Author Archives: Caitlin Olson

Celebrate a major advance in access to knowledge in India and America — Wednesday, June 14 6PM in SF

By Carl Malamud

WATCH THE FULL VIDEO HERE

Please join us on June 14 at the Internet Archive for a special event celebrating our collections from India including the collected works of Mahatma Gandhi and much, much more. Our doors open at 6 p.m. with a reception and our program starts promptly at 7 p.m.

Our special guest for this event will be Hon. Dr. Sam Pitroda, a former senior advisor and Cabinet Minister under 3 Prime Ministers and widely acknowledged as the father of the telecommunications revolution in India, the man who brought a telephone to every village in India. Dr. Pitroda will be joined by Hon. Ambassador Venkatesan Ashok, Consul-General of San Francisco. Rounding out our program will be Carl Malamud of Public Resource and the Internet Archive’s own Brewster Kahle.

Our event will be celebrating three collections hosted at the Internet Archive:

First, the Internet Archive is delighted to be hosting a mirror of the Digital Library of India, a collection of 463,000 books in 50 languages. The collection was created in India under government auspices and features 45,000 books in Hindi, 33,000 in Sanskrit, 30,160 in Bengali, and much more. In addition to hosting a mirror of the collection, the Internet Archive is adding value to the collection by creating e-books, using optical character recognition, and improving the metadata and cataloging information.

Second, we will feature the Hind Swaraj collection, materials that are integral to the story of Indian independence. Here you can read all 100 volumes of the Collected Works of Mahatma Gandhi, as well as the complete writings of Dr. B.R. Ambedkar and Jawaharlal Nehru. You can also listen to 129 audio recordings from All India Radio of Gandhiji speaking at prayer meetings and view all 53 episodes of the remarkable television series Bharat Ek Khoj.

Third, we will discuss additional collections of Indian materials, such as thousands of photographs from the Ministry of Information and Broadcasting and other sources which Public Resource hosts on Flickr and a collection of all technical public safety India Standards hosted on the Internet Archive and the Public Resource site.

Carl Malamud and Sam Pitroda have spent several years building out these collections. We hope you will join us at this event to hear more about how this came to pass and what the plans are for making this material ever more useful. We also hope to have some exciting announcements as well about new resources that will be available.

Universal access to knowledge is the goal of the Internet Archive. We are delighted to celebrate the immense contributions of India and the vital role both India and the United States—the world’s largest democracies—play in make knowledge available to all. Please join us on June 14!

When: Wednesday, June 14th. Doors open at 6 p.m. for food and drinks, and program starts at 7 p.m.
Where: Internet Archive
300 Funston Ave. SF, CA 94118

Internet Archive wins Webby Lifetime Achievement award

Internet Archive wins Webby awardWe are honored to announce that the Internet Archive has been named as one of the 21st annual Webby Awards winners!

Hailed as one of the Internet’s highest honors, we’re excited to receive a Webby Lifetime Achievement award and join the ranks of our friends like Sir Tim Berners-Lee, Lawrence Lessig, and Vint Cerf.

Webby Lifetime Achievement: Archive.org for its commitment to making the world’s knowledge available online and preserving the history of the Internet itself. With a vast collection of digitized materials and tools like the Wayback Machine, Archive.org has become a vital resource not only to catalogue an ever-changing medium, but to safeguard a free and open Internet for everyone.

We thank the International Academy of Digital Arts and Sciences for the award and are looking forward to attending the Webby Awards in New York City on May 15.

The complete list of Webby Award winners is available here.

Internet Archive Offers to Host PACER Data

 

 

 

 

 

 

 

The Internet Archive has long supported the efforts of the Free Law Movement to make the laws and edicts of government of the United States more broadly available. With our colleague Aaron Swartz and the efforts of numerous groups across the country including the Free Law Foundation and Princeton’s Center for Information Technology Policy, we host the RECAP repository of documents from the federal district courts.  Many of these public domain document were downloaded by users of the goverment’s PACER  system for $0.10 per page and uploaded to the Internet Archive. The RECAP repository is available for free, and in bulk, which is useful for researchers.

On Tuesday, February 14, the U.S. Congress will hold the first hearings in over a decade examining the operation of the PACER system. The hearing will be before the Subcommittee on Courts, Intellectual Property and the Internet of the Judiciary Committee in the House of Representatives. The Internet Archive was pleased to accept the committee’s invitation to submit a statement for the record and we have submitted the following, which includes an offer to host the PACER data now and forever to make the works of our federal courts more readily available to inform the citizenry and to further the effective and fair administration of justice.

Our courts must function in the light of day, and in this day and age that means on the Internet. The Internet Archive is happy to try to help.

February 10, 2017

The Honorable Darrell Issa, Chairman
The Honorable Jerry Nadler, Ranking Member
Subcommittee on Courts, Intellectual Property and the Internet
Committee on the Judiciary
House of Representatives
Washington, DC 20515

Dear Chairman Issa and Ranking Member Nadler,

Thank you for the opportunity to submit comments on the Judiciary Committee’s hearing entitled “Judicial Transparency and Ethics.” I write on behalf of the Internet Archive, a non-profit digital library that is based in San Francisco with facilities throughout the world.

For more than 20 years, the Internet Archive has been archiving digital collections and making them available at no cost and with no restriction on the Internet. The Internet Archive works with the Library of Congress, the National Archives, and numerous national libraries around the world to collect, store, and provide permanent access to millions of books, videos, audio and hundreds of millions of pages of U.S. government documents, including over 14,000 hours of video of Congressional hearings.

By this submission, the Internet Archive would like to clearly state to the Judiciary Committee, as well as to the Administrative Office of the U.S. Courts and the Judicial Conference of the United States, that we would be delighted to archive and host—for free, forever, and without restriction on access to the public—all records contained in PACER.

People download more than 20 million books from the Internet Archive each month. We preserve 1 billion web pages each week for public access through the “Wayback Machine.” Indeed, the Wayback Machine is the only publicly accessible archive of all the websites of Congress. At any given moment, we are delivering about 30 gigabits of data per second. We host more than 20 petabytes of data in total.

By comparison, the PACER corpus is a fraction of a petabyte and does not use a significant amount of bandwidth. We have the capacity to host this information, and I know there are many other organizations on the Internet who would be able to make dramatic increases in the usability and utility of our Federal Judiciary’s database if it were made available in a more modern fashion and without artificial restrictions on use.

The stated purpose of PACER is to make public court records “freely available to the greatest extent possible.” Sixteen years ago, the United States Courts predicted that PACER would allow the public to “surf to the courthouse door on the Internet.” Today, anyone visiting a federal courthouse can view the public record for free. PACER, on the other hand, charges users per-page fees that are prohibitive for many members of the public. The Judiciary could resolve this unfortunate discrepancy—immediately—at no cost. This is our offer.

The Internet Archive has deep experience with collections of this kind. In fact, we already host the records from over a million federal court cases that have been donated by the public as part of the RECAP Project. However, a million cases is a small portion of the hundreds of millions of cases that PACER contains, and we are frustrated that it is so difficult to obtain and serve the workings of our federal courts to the public. This is a fairly trivial technical task, and we would welcome the opportunity to make much more data available.

I must also note that the Internet Archive is not alone in being well-equipped to offer this service. There are other large digital repositories that similarly serve the public for free. I cannot speak for them, but I believe that once the corpus is available for no fee and without restriction, they too will replicate it and offer similar service. Indeed, others may build useful tools for reading, searching, and studying the corpus of public court records that makes up our federal case law.

In order to recognize the vision of universal free access to public court records, the Federal Judiciary would essentially have to do nothing. We are experts at “crawling” online databases in an efficient and careful fashion that does not burden those systems. We are already able to comprehensively crawl PACER from a technical perspective, but the resulting fees would be astronomical. The Federal Judiciary has a Memorandum of Understanding with both the Executive Office for US Trustees and with the Government Printing Office that gives each entity no-fee access for the public benefit. The collection we would provide to the public would be far more comprehensive than the GPO’s current court opinion program—although I must laud that program for providing a digitally-authenticated collection of many opinions.

By making federal judicial dockets available in this manner, the Federal Judiciary would enable free and unlimited public access to all records that exist in PACER, finally living up to the name of the program. In today’s world, public access means access on the Internet. Public access also means that people can work with big data without having to pass a cash register for each document.

This PACER collection we would maintain and improve would have far more detailed metadata and contextual information than the GPO service or the PACER Case Locator service. And, that’s just for starters, because we know that there are thousands of eager researchers, journalists, and government workers (including Congressional staff) who would immediately jump in and work with us.

By providing no-cost access to the Internet Archive to PACER and accepting our commitment to make this information available for use without restriction in perpetuity, we believe we can work with our government to make the workings of our court more usable to government attorneys, to members of the bar, and to the public at large.

Sincerely yours,

Brewster Kahle
Digital Librarian and Founder, Internet Archive

Notes:

  1. S. Rep. 107–174, 107th Cong., 2d Sess., at 23 (2002), https://www.govinfo.gov/content/pkg/CRPT-107srpt174/pdf/CRPT-107srpt174.pdf.
  2. Electronic Public Access at 10, THE THIRD BRANCH: NEWSLETTER OF THE FEDERAL COURTS, Sep. 2000, at 3, https://archive.org/details/thirdbranch32332200001fede/.

Lost Landscapes of San Francisco: Fundraiser Benefitting Internet Archive — Monday, January 30th, 2017

By Rick Prelinger, Prelinger Archives

Internet Archive presents the 11th annual Lost Landscapes of San Francisco show on Monday, January 30 at 7:30 pm. The show will be preceded by a small reception at 6:30 pm, when doors will open.

Get tickets here!

While this is the seventh year we’ve been presenting this participatory archival film show at the Archive, the story goes back much further. I’ve been collecting historical footage of San Francisco and the Bay Area in earnest since 1993, when we acquired the collection assembled by noted local historian and film preservationist Bert Gould. Since that time I’ve worked to collect film material showing the history of this dynamic and complex region. Much of it is online for free viewing, downloading and reuse as part of the Prelinger Collection.

In 1996 Chris Carlsson and LisaRuth Elliott of Shaping San Francisco encouraged me to put together a little show of historical footage for a talk at CounterPULSE. Shaping SF, by the way, is a highly active local history organization, a longtime partner of the Archive and presently working with IA to digitize a large collection of San Francisco community newspapers. I made a program and planned a narration. The little CounterPULSE dance studio theater filled quickly on show night and we had to turn many away, but the people who were able to get in talked their way through the show, asking questions, identifying places and people and arguing over precise identifications with their neighbors. It was a wonderful event — nothing like the kind of film showing that takes place in church-like silence, but an active, participatory event where people freely shared their knowledge and experience of San Francisco’s history. A new show the year afterward was also jammed. Long Now Foundation stepped up and offered to make this event part of their Seminars on Long-Term Thinking talk series, and in year 3 we moved to the 400-seat Cowell Theater at Fort Mason. This was at once a wonderful experience and an occasion for great chagrin, because at least 250 people who showed up were unable to get in. And so we moved to the beautiful Herbst Theater and in 2011 to the 1410-seat Castro Theatre, where we’ve been every year since then. And for the last eight years we’ve also been putting on Lost Landscapes at Internet Archive. Many great things have happened at the Archive showings: people have recognized their relatives in the films, and many have seen their own streets and neighborhoods as they’ve never before seen them.

Combining favorites from past years with this year’s footage discoveries, the 11th annual feature-length program shows San Francisco’s neighborhoods, infrastructures, celebrations and people from 1906 through the 1970s. This year’s program features new scenes of San Franciscans working, playing, marching and partying during the Great Depression; unseen footage of Seals Stadium and the Cow Palace in the late 1930s; newly-discovered footage of the San Francisco Produce Market in operation; glimpses of neighborhoods now gone; Cathedral Hill on the cusp of redevelopment; 1960s antiwar activism; newly found footage of Tom Mooney’s victory parade after his release from Alcatraz in 1939; Bay ferries in operation; rare images of southeastern San Francisco and the Hunters Point drydock; the 1975 Gay Freedom Day parade; a 1940s-era ode to our fog; and many more newly discovered gems.

As always, the audience makes the soundtrack! This is a great room for the show, as the shape of the Great Room makes it easy for participants to hear one another’s comments. Come prepared to identify places, people and events, to ask questions and to engage in spirited real-time repartee with fellow audience members, and look for hints of San Francisco’s future in the shape of its lost past.

Monday, January 30th
6:30 pm Reception
7:30 pm Interactive Film Program

Internet Archive
300 Funston Ave.
San Francisco, CA 94118

Get tickets here!

Aaron Swartz Weekend

by Lisa Rein, Cofounder and Coordinator, Aaron Swartz Day

In memory of Aaron Swartz, whose social, technical, and political insights still touch us daily, Lisa Rein, in partnership with the Internet Archive, will be hosting a weekend of events on Saturday, November 5 and Sunday, November 6. Friends, collaborators, and hackers can participate in a two-day Hackathon and Aaron Swartz Day Evening Reception.

Schedule of events held at the Internet Archive:

Saturday, November 5, from 10 am – 6 pm and Sunday, November 6, from 11am – 5pm — Participate in the Hackathon, which will focus on SecureDrop, the whistleblower submission system originally created by Aaron just before he passed away.

Saturday night, November 5th, from 6:30pm – 9:30pm — Celebrate and remember Aaron, and also the grand tradition of working hard to make the world a better place, at the Aaron Swartz Day Evening Celebration:

Reception: 6:30pm – 7:30pm – Come mingle with the speakers and enjoy nectar, wine & tasty nibbles.

Migrate your way upstairs: 7:30-8:00pm – We decided to give folks a little window of time to finish up their nibbles and wine at the reception, exchange contact info, and make their way upstairs to grab a seat to watch the speakers, which will begin promptly at 8pm.

Speakers 8:00pm – 9:30pm:

A Special Statement from Chelsea Manning (in celebration of this year’s Aaron Swartz Day and International Hackathon)

Tiffiniy Cheng (Co-founder and Co-director Fight for the Future)

Cindy Cohn (Executive Director, Electronic Frontier Foundation)

Shari Steele (Executive Director, Tor Project)

Yan Zhu (Security Expert, Friend of Chelsea Manning)

Alison Macrina (Founder and Executive Director, Library Freedom Project)

Conor Schaefer (DevOps Engineer, SecureDrop)

Brewster Kahle (Digital Librarian, Internet Archive) w/Vinay Goel  (Senior Data Engineer, Internet Archive)

Please RSVP to this event

For more information, contact:
lisa@lisarein.com
http://www.aaronswartzday.org

The New Memory Palace

By Paul D. Miller aka DJ Spooky

     “Sometimes it is the people no one can imagine anything of who do the things no one can imagine.”

– Alan Turing’s biopic, The Imitation Game, 2014

Photo Credit: Mitchell Maher

DJ Spooky at Internet Archive’s 20th Anniversary Celebration
Photo Credit: Mitchell Maher

A lot of things have changed in the last 20 years. A lot of things haven’t. We’ve moved from the tyranny of physical media to the seemingly unlimited possibilities of total digital immersion. We’ve moved from a top down, mega corporate dominated media, to a hyper-fragmented multiverse where any kind of information is accessible within reason (and sometimes without!). The fundamental issue that “memory” and how it responds to the digital etherealization of all aspects of the information economy we inhabit conditions everything we do in this 21st-century culture of post-, post-, post-everything contemporary America. Whether it’s the legions of people who walk the streets with Bluetooth enabled earbuds that allow them to ignore the physical reality of the world around them, or the Pokémon Go hordes playing the world’s largest video game as it’s overlaid on stuff that happens “IRL” (In Real Life) that layer digital role playing over the world: diagnosis is pending. But the fundamental fact is clear: digital archives are more important than ever and how we engage and access the archival material of the past, shapes and molds the way we experience the present and future. Playing with the Archive is a kind of digital analytics of the subconscious impulse to collage. It’s also really fun.

mnemosyne1Mnemosyne was the Greek muse who personified memory. She was a Titaness who was the daughter of Uranus (who represented “Sky”), the son and husband of Gaia, Mother Earth. When you break it down, Mnemosyne had a deeply complicated life, and ended up birthing the other muses with her nephew, Zeus. Ancient Greek myth was quite an incestuous place, and every deity had complicated and deeply interwoven histories that added layers and layers of what we would now call “intertextuality.” Look at it this way: a Titaness, Mnemosyne, gave birth to Urania (Muse of Astronomy), Polyhymnia (Muse of hymns,) Melpomene (Muse of tragedy,) Erato (Muse of lyric poetry,) Clio (Muse of history,) Calliope (Muse of epic poetry,) Terpsichore (Muse of dance,) and Euterpe (Muse of music). It’s complicated. Mnemosyne also presided over her own pool in Hades as a counterpoint to the river Lethe, where the dead went to drink to forget their previous life. If you wanted to remember things, you went to Mnemosyne’s pool instead. You had to be clever enough to find it. Otherwise, you’d end up crossing the river under the control of spirits guided by the “helmsman” whose title translates from the Greek term “kybernētēs” across the mythical river into the land of the dead aka Hades. What’s amazing about the wildly “recombinant” logic of this cast of characters is that somehow it became the foundation of our modern methods for naming almost every aspect of digital media — including the term “media.” Media, like the term data is a plural form of a word “appropriated” directly from Latin. But the eerie resonance it has with our era comes into play when we think of the ways “the archive” acts as a downright uncanny reflection site of language and its collision between code and culture.

neuromancer-william-gibsonUntil the internet, the term cyber was usually used to measure words about governance and then later evolved to how we look at computers, computer networks, and now things like augmented reality and virtual reality. The term traces back to the word cybernetics, which was popularized by the renowned mathematician Norbert Wiener, founder of Information theory, at MIT. There’s a strange emergent logic that connects the dots here: permutation, wordplay, and above all, the use of borrowed motifs and ahistorical connections between utterly unassociated material. I guess William S. Burroughs was right: the world has become a mega-Cybertron, a place where everything is mixed, cut and paste style, to make new meanings from old. With people like Norbert Wiener, cybernetics usually refers to the study of mechanical and electronic systems designed at heart, to replace human systems. The term “cyberspace” was coined by William Gibson, to reflect the etherealized world of his 1982 classic, Burning Chrome. He used it again as a reference point for Neuromancer, his groundbreaking novel. A great, oft-cited passage gives you a sense how resonant it is with our current time:

Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts… a graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding…

When the Internet Archive asked me to do a megamix of their archive of recordings from their data files, I was a bit overwhelmed. There’s no way any human being could comb through even the way they’ve documented just the web, let alone the material they have asked people to upload.Where to start? Sir Tim Berners-Lee’s speech inaugurating the internet back when he came up with the term the “Semantic Web?”  The first recordings from Edison? That could be cool. Maybe mix that with GW Bush’s State of the Union speech inaugurating the invasion of Iraq? Why not. Take Hedy Lamar’s original blueprints for spread spectrum “secret communications systems” and mix that with recordings of William S. Burrough and Malcolm X, with a beat made from open source 1920’s jazz and 1950’s New Orleans blues? Why not. Grab some clips of Cory Doctorow talking about the upcoming war on open computing and mix it with Parliament Funkadelic? Sure. Take the first “sound heard around the world,” the telemetry signals guiding the Sputnik satellite as it swirled around planet Earth to become our first orbital artificial moon? Cool. Why not? Take a speech from Margaret Sanger, the woman who started Planned Parenthood, and mix it with Public Enemy? Cool. Take D.W. Griffith’s “Birth of a Nation” and re-score it with the Quincy Jones theme from “Fat Albert?” That would actually be kind of cool, but would require a lot of editing.

The basic idea here is that once you have the recordings and documentation of all aspects of human activity from the last several centuries, that is a serious “mega-mix.”

What you will hear in the short track I made is a mini reflection of the density of the sheer volume of materials that the Internet Archive has onsite. It is a humble reminder that through the computer, the network, and the wireless transmission of information, we have an immaculate reflection of what Alan Turing may have called “morphogenesis” — the human, all too human, attempt to corral the world into anthropocentric metaphors that seek to convey the sublime, the edge of human understanding: the emergent patterns that occur when you recombine material with unexpectedly powerful new connections.

Photo Credit: Mitchell Maher

Memory Palace on flexi vinyl
Photo Credit: Mitchell Maher

I’m honored to be the first DJ to start. But I’m also honored that many, many more will follow. The Archive is a mirror of infinite recombinant potential. I hope that its gift of free culture and free exchange creates a place where we will be comfortable with what is almost impossible to guess comes next. It is not a “collaborative filter” but a place where you are invited to explore on your own and come up with new ways of seeing the infinite memory palace of the fragments of history, time, and space that make this modern 21st century world work.

Enjoy.

Paul D. Miller aka DDJ SpookyJ Spooky’s work ranges from creating the first DJ app to producing an impactful DVD anthology about the “Pioneers of African American Cinema.” According to a New York Times review, “there has never been a more significant video release than ‘Pioneers of African-American Cinema.'” The prolific innovator and artist also created 13 music albums and is about to release a fourteenth. Called “Phantom Dancehall,” it is an intense mix of hip hop, Jamaican ska and dancehall culture.

SAVE THE DATE — The Internet Archive Turns 20!

View from last year's annual celebration. Our 20th anniversary is coming up and we’re throwing a party! Please save the date and join us for our annual celebration on Wednesday, October 26th, 2016.

We’ll kick off the evening with cocktails, tacos and hands-on demo stations. Come scan a book, play in a virtual reality arcade, search billions of Web pages in our Wayback Machine and so much more! Then check out the interactive new media projects by talented artists working with our collections.

Starting at 7 p.m., Paul D. Miller aka DJ Spooky — composer, author, teacher, electronics DJ and multi-media artist — will perform a short, original musical retrospective of the Internet Archive’s audio collections. We’ll look back on some of the defining moments of the past 20 years, and explore how media and messaging is impacting the 2016 Election.

And to keep you dancing into the evening, DJ Phast Phreddie the Boogaloo Omnibus, will be spinning 45rpm records from 8-9:30. We hope you can join our celebration!
Event Info:

Wednesday, October 26th
5pm: Cocktails, tacos, and hands-on demos
7pm: Program
8pm: Dessert and Dancing

Location: Internet Archive, 300 Funston Avenue, San Francisco, CA 94118

Saving the 78s

Written by B. George, the Director of ARChive of Contemporary Music in NYC, and Curator of Sound Collections at the Internet Archive in San Francisco.

While audio CDs whiz by at about 500 revolutions per minute, the earliest flat disks offering music whirled at 78rpm. They were mostly made from shellac, i.e., beetle (the bug, not The Beatles) resin and were the brittle predecessors to the LP (microgroove) era. The format is obsolete, and the surface noise is often unbearable and just picking them up can break your heart as they break apart in your hands. So why does the Internet Archive have more than 200,000 in our physical possession?Music

A little over a year ago New York’s ARChive of Contemporary Music (ARC) partnered with the Internet Archive to focus on preserving and digitizing audio-visual materials. ARC is the largest independent collection of popular music in the world. When we began in 1985 our mandate was microgroove recordings – meaning vinyl – LPs and forty-fives. CDs were pretty much rumors then, and we thought that other major institutions were doing a swell job of collecting earlier formats, mainly 78rpm discs. But donations and major research projects like making scans for The Grammy Museum and The Ertegun Jazz Hall of Fame placed about 12,000 78s in our collection.

For years we had been getting calls offering 78 collections that we were unable to accept. But when space and shipping became available through the Internet Archive, it was now possible to begin preserving 78s. Here’s a short history of how in only a few years ARC and the Internet Archive have created one of the largest collections in America.

Our first major donation came from the Batavia Public Library in Illinois, part of the Barrie H.Thorp Collection of 48,000 78s.

We’re always a tad suspicious of large collections like these. First thought is, “Must be junk.” Secondly, “It’s been cherrypicked.” But the Thorp Collection was screened by former ARC Board member Tom Cvikota, who found the donor, helped negotiate the gift and stored it. That was in 2007. Between then and our 2015 pickup Tom arranged for some of the recordings to be part of an exhibition at the Greengrassi Gallery, London, (UK, Mar-Apr, 2014) by artist Allen Ruppersberg, titled, For Collectors Only (Everyone is a Collector).

What makes the Thorp collection unique is the obsessive typewritten card catalog featured in a short film hosted on the exhibition’s webpage. Understanding why you collect and how you give your interests meaning is a part of Allen’s work – artworks that focus on the collector’s mentality. One nice quote by Allen referenced in Greil Marcus’ book, The History of Rock n’ Roll in Ten Songs is, “In some cases, if you live long enough, you begin to see the endings of things in which you saw the beginnings.”

Philosophical musings aside, there are 48,000 discs to deal with. That meant taking poorly packed boxes — many of them open for 20 years — and re-boxing them for proper storage. The picture below shows an example of how they arrived (on the right), and how they were palletized (on the left.)

PalletizedThe trick to repacking in a timely fashion is to not look at the records. It’s a trick that is never performed successfully. Handling fragile 78s requires grabbing one or just a few at a time. So we’re endlessly reading the labels, sleeving and resleeving, all the time checking for rarities, breakage and dirt.

Now we didn’t do all this work on our own. Working another part of the warehouse was two-and-a-half month old Zinnia Dupler — the youngest volunteer ever to give us a hand. Mom also helped a bit.

mom

A few minutes after the snap I found this gem in the Thorp collection. Coincidence? I don’t think so…burpinthebaby

“Burpin” is a country novelty tune from out of Texas by Austin broadcaster and humorist Richard “Cactus” Pryor (1923 – 2011). It came from a box jam-packed with country and hillbilly discs. This was a pleasant surprise, as we expected the collection to be like most we encounter – big band and bland pop. But here was box-after-box of hillbilly, country, and Western swing records. Now, I use’ta think I knew a bit about music. But with this collection, it was back to school for me. Just so many artists I’ve never heard of or held a record by. As we did a bit of sorting, in the ‘G’s alone there’s Curly Gribbs, Lonnie Glosson and the Georgians. Geeez! Did you know that Hank Snow had a recordin’ kid, Jimmy, and he cut “Rocky Mountain Boogie” on 4 Star records, or that Cass Daley, star of stage and screen, was the ‘Queen of Musical Mayhem?” Me neither.  The Davis Sisters, turns out, included a young Skeeter Davis(!) and not to be confused with the Davis Sister Gospel group, also in this collection. Then there’s them Koen Kobblers, Bill Mooney and his Cactus Twisters, and Ozie Waters and the Colorado Hillbillies. No matter they should be named the Colorado Mountaineers, they’re new to me.

For us this donation is a dream: it allows us to preserve material that was otherwise going to be thrown away; it has a larger cultural value beyond the music; and it contained a mountain of unfamiliar music, much of it quite rare. And most of it is not available online.

It was a second large donation that prompted the Internet Archive to move toward the idea that we should digitize all of our 78s. The Joe Terino Collection came to us through a cold call, the collection professionally appraised at $500,000. The 70,000 plus 78s were stored in a warehouse for more than 40 years, originally deposited by a distributor. Here’s the kicker: they said that we could have it all, but we had to move it – NOW! Internet Archive did and it came in on 72 pallets, in three semis, from Rhode Island to San Francisco, looking like this…JoeTernino

So Fred Patterson and the crackerjack staff out in our Richmond warehouses (Marc Wendt, Mark Graves, Sean Fagan, Lotu Tii, Tracey Gutierrez, Kelly Ransom, and Matthew Soper) pulled everything off the ramshackle pallets and carefully reboxed this valuable material.

boxes

How valuable? Well, we’re really not so sure yet, despite the appraisal, as just receiving and reboxing was such a chore. One hint is this sweet blues 78 that we managed to skim off the top of a pile.

muddywaters

The next step is curating this material, acquiring more collections and moving towards preservation through digitization. Already we have a pilot project in the works with master preservationist George Blood to develop workflow and best digitization practices.

We’re doing all this because there’s just no way to predict if the digital will outlast the physical, so preserving both will ensure the survival of cultural materials for future generations to study and enjoy. And, it’s fun.

 

Reflections on From Clay to the Cloud: The Internet Archive and Our Digital Legacy, a.k.a. The Internet Archive – The Exhibition!

Screen Shot 2016-05-01 at 9.00.47 PM

Photograph by Jason Scott

By Carolyn Peter

It started with a visit to Nuala Creed’s ceramics studio in Petaluma in the spring of 2014. My interest was piqued as she described “a commission of sculptures for the Internet Archive” that was ever-growing. She heavily encouraged me to stop by the Archive to experience the famous Friday lunch and to see her work. I’m so glad she did.

While enjoying a tasty lunch of sausage and salad, I listened to Archive staff members talk about their week and curious visitors who shared their inspiration for coming to the Archive for a meal and a tour. I did not understand all the technical vocabulary, but I was struck by all the individuals who were working together on a project which, prior to this day, I had only experienced as a website on my computer screen.

Of course, I fell in love with Nuala’s sculptures as soon as we stepped inside the Great Room, where 100+ colorful figures stood facing the stage as if waiting for a performance or lecture to begin. The odd objects in their hands, their personally fashioned clothing, and their quirky expressions reinforced the idea that the Internet Archive was the shared, creative effort of a huge number of individuals. The technical was becoming human to me. By the time Brewster had brought his visitors back down into the common workspace, my mind was racing with ideas and questions.

As a museum professional who has spent her career making choices about what works of art to acquire and preserve for future generations and as someone who takes great joy in handling and caring for objects, I wondered what threads ran from this digital archive through to more traditional archives and libraries. If I had sleepless nights wondering how to best protect a work of art for posterity, how was the Internet Archive going to ensure that its vast data was going to survive for millennia to come?

Before I knew what I was doing, I heard myself telling Brewster that I would love to do an exhibition about the Internet Archive. I don’t think he or I fully registered what I was saying. That would take more time.

This curatorial challenge brewed in my mind. The more I thought about it, the more I thought an exploration of the past, present and future of archives and libraries and the basic human desire to preserve knowledge for future generations would be a perfect topic for an exhibition in my university art gallery. I knew Nuala’s series could serve as the core artistic and humanizing element for such a show, but I wondered how I would be able to convey these ideas and questions in an accessible and interesting way, how to make this invisible digital world visible? And turning the tables—if Brewster had brought art into the world of technology with his commission of the Internet Archivists series, how could I bring technology into the artistic realm?

When I approached Brewster for a second time about a year later with a proposal, he thought I was crazy. He has said it was as if I had told him I wanted to do “The Internet Archive, The Musical.” A few conversations and months later, he agreed to let me run with the idea.

I have to admit, at times, I too wondered if I was crazy. I wrestled with devising ways to visibly convey the Archive’s unfathomable vastness while also trying to spotlight the diverse aspects of the Archive through hands-on displays.

Screen Shot 2016-05-01 at 9.00.22 PM

Photograph by Jason Scott.

While some big dreams had to be let go, I was able to achieve most of the goals I set out for the exhibition. Transporting thirty-two of Nuala’s fragile sculptures to Los Angeles required two days of careful packing and a fine art shipping truck committed solely to this special load. Along with film editor Chris Jones and cameraman Scott Oller, I also created a film that documents the story of the Internet Archivists sculpture series through interviews with Nuala, Brewster and a number of the archivists who have had their sculptural portraits made.

When visitors entered the gallery, they were greeted by three of the Internet Archivist figures and a full-scale shipping container (a trompe-l’oeil work of art by Makayla Blanchard) that conveyed Brewster’s often-repeated claim that he had fit the entire World Wide Web inside a shipping container. The exhibition was filled with juxtapositions of the old and new. To the right of the three archivists was a case filled with a dozen ancient clay cuneiforms and pieces of Egyptian papyrus introducing very early forms of archiving. A china hutch displayed out of fashion media formats that the Internet Archive has been converting into digital form such as record albums, cassette tapes, slides, and VHS tapes. I partnered with LMU’s librarians to bring the mystery of archiving out into the light. Using one of the Archive’s Tabletop Scribes, the librarians scanned and digitized numerous rare books from their collection. The exhibition also included displays and computer monitors so visitors could explore the Wayback Machine, listen to music from the archive’s collections, play vintage video games and test out the Oculus Rift.

clay-cloud scribe

Photograph by Brian Forrest.

In the end, I think the exhibition asked a lot more questions than it answered. Nevertheless, I hope this first exhibition will spark others to think of ways to make the abstract ideas and invisible aspects of digital archives more tangible. Who knows, maybe, a musical is in the Internet Archive’s future.

I was sad to pack up the clay archivists and say goodbye to their smiling faces. I’m sure they are happy to be back with the rest of their friends in the Great Room on Funston Avenue, but oh, the stories they have to tell of their travels to a gallery in Los Angeles.

Carolyn Peter is the director and curator of the Laband Art Gallery at Loyola Marymount University. She curated From Clay to the Cloud: The Internet Archive and Our Digital Legacy, which was on view from January 23-March 20, 2016 at the Laband.