named Beatrix Jones Farrand an extraordinary woman who became a founding member of the American Society of Landscape Architects also incidentally the niece of Edith Wharton a designer of many beautiful campus landscapes an early version of the White House Rose Garden and the grounds of Dunbarton Oaks among others. So my own connection to archives and to women's history are really at the root of my very earliest work as a scholar and I should say that this is just a sampling of some of those books on the screen some of them are tinies, they're like this big they're beautifully hand illustrated or hand painted gorgeous little books and this connected to my first degree which was in landscape architecture so I was interested in looking at landscape history and architectural history. So as I mentioned my first exposure to working in an archive was that dusty room from 1987 to 1989 when I held a graduate assistantship in that archive and at that time again no professional archivist existed since the collection had been assembled by architectural history faculty with a passion for and an understanding that it would be important to rescue and save the drawings and papers of California architects landscape architects and urban planners so for those of you who I know there's at least one architect in the room who will know these names the collection included works by Charles and Henry Sumner Green William Worcester, Catherine Bauer, Ernest Coxhead, Joe Escherich, Willis Polk, Julia Morgan, Garrett Ekbo, Robert Royston, Thomas Church and many others these are big names in the design world. So for me a key point of discovery came from browsing through the collection perhaps one of Northern California's most eccentric but beloved designers the man you see here Bernard Ralph Maybeck who practiced in California between 1892 and 1940 if you spent any time in the Bay Area you might know some of his most famous works the extraordinarily beautiful Palace of Fine Arts which he designed for the Panama Pacific International Exposition of 1915 you see that here or the recreation of that here or his first Church of Christ scientist in Berkeley from 1910 in addition he designed dozens oh this is just the interior of that church really extraordinary building he also designed dozens of craftsmen style houses for the North Berkeley Hills hotels, club houses, a Packard Otto showroom in Oakland and much more Well Maybeck has always been known as an architect as a designer trained at the École de Beaux-Arts in Paris to design buildings and urban settings but given the opportunity to pull open drawer after drawer of his project drawings I discovered something else and this particular drawing was one of the first that caught my attention Maybeck was also a prolific and inventive designer of landscapes in fact what my research showed was that Maybeck's architecture had to be examined along with his designs for their landscapes in order to be properly understood because so much of his work resulted from an inventive integration of architecture and landscape now this is far from the kinds of questions that I now ask as a scholar but it was very important to me this was actually my master's thesis project and so I was looking how can I take what I knew as an undergraduate in landscape architecture and think about what it meant in terms of architecture and bringing things together with my growing interest in becoming a historian so I could talk at some length about his exuberant beautiful and engaging projects many of which are beautifully but unfortunately for their preservation rendered like the one you see here with colored pastel chalk on highly acidic brown craft paper all the librarians are just going oh no that's awful right and they're big big big big drawings this one was particularly neat to find because it shows an architect who's thinking about structural engineering architecture and landscape all of the very conceptual beginnings of a project and that's just kind of unusual to see that in one kind of beginning conceptual sketch so and here you can see this is that looking the other direction in that old dusty documents collection that I love so dearly that doesn't look like this anymore and if you look up in the upper right corner you'll see some drawings rolled up at the top of the filing cabinets those were huge big beautiful chalk chalk pastel drawings on craft paper of amazing designs that may bet came up with and to look at them you had to unroll them on a big long table and they would literally crackle as you unrolled them and the chalk would kind of puff up into the air so this is bad this is not what you want to have happen so here's where we can be especially thankful for digitization because these drawings really can't be and shouldn't be much handled and now they're not they're I wanted to say for Waverly Lolles on her behalf she has made this into a world class beautifully preserved beautifully conserved collection it is no longer like this she is a genius but one important discovery in that project that may back study happened because someone saved everything or at least something important for what was my and our thesis and for a later published book in 1909 may back designs this large residents for the prominent and wealthy Leon Roos family in San Francisco's Pacific Heights neighborhood and you can see that it's quite substantial a big house this is may bex drawing for it and it's really a shining example of the arts and crafts era movement as it was expressed in northern California and its total design ethics since may back designed the house its furnishings light fixtures a family crest decorative gardens around the house and a formal vegetable garden on an adjacent lot that was once part of the property when the family sold the property the rear garden was destroyed and all that remained in the archives was may bex plan drawing the one you see here one of the few he made with such detail because there was no other evidence no other drawings no written descriptions I wondered whether the garden had in fact ever existed perhaps I thought it was simply conceptual because a lot of his work was he liked to do a lot of sort of fantasy projects the only way to find out was to approach the family and see if anyone knew fortunately Leslie Roos the daughter of Leon Roos then still owned the house and she kept some old family photos of that very garden the only surviving evidence of a very ephemeral form landscape is an extremely ephemeral form to study because even in the best of circumstances anyone who gardens knows how rapidly landscapes transform become overgrown die and can be lost so for me those photos were an important revelation because it helped me understand one facet of this architect's career that had not been previously known and it was a lesson in the importance of everyday citizen archivists often the keepers of the past their preservation of family photo albums and journals among other things so please all of you be good archivists save your photos be careful with them and think about your born digital photos I promised Greg Thompson I'd say that so be very very careful with what you're doing with your iPhone camera so I was able to turn over copies of the photos of the archives the Roos family gave them to me so they could be part of the archives so they're now integrated into that collection and it's quite clear to me that whoever made the photo of this woman probably a Roos family member in her garden never imagined that it would become important evidence for a fledgling architectural historian so that's just an early example from my own career one that showed me how ordinary family possessions can come to hold importance beyond their original intentions since she's a simple family photograph made on an afternoon in a garden it's also an example of analog architectural history work performed before the advent of digitization and digital collections well digitization is now as we all know a ubiquitous set of technologies and we are all now curators of our own histories documenting everything we do every day with our camera phones posting to social media and creating vast amounts of digital content every day historians still produce histories from books and papers found in archives but also now from digital codes assembled into complex combinations of zeros and ones retrieved with algorithms organized as layers of data and metadata this digital content is as Abby Smith-Rumsey reminds us ubiquitous yet unimaginably fragile limitless in scope yet inherently unstable we currently possess no knowledge about how to permanently store, preserve and make enduringly accessible most digital content code can be overwritten platforms and software become obsolete servers are hacked and they have limited life spans backup systems fail and the whole depends on a power system that is itself more uncertain than we wish to consider yet digitization has also made work possible that could not previously have been imagined there's no question that anyone with access to the internet can and has benefited from the digitization of a wide variety of collections that were previously available only to those who could visit an archive or a special collection through the creation of large digital collections of primary sources and I'm showing you just the logos from some here such as Ebo, early English books online The Hathi Trust, The Welcome Trust and ProQuest to just name a very few examples there are now literally millions of digitized books newspapers, maps, films, images and other historical artifacts available for anyone to study as digitization processes and digital display platforms have improved it's become possible to access very high quality replications of the originals sometimes to see things we could not see with the naked eye or on the analog page this is a tremendous boon for scholars and students who wish to study parts of a collection located in a distant location or parts of a collection that were formerly deemed too fragile like those drawings I just talked about or too rare to permit direct access so digitization might be seen to represent a tremendous move forward for the democratization of knowledge and as much as it affords greater access to content it also would seem to solve the problem of wanting to save everything since digital storage is much less space consuming it might also make us wonder whether in this digital era we need to actually save the original paper or hard copies or artifacts that have been digitized why bother to store all that old dusty stuff that's fragile and takes a lot of space if we can have a high quality digital replica stored on reliable hard drives to take a lot less space do we need to save everything if we no longer actually need the thing itself as the scholar of digital culture and early modern collecting Bonnie Mack has demonstrated the relationship between digital objects and the original artifact from which they're made is complex and ambiguous what we have to remember is that a digitization is not an original nor is it an exact replica of an original but is instead a digitally encoded version of the original it's more like an altered facsimile a fraternal rather than an identical twin digital objects are made up of relatively unstable layers of digital content that change over time we have to think about them that was kind of helpful to visualize them as these layered artifacts that we can't really see they include metadata that is not objectively produced which can include errors that are difficult to catch and thus occlude the pursuit of scholarly truths and which can reinscribe cultural biases and hierarchies without making them visible so for example what if a librarian entering metadata says something is made by a woman but actually the name is gender non-specific or what if the artist themselves has a different gender identity and women wouldn't catch that so there's all kinds of ways in which entering metadata that's just one example right but that's one way that metadata can inscribe cultural biases and hierarchies and we can't really see that and searches then cause problems digital scans thus transmit their own ideas without transparently doing so and this is something about which digital humanists and librarians are now growing particularly aware moreover the digitization process itself involves making choices that can impact the presentation of the digitized objects in ways that can misrepresent the original artifact now let me show you an example from another project that started as my dissertation and became the subject of my first book a project that examined 18th century Lombard Villa culture by starting with a set of prints by Mark Antonio Del Rey and we're going to look at that volume in a minute in a very cool way but I'm going to start by just showing you these kinds of just still images of it so in 1726 Del Rey produced a remarkable volume titled Villa di Dillizia Oceano Pallaggi Camparecci Nello Stato di Milano or for short Villas of Delight depicting through a series of richly detailed renderings and written descriptions eight villas belonging to the nobility which was at that time a valuable very valuable Hobbesburg territory due to its abundant agro-productivity leading one writer to call the territory at the time the Indies of the Court of Vienna Del Rey later produced two additional volumes that we're not going to look at he made those in 1743 that depicted some additional estates for a total of 12 and replicated views of those in this volume I'm showing you here this 1726 though he produced them now we don't know how many copies of the delizia exist since the convention of numbering prints didn't come into practice until the 19th century but they are rare now housed largely in European and US archives and special collections though at least two copies are also currently in private American collections of very wealthy collectors and I just want to show you this is what those villas now look like well this is what they look like as of about 1993-94 you can see these canals running ghost-like villas out in the landscape of the Lombard Plain which is a rice growing region so it's very flat and very wet and these canals were called Nevely and they were so abundant that at one time Lombardy and Milan was more like Venice than like any other city in the Italian peninsula so very very interesting landscape so here we go so the 1726 volume is the extraordinary tome since it's distinctive in several ways Delray produced it before his shop came into possession of a letterpress so all the descriptions which I'll show you in a few minutes had to be handwritten backwards on large copper plates an exercise that also had to be performed without touching the hand or arm to the plate in order to avoid marring the plates ground and creating foul biting but the most well known and notable hallmark of the 1726 volume are the panoramic perspective views like the one you see here that Delray created for each villa elaborate multi-plate prints that require unfolding from the folio in order to be seen and appreciated and what I'm showing you here in this view is one of those panoramic views it's sitting on a great big library table in the rare books collection at Dunbart Noakes and actually the print still inside the book binding it's just been folded out multiple times to create this beautiful quite grand panorama so the panoramas appear at the end of a compendium of information assembled for each villa including written descriptions and a series of plans and elevation views the theatrical quality of the panoramas in the 1726 edition delineated with the use of startling angles and a slightly receding perspective is enhanced by the drama of unfolding prints for viewing a necessity that incorporates an element of surprise for first time viewers who may be unaware that these prints comprise two or three large copper plate images joined together and folded to fit within the binding of the folio the panorama is in part a sense of grandeur as the scene literally unfolds slowly revealing the landscape in large approximately 46 centimeters by 30 centimeters so I'd say when the book is closed it's about like this carrying it around it's a hefty big thing so it has to be viewed on a table so the panoramas can be unfolded but it's also just too large and heavy to hold on your lap turning the pages requires extended arm motions and even sort of stepping back and forth or sideways to unfold those plates on your lap or on a small table opening the delizia is an event the book itself is spectacle the folded prints were meant to be examined at close range poured over their details examined descriptions and titles studied the minutiae of their subjects admired I could tell you I could spend all day looking at these they're so much fun so here's another one of those panoramic views produced during the enlightened documents that tell us much about 18th century life and a colonized landscape marked by a political struggle and profound environmental change they're not useful as documents that tell us about the actual form of the estates they purport to represent because they're highly and intentionally distorted views for the patrons who commissioned and collected the prints Delray's views bolstered family image and identity even as the Hobbesburg's enlightenment during the decade I worked on this project digital scans of the Villa de delizia did not yet exist that hadn't really been invented yet so instead I studied the originals at the Getty Research Institute at Dumbarton Oaks in Washington DC at the state archives in Milan Como and in Pavia and at the Roccote Bertarelli which is a print collection in Milan and the La Scala Museum yes the place where you go to see opera they have a lot of these prints they were patrons of La Scala so I went there I went to the Hof Bibliotech in Vienna which has a fabulous print collection and looked at this in the Cavagna collection in the rare books and manuscript library at the University of Illinois and in the private collections of Bunny Mellon at her Oak Spring Garden Library and in the collection of a woman named Elizabeth Barlow Rogers who has a substantial collection of rare garden books I also relied on a facsimile in one of those kind of fraternal twins I mentioned earlier not an exact replica and I also worked with photographs that the Getty allowed me to make for study purposes it was painstaking work and it was expensive it was also a lot of fun so now I'm going to ask Angela to help me switch so we can look at something in the Hathi Trust this is just super fun so she's just going to take a minute we're now looking at I mentioned that big database we're looking at the Hathi Trust which has these millions of digitized volumes in it that have been produced through agreements with various institutions and what's so great is that today it's possible to view Delray's Villa Prince online and we're looking at the Getty's copy here so a simple Google image search reveals numerous scans of highly varied quality that you can find at the Delray Library is a partnership of academic and research institutions offering a collection of millions of titles digitized from libraries around the world I'm accessing this through the Marriott Library's portal we're very, very lucky to have access to the Hathi Trust collection here at the University of Utah it is quite simply an extraordinary scholarly resource so let's take a look at the Hathi Trust digitized copy of the Villa de Delizia and move us through it oh, this is interesting in my laptop we have page turning software I wonder why I'm seeing it this way I wonder if I'm doing something wrong when you look at it on my laptop it uses page turning software that just moves it this way but we'll just leaf through it anyway so we're seeing that on the left-hand side of the page there's some annotation that the owner of this copy once included and they pasted a photograph of the Villa Tzumoneta on the front of this volume I really think we need to see the other view and I'm going to go to this and see if that helps now we've got it there we go so we're a few pages in now and this is the beautiful Francis piece which has a the wonderful view representing allegorical view representing the rivers and the Nevillea Milan Fetan allegory out in the corner that's talking about the Habsburgs and where I'm going to point right here with my arrow that's the skyline of Milan and we flip through and we get to the title page and you'll see that it's written in both Italian and in French I'll talk about that in just a minute and it's dedicated to Prince Eugene of Savoy the Habsburg Monarch so we have his portrait there and then a dedication to the Prince and then this is to the reader a little story to the reader about what they're going to encounter and we begin with the description so for each villa we start with the description we get a plan view we get an elevation more architectural elevations and details I'm going to flip rather quickly here some garden views details of garden ornament and so on I'm going to flip this page and well you can't really see it too well but it depends on where we are sometimes you'll see on the backs of these you can see this kind of stuff here I was drawing the Prince and he stacked them on top of each other and that's ink from the one below that you're seeing right there how do I know all this because I'm married to a fabulous world class print maker who's sitting right there who told me all this he helped me learn how to look at a print Larry Hamlin thank you and here you can see a big view so then we're starting to see the big big view let's keep going I just want to show you a few more but when we look at the panoramas oh darn that's not quite the view I showed you folded out on the library table right okay so we've got this now first as you can see it's very hard to gain a sense of the physical properties of the volume itself it's true size, weight, mass and the quality of the paper through this digital version the page turning software implemented here is great because it gives us at least a virtual experience of leaving through the book a sense of each page you can see when I turn it it makes it look almost like cardboard turning making the leaves appear dirtier than they are in reality so you don't get a sense of the quality of the paper it's also great because you can zoom in and out to examine some details we'll just do a little zoom right here we can go a little closer and go a little closer and we could go in even closer but where things really fall apart is when we try to look at the panoramic views which the digitization process so we've got a problem here we're not seeing the thing as it's meant to be seen so let's also look at the metadata if I can kind of zoom out again and we'll go over here and look at the full catalog record okay so it's really interesting that it's got it here listed with its French title first and that's weird because Delray was very much a printer of the Italian peninsula Milan was his home his shop was in Milan and the villas depicted are in Lombardy and nearly everything he did was dictated by the cultural and geographic context of his life in and around Milan and on the Italian peninsula he included the French text essentially as a continental marketing ploy as a way to connect more fully to the Habsburg rulers and to reach a broader market of grand tourists but these are really prints of Italian villas made by an Italian printmaker whose French was really not very good and he would just make up words when he didn't know what they were because they were terribly in common practice actually at the time so the metadata is in that sense somewhat misleading to those who might know little about the volume it also erroneously describes the prints as engravings when in fact they are mostly etched and only seldom show any evidence of engraving these are distinct artistic techniques something fine art printmakers know well but the distinction between an etching and an engraving would be harder to discern without being able to examine and understand more about the means of production for these prints which also helps us know how many might have been produced and thus how widely circulated in their time but we can as you saw examine the backs of the prints so the software does let us do that so we can see whether there are any annotations on the version we can see the ink marks that resulted as I showed you when prints are stacked up on top of each other in the drying process and that's not a necessity but we can see that there are a number of different ways that we can see them to life these are just a few of the ways the digitized version simply is not the same as reviewing the original as viewing the original digital scans thus are facsimiles that through the means of their production become something not quite something quite new while often looking like something quite old and original as Bonnie Mack has written the facsimile is designed for the production and its exemplar and nowhere more acutely than in the digital environment where the material incongruities between codecs and computer should be most evident indeed the relationship between the digitization and the object to which it refers is not necessarily a close one and the extent of the imitation is by no means obvious digitizations are imitations then and not always closely made imitations of enormous convenience but here's what it cannot afford the visceral distinctly embodied experience of handling a material artifact a book a bulletin a letter a diary a script a map a musical score a drawing it cannot replicate the experience of holding something in your hand feeling its texture and weight seeing the way it reflects the light what Abby Rumsey again points to as the sacredness of the object there is an ineffable quality to analog materials that simply cannot be replicated and there's evidence that only the and there is evidence on them that only the analog can reveal but do I wish I'd had access to that Getty version in the Hathi trust when I'd been begin working on my project and all the way through it absolutely it would have provided a tremendously helpful supplementary reference and it can also now I have no doubt that the platforms and software for viewing visual artifacts and books will steadily improve over time but I suspect they will never fully approximate approximate the object itself or the affordances scholars require for all their research needs that focus on a specific text or artifact so Angela can we go back to the PowerPoint thank you thank you so much okay so let's look at just one recent book little white houses big leap forward in time that book is really a contribution to the history of fair housing in the US a study of the way really ordinary suburban houses in the United States that were constructed between 1945 and 1960 reinforced ideas about the construction of wide identities and specific kinds of social economic and political privilege so it's a contribution to architectural history but I also intended it as a contribution to the United States and I'm talking about this kind of houses really really ordinary ordinary post war houses it was a project that relied pretty heavily on a wide range of materials including popular and shelter magazines and shelter magazines are things like house beautiful house and garden things like that on newspapers on advertisements like this one on television network archives and television program transcripts builders documents trade some are located in some architectural archives among others so one part of the book just one part of it one of the major challenges was to figure out all the stuff about storage that I kept reading about because one of the challenges post war homeowners faced was trying to find places to store all of their possessions in houses that frequently lacked basements or addicts and in households that were replete and in a consumer market that overflowed with desirable goods I wanted to understand the spatial and design ramifications of this new surplus consumers republic to use a phrase coined by the renowned Harvard historian Elizabeth Cohen and its impact on race and class identity formation but to do so also meant trying to figure out what exactly were Americans consuming like I knew there was stuff but what was all this stuff to get at that quite challenging research career to the person across from me at the dinner table that print maker my spouse so as we pondered this question together one evening he remembered that his working class family obtained numerous household items through the use of trading stamps that were commonly collected by families across the United States in the 1950s and 1960s now I can hear by your chuckling that some of you who are my age or older likely remember these SNH green stamps blue chip stamps and I had that conversation and about 1997 before much digitization had occurred so I had a problem then how would I find the trading stamp redemption catalogs and records that would help me figure out what items working in middle class Americans wanted to obtain from their homes well in the government documents section of the University of Illinois library where I was then a faculty member I was able to find a set of records to understand their currency and value in post-war culture and their impact on the national retail economy as well as providing records of the most popularly redeemed items those documents pointed me towards the gold bond company and I was able to search for and locate newspaper microfilm no fun looking at that that included the inserts to a Sunday newspaper paper that had an abbreviated version of gold bonds redemption thankfully that project took a long time my project evolved slowly enough the digitization caught up with it fast forward from the late 1990s to about a decade later and trading stamp and redemption catalogs began to appear as digitized content that could be located with a simple Google search and that's what you're seeing here just screen grabs from a Google search better yet the catalogs could be purchased very inexpensively perfectly honest so I made my own small collection from which to study the goods available those of us who grew up in the era of trading trading stamps know that this is truly ephemeral stuff the stamps littered kitchen drawers were stored in a simple envelope or shoved into a jar before being pasted into the savings books and stored for later redemption at a center I sincerely doubt that our parents or siblings considered the collection of these artifacts provided substantive evidence of post-war material life for two chapters of my book probably because somewhere someone saved everything so save everything well practically we all know this is not possible and I'm a practical person by nature libraries everywhere are running out of space I recently departed from a university where at least one of us had severe space limitations and library facilities especially those at the public research universities like this one that are one of our nation's greatest democratic achievements simply cannot expand rapidly enough to accommodate the collections they now have let alone those to come the librarians I saluted at the beginning of this talk now face the nearly impossible task of safeguarding information and culture while simultaneously having to daily access to another set of difficult problems our librarians endeavor every day to preserve as much as they can and I want again to gratefully acknowledge the tremendously thoughtful care they give to making these decisions about the future of collections so and again save everything impossible but save a lot absolutely hopefully please as one of our own Marriott libraries Randy Silverman has written and as I've been organising in my collection the original works a work of art I'm talking about it's also called SFROBS Elite he reminds us that quote only the authentic original can be a backup to accurately regenerate screen copies be the master copy to augment enhance or correct faulty screen copies and provide authentication to verify original production techniques and determine like to think of, as a bibliography of hard copy or analog backups that are dispersed across the American landscape and storage facilities. The contents made accessible to all through robust sharing agreements and access policies, and upon which we will need to rely for all kinds of information in the future. Thus, Silverman's call for the creation of large national preservation repositories is a good and vitally important one that I hope can come to pass. And it echoes a resolution put forth by librarians Paula Kaufman and John Wilkin in 2011 to create a HathiTrust distributed print monographs archive. That resolution, which passed, proposes establishment of a distributed print archive of monographic holdings corresponding to volumes represented within HathiTrust that is then collectively supported by the HathiTrust membership. A great proposal, but one that has not yet made much progress as far as I can tell. This is a facility that would be like one of these big repositories. We could think of the construction of such repositories as the creation of a new kind of infrastructure for our country, one that is at once spatial and cultural. This is infrastructure we need, not a wall along the Mexican border, not a pipeline that irrecoverably damages the environment and sacred Native American landscapes, but an infrastructure that can preserve for all time and for all people the incredibly diverse, often controversial and describably beautiful, messy, complicated, fantastic, sublime, inspiring, educational, and infinitely fascinating artifacts of our intellectual, artistic, and cultural heritage and that now resides somewhat precariously in our nation's libraries and special collections. This is an investment we need to make. Imagine how many state of the art national preservation repositories could be built for the roughly estimated $15 to $25 billion Trump's wall may cost. We might see this as the natural extension of the national infrastructure that was first imagined by President John Adams when he signed the bill in 1800 that led to the establishment of the Library of Congress that was later more firmly established, as you know, by President Thomas Jefferson, who donated his own personal collection to replace the books that were destroyed when the first library collection was burned during the British invasion of 1814. So again, save everything. John Adams and Thomas Jefferson hoped we would. So did the first librarians of Congress and countless librarians who followed. Our founding fathers were wise, but they could not see the future. They could not see this future. Just as they imagined and planned for a range of political contingencies, they could not foresee the globalized 21st century and they could not foresee the digital revolution. Had they done so, I feel certainly would have created the outlines of a plan for the long-term preservation of our cultural commonwealth. Since they did not, we certainly must. I'll just close then by citing a few words that are inscribed on the walls of the Library of Congress from Shakespeare's As You Like It, act two, scene one, a passage that I think hints at the notion of the ubiquity of knowledge, even as it also suggests it's a femurality. And I'm going to take it out of context as both buildings and non-Shakespeare, as both architectural histories and non-Shakespeare scholars are want to do. Tongues and trees, books and the running brooks, sermons and stones, and good in everything. Good in everything. Thank you. Okay, does anybody have any questions? I remember pasting stamps in those books and I just have to ask, we bought a picnic table that way. Yeah. I just have to ask, how was that financed? Who was providing those when we turned in the stamps? I remember going to the store. Where did that, where did all that stuff actually come from when it was redeemed? So it pretty much worked the same way airline points do now. It's really the same idea. It's just that instead of accumulating library points, you accumulated these stamps that you would fill up your tank with gas and that if you filled it up $10, you got so many stamps, right? So it was a sponsorship program and these various companies worked closely with the postage stamp companies, just as hotels and different kinds of consumer goods participate now in different kinds of point systems. So it was basically the same idea. Worked the same way. We got the penguin ice holder with that. I just have a quick question. What do you think of people that believe that not all work should be saved, such as people that believe in burning books? Like what do you, what are your thoughts on that? I'm against that. Well, do you think that all work should be saved? Yeah. Even the works that those people believe, like that read and yeah. Of course, yes. You know, that is why we are a democracy, right? We need to have all points of view, all perspectives, books that at one time were deemed dangerous the next year are classics, right? There are things that people thought should not be taught in schools in the 1950s that are books that we now think every child should read. So absolutely. And you know, the save everything thing, that's the hard part. And that's what I was trying to convey is that our librarians are in such a difficult moment because they simply can't save everything. There's just no way we would literally be buried and we wouldn't be able to access anything. But at the same time, we kind of need to save everything. So I think we're at a moment where especially for librarians who are encountering this and have been now for at least 20 years, 25 years, this new set of digital dilemmas where even if we want to save all digital content, we don't actually know how. I mean, if you take, for example, a map that's made with GIS software, that's again layers of different kinds of content in one file and those layers are unstable. They don't, as new versions of that software become available, it's not necessarily evenly distributed new content, a new data across that one file. So learning how to preserve the various layers of any particular format is itself enormously challenging. And just think about we all probably, many of us probably have an old large format floppy disk. Well, what do you do with that now, right? And yet there might be data on it. That's tremendously important. So these are just, these are challenges. My question actually went to that a little bit. I mean, you've been talking about the transition from print or material object to digital object. You've addressed that slightly, but maybe if you could talk a little bit to give advice to people who are creating digital content and beyond the archival question, as you were talking about metadata, the kind of added information that existed with books, we're not even creating right now because I work in a digital landscape and I create content in a digital landscape. What advice would you have for creating something that's lasting and not ephemeral? You know, I wish I had a good answer to that. And I think there's probably librarians who are more knowledgeable than I am. I will tell you that whatever I would tell you, I would be saying do as I do and do as I say, not as I do. I don't even wanna think about my own photo collection at the moment, it's just horrifying. You know, I think that the people I know who are kind of responsible about managing, for example, their personal photos are really diligent about uploading them to some sort of platform that allows them to manage that content. A lot of them use Flickr. Flickr has seemed to have been a good platform. I'm sure there's others that are good that people use. But one of the challenges with all of these platforms is that they're privately owned. Well, they're businesses. So those businesses don't have necessarily any long range plan that's responsible to us. So, you know, we might, for example, the scholars even create a digital model that we use in a collaboration with Google, Google software. And Google seems pretty sturdy at the moment, but what will Google be in 20 years or 30 years? Do we know? We don't really know, right? So I was just telling, I'm just gonna reveal this little anecdote. I was talking to Richard Price from our English department about this earlier. When I was working on my book about the Pennsylvania Levittown, I was looking for, there was a sort of a rare documentary that had been made in 1957 when there was a big race riot in that Levittown when the first Black family moved in. And at that time it wasn't, you know, there was, I couldn't find it anywhere online. And through Interlibrary Loan, I found one copy of the original film and it was at Calumet College in Illinois. And I, Interlibrary Loaned It and they sent the big film reel and it came with a big pink sash across it that said, do not return. And I called the librarian and I said, I don't understand, what do you mean? And he said, well, we're de-accessioning all of our films because we don't have any way to properly preserve them anymore and we don't have any way to project them anymore. So please just keep it and make use of it if you can. So I was pretty horrified. I found somebody who had a projector and we figured out how to, I could see it, I watched it. I then took it and had it digitized and returned. I gave the, I made five digital copies. I gave a digital copy in the film reel to the Pennsylvania History Museum, a digital copy to the Library of Congress, one to the University of Illinois Library, kept one for myself and I think I gave one to the public library. It's now available on YouTube, right? So this is great, but what is YouTube? YouTube is again a private, it's a company. It's not a public library. There's no responsibility long range. I don't know what YouTube's plan is for long range preservation of its content. So all of this is vulnerable and I didn't give a great answer to your question except to say that I don't know personally what that answer is. I think we just have to kind of, I mean there are lots and lots of, not lots, there is software you can buy to do your own cataloging of your visual digital content. Back up, back up, back up. Hi Joseph. Hi, so first of all great presentation and with your work with the National Endowment for the Humanities and the National Endowment for the Arts, like you said, private companies like YouTube or Flickr or Amazon are not necessarily asking the same sorts of questions as historians and genealogists are or material culture specialists. So what are some things that we can do that could help make the importance on the National Endowment for the Humanities, National Endowment for the Arts and other causes where we can get the infrastructures to preserve these types of things. So that generations can benefit from them in the future. That is a fantastic question and I'm really grateful that you asked it because if you care about the subject, the National Endowment for the Humanities has funded many digitization and preservation and access projects as has the Institute for Museum and Library Services, the IMLS. Both of those agencies are currently on the chopping block. Our president does not want to fund them and he has already said many times that he intends to have those agencies eliminated. If you would like to support them, this would be the week to do it. If you live in Chris Stewart's district, you can send him an email and just ask him to please support the NEH, the NEA, the IMLS. These are the organizations, the federal agencies that are going to make it possible for us to preserve our cultural commonwealth. Their annual budgets are literally a rounding error in the federal budget. Cutting them will change nothing in the big picture of things and it will really be devastating for our democracy. So I hope that if this is something you care about that you will please consider writing to your representatives and letting them know that you care. I'm Kevin Clyde, one of the board members for the archive and Aline is my mother and I think about this lecture tonight and how helpful it is in doing things for our archive. People are asking me all the time, how can I get my things into the archive? I've just got to go through them and organize them first. Don't do that, just call Liz or someone else, Greg or others to come and pick them up so that they can go through them and make sure you don't throw anything away. I'm having this challenge with my mother. She has some things she doesn't think are important and she wants to throw them away or set them aside or organize them out of the way. Don't do that. But this archive wants to preserve the latter half of the 20th century, particularly the works of women. And so if you're in that category, don't throw anything away. Give us a call. We come with our van, we pick it up, we do it for you and take care of it. And it was preserve for us. Thank you. Thank you. Oh, one more question. One more question. Okay. With all the stuff we have and it's wonderful, getting access to it, finding it, categorizing, indexing, is anyone going to school to learn this stuff? I mean, literally sometimes this is the way that I'm having, I'm struggling to find things that I know are there. I've seen them. How do I get them digitally? Greg, do you want to try to answer that? I'll let a librarian do it. We do indeed have staff that are very good at taking your collection and organizing it, articulating what it is, building a digital register that can be put out online that describes your collection and draws the scholars or individuals interested in researching through the materials that you have. It's, as Kevin was saying, we can do that end of it. We need you to step forward and introduce us to your collection. So I have found that one of the sad things, I mean, this group is not one that needs this lecture, but it's the younger generation. And if our things aren't properly labeled and stored correctly to make them look important, they're being thrown out. And a lot, I'm finding this in my own business that I do. So just, that's really important. Thank you. Yeah. Well, thank you all. Thanks, good night. So thank you, Dean Harris, for that inspirational talk. Now it's not over, so don't leave yet, guys. We got more to come. Your talk was very inspirational, but I have to tell you what I liked. I don't get many salutes, so thank you. So now it's my pleasure to introduce Eileen Clyde's granddaughter, Matisse. Am I saying that right? Eileen Clyde Madden, who will speak on behalf of Ms. Clyde and the Clyde family. So welcome, come on up. Good evening, my name is Matisse Eileen Clyde Madden. And I am also a grandchild, or well, you're the son, but I'm the granddaughter of Eileen Clyde. And I am also an alum of the University of Utah. I received my MFA from this wonderful university. I graduated in ballet teaching and choreography. And I owe my entire professional career to this library. I had so many breakthroughs here, and I wanna thank every single librarian and archivist that has ever worked here. It's been such a treasure. And before I thank you, Diane, I just wanted to ask you, which is more ephemeral? Dance or landscape architecture? I don't know now. Wonderful. On behalf of the Clyde family, on behalf of my dear grandmother, and on behalf of the archive, thank you for sharing your story. Thank you for living a life worth documenting. And thank you for sharing your passion for landscape architecture and its connection with architecture. Thank you for taking us to a new threshold of understanding of the complexity that the future holds. The research that you have done and continue to do is in art. It truly is, a beautiful piece of choreography that as you described, turning those big pages I had that image in my mind of a beautiful piece of choreography. Your work can save the world. So thank you. Special thanks to the archivists and librarians who work here. Judy Jarrow, the assistant to Greg Thompson. Liz Rogers and Lorraine Cruz. Thank you for all that you do to catalog and preserve and make available things for us to view. And thank you to those of you who attended today. Thank you for coming and thank you for your continued support. And just like my dad said, don't be shy to tell your story or a loved one's story. Give us this information. It is a wonderful gift to have someone agree to let you tell them your story. And we're right here. So please take advantage of that. And I invite you to have courage in telling the story. Sometimes it's not easy to tell your story because there are ups and downs and there are things that change with time. So it does require a certain amount of courage. So I encourage you to do that. Like to announce that eminently there will be available the Chieko and Okasaki materials. They will be available for viewing online or in person at our archive here. So that's very exciting. Something that we're very proud of. Once again, thank you for all of your support and for the love that we feel as we're here tonight. And good night. Thank you, Miss Madden. As we close this evening's program, I would like to thank our speaker again, Dean Diane Harris for her inspiring presentation. Miss Madden for her response from the Clyde family and Eileen Clyde in the entire Clyde Advisory Board for their support and participation in developing the Clyde archive. I'd like to acknowledge our major donors, including the Clyde family, the W. W. Clyde Company, Annette Cumming and Dr. Gregory Prince. I'd also like to thank the Friends of the Library for their support. And I give a very special thanks to my dear colleague, Dr. Greg Thompson, Associate Dean for Special Collections and his entire staff for their dedication and hard work in making tonight's event a success. And I'd like to thank you, our audience, for being here tonight. An archive requires support from the community in order to grow and flourish. We're asking for your help, I'm following along with what other people have said, and asking your help in identifying the collections of women whose lives should be represented in this important archive. We are seeking to acquire the photographs, diaries, correspondence and the writings of women who helped reflect the diversity in this country and who represent all religious, ethnic and racial groups across the U.S. To accomplish these goals, we are also asking for your financial support. And your program is a donation card and envelope. A contribution of any amount will help us to continue to preserve and process these wonderful collections and make them available to the community. You may also indicate on this donation card if you're interested in contributing materials to the archive. So please now take this opportunity to visit with each other, enjoy the refreshments. If you need a parking validation, you can get them from the library staff in the back of the room. Again, thank you so much for coming. It's been a pleasure to have you here with us tonight. Good night. Thank you.