A Conversation with Wendy Hagenmaier, Digital Collections Archivist at Georgia Tech

Interview conducted with Wendy Hagenmaier by Colleen Farry in March 2019.

This is the sixth post in a new series of conversations between emerging professionals and archivists actively working with digital materials.


Wendy Hagenmaier is the Digital Collections Archivist at the Georgia Tech Library where she leads the development of workflows for preserving and delivering born-digital special collections. She also manages the Library’s retroTECH initiative. Recently, Wendy shared her experiences as an archivist and some recommendations for new professionals with bloggERS!

When Wendy entered graduate school at the University of Texas at Austin, she did not initially know that her area of focus would be archives. She recalled a presentation by Dr. David Gracy during orientation. “I was captivated by the thought of how records are with you from the time that you’re born and how they’re evidence of your life.” Wendy went on to work in the archives as a graduate student while pursuing her M.S. in Information Studies. In retrospect, pursuing a career in archives was a natural career path for Wendy. As a child, she was always fascinated by objects and the narratives that people attached to them. In this way, Wendy explained how “the past is still present within objects in an archive.”

In addition to managing born-digital special collections, Wendy oversees the retroTECH Library program at Georgia Tech. This initiative provides a place for engagement with vintage hardware and software and modern tools for digital archiving and emulation. As described on the program website: “retroTECH aims to inspire a cultural mindset that emphasizes the importance of personal archives, open access to digital heritage, and long-term thinking.” Wendy hopes the program will continue to grow and expand beyond its space in the library. “The students, in interacting with older technology, can consider how we interact with technology now. They begin to consider the infrastructures that define our records and think about their own engagement with technology.”

Visitors to the retroTech lab have the opportunity to experiment with classic hardware and computer programs. “When people walk into the space they become very emotional and immediately launch into a memory of when they were a kid.” She spoke about the power of that experience and its ability to demonstrate the importance of libraries and archives as preservers of the past. Wendy also shared her thoughts on the importance of making archival work more visible and the challenge of developing models of sustainability within the profession. “We need to be able to communicate the value of our work to people in power who make resource decisions.”

When asked about the dynamic nature of digital archiving and staying up to date on new tools and technologies, Wendy acknowledged, “We will continue to encounter skills gaps in our careers.” To tackle new challenges with technology, Wendy has adopted a collaborative approach, working with colleagues to achieve goals that she might not have had bandwidth to accomplish on her own. “I think, ‘If I don’t learn scripting in the way that I had fantasties of, that’s ok.’ I spend time talking with colleagues that have expertise that I wish I had more time to cultivate.” She added, “there are many great SAA courses, and I’m grateful to benefit from these gap-filling learning opportunities.” Wendy also encourages archivists to explore open-source tools with strong user communities and training resources. For her, it is very motivating to be in a profession where “everyone is very open to sharing their knowledge and capitalizing on the ways that we can support each other.”

Some pieces of advice that Wendy shared for new professionals included staying curious and feeling empowered to question. “Try to maintain that sense of wonder and discovery about technological and socio-technical issues, and feel empowered to challenge them, where necessary. Our field is going to change a lot, and we should encourage each other to push beyond the status quo.” She observed that archivists can’t always control how technologies are developed, but they can think critically about how those infrastructures define our records and practices.

Networking can be challenging for new archivists and veterans alike. Wendy recommended pursuing virtual collaborations and reaching out to regional groups with shared interests. “I found comfort and a genuine connection with smaller working groups, like the ERS steering committee.” Wendy has also done a lot of work regionally. “It’s great to get involved locally to identify areas of commonality to present at regional conferences.”

When asked what she loved most about being an archivist, Wendy said the privilege of working with people that have a shared passion for archives. “I do this because I love it, and I get to work with others who love it as well; feeling that shared passion is very nurturing.”


Colleen Farry is an Assistant Professor and Digital Services Librarian at the University of Scranton where she develops, coordinates, and manages the Weinberg Memorial Library’s digital collections and related digital projects.

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Trained in Classification, Without Classification

by Ashley Blewer

This is the first post in the bloggERS Making Tech Skills a Strategic Priority series.

Hi, SAA ERS readers! My name is Ashley Blewer, and I am sort of an archivist, sort of a developer, and sort of something else I haven’t quite figured out what to call myself. I work for a company for Artefactual Systems, and we make digital preservation and access software called Archivematica and AtoM (Access to Memory) respectively. My job title is AV Preservation Specialist, which is true, that is what I specialize in, and maybe that fulfills part of that “sort of something else I haven’t quite figured out.” I’ve held a lot of different roles in my career, as digital preservation consultant, open source software builder and promoter, developer at a big public library, archivist at a small public film archive, and other things. This, however, is my first time working for an open source technology company that makes software used by libraries, archives, museums, and other organizations in the cultural heritage sector. I think this is a rare vantage point from which to look at the field and its relationship to technology, and I think that even within this rare position, we have an even more unique culture and mentality around archives and technology that I’d like to talk about.

Within Archivematica, we have a few loosely defined types of jobs. There are systems archivists, which we speak of internally as analysts, there are developers (software engineers), and there are also systems operations folks (systems administrators and production support engineers). We have a few other roles that sit more at the executive level, but there isn’t a wall between any of these roles, as even those who are classified as being “in management” also work as analysts or systems engineers when called upon to do so. My role also sits between a lot of these loosely defined roles — I suppose I am technically classified as an analyst, and I run with the fellow analyst crew: I attend their meetings, work directly with clients, and other preservation-specific duties, but I also have software development skills, and can perform more traditionally technical tasks like writing code, changing how things function at a infrastructure level, and reviewing and testing the code that has been written by others. I’m still learning the ropes (I have been at the organization full-time for 4 months), but I am increasingly able to do some simple system administration tasks too, mostly for clients that need me to log in and check out what’s going on with their systems. This seems to be a way in which roles at my company and within the field (I hope) are naturally evolving. Another example is my brilliant colleague Ross Spencer who works as a software engineer, but has a long-established career working within the digital preservation space, so he definitely lends a hand providing crucial insight when doing “analyst-style” work.

We are a technical company, and everyone on staff has some components that are essential to a well-rounded digital preservation systems infrastructure. For example, all of us know how to use Git (a version control management system made popular by Github) and we use it as a regular part of our job, whether we are writing code or writing documentation for how to use our software. But “being technical” or having technical literacy skills involves much, much more than writing code. My fellow analysts have to do highly complex and nuanced workflow development and data mapping work, figuring out niche bugs associated with some of the microservices we run, and articulating in common human language some of the very technical parts of a large software system. I think Artefactual’s success as a company comes from the collective ability to foster a safe, warm, and collaborative environment that allows anyone on the team to get the advice or support they need to understand a technical problem, and use that knowledge to better support our software, every Archivematica user (client or non-client), and the larger digital preservation community. This is the most important part of any technical initiative or training, and it is the most fundamental component of any system.

I don’t write this as a representative for Artefactual, but as myself, a person who has held many different roles at many different institutions all with different relationships to technology, and this has by far been the most healthy and on-the-job educational experience I have had, and I think those two things go hand-in-hand. I can only hope that other organizations begin to narrow the line between “person who does archives work” and “technical person” in a way that supports collaboration and cross-training between people coming into the field with different backgrounds and experiences. We are all in this together, and the only way we are gonna get things done is if we work closely together.



Ashley works as at Artefactual Systems as their AV Preservation Specialist, primarily on the Archivematica project. She specializes in time-based media preservation, digital repository management, infrastructure/community building, computer-to-human interpretation, and teaching technical concepts. She is an active contributor to MediaArea’s MediaConch, a open source digital video file conformance checker software project, and Bay Area Video Coalition’s QCTools, an open source digitized video analysis software project. She holds Master of Library and Information Science (Archives) and Bachelor of Arts (Graphic Design) degrees from the University of South Carolina.

Software Preservation Network: Prospects in Software Preservation Partnerships

By Karl-Rainer Blumenthal

This is the fourth post in our series on the Software Preservation Network 2016 Forum.
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Software Preservation Network logoTo me, the emphases on the importances of partnership and collaboration were the brightest highlights of August’s Software Preservation Network (SPN) Forum at Georgia State University. The event’s theme, “Action Research: Empowering the Cultural Heritage Community and Mapping Out Next Steps for Software Preservation,” permeated early panels, presentations, and brainstorming exercises, empowering as they did the attending stewards of cultural heritage and technology to advocate the next steps most critical to their own goals in order to build the most broadly representative community. After considering surveys of collection and preservation practices, and case studies evocative of their legal and procedural challenges, attendees collaboratively summarized the specific obstacles to be overcome, strategies worth pursuing together, and goals that represent success. Four stewards guided us through this task with the day’s final panel of case studies, ideas, and a participatory exercise. Under the deceptively simple title of “Partnerships,” this group grounded its discourse in practical cases and progressively widened its circle to encompass the variously missioned parties needed to make software preservation a reality at scale.

Tim Walsh (@bitarchivist), Digital Archivist at the Canadian Centre for Architecture (CCA), introduced the origins of his museum’s software preservation mission in its research program Archaeology of the Digital. Advancing one of the day’s key motifs–of software as environment beyond mere artifact–Walsh explained that the CCA’s ongoing mission to preserve tools of the design trades compels it to preserve whole systems environments in order to provide researcher access to obsolete computer-assisted design (CAD) programs and their files. “There are no valid migration pathways,” he assured us; rather emulation is necessary to sustain access even when it is limited to the reading room. Attaining even that level of accessibility required CCA to reach license agreements with the creators/owners of legacy software, one of the first, most foundational partnerships that any stewarding organization must consider. To grow further still, these partnerships will need to include technical specialists and resource providers beyond CCA’s limited archives and IT staff.

Aliza Leventhal (@alizaleventhal), Corporate Librarian/Archivist at Sasaki Associates, confronts these challenges in her role within a multi-disciplinary design practice, where unencumbered access to the products of at least 14 different CAD programs is a regular need. To meet that need she has similarly reached out to software proprietors, but likewise cultivated an expanding community of stewards in the form of the SAA Architectural Records Roundtable’s CAD/BIM Taskforce. The Taskforce embraces a clearinghouse role for resources “that address the legal, technical and curatorial complexities” of preserving especially environmentally-dependent collections in repositories like her own and Walsh’s. In order to do so, however, Leventhal reminded us that more definitive standards for the actual artifacts, environments, and documentation that we seek to preserve must first be established by independent and (inter-)national authorities like International Organization for Standardization (ISO), the American Institute of Architects (AIA), the National Institute of Building Sciences, and yet unfounded organizations in the design arts realm. Among other things, after all, more technical alignment in this regard could enable multi-institutional repositories to distribute and share acquisition, storage, and access resources and expertise.

Nicholas Taylor (@nullhandle), Web Archiving Service Manager at Stanford University Libraries, asked attendees to imagine a future SPN serving such a role itself–as a multi-institutional service partnership that distributes legal, technical, and curatorial repository management responsibilities in the model of the LOCKSS Program. Citing the CLOCKSS Archive and other private networks as a complementary example from the realms of digital images, government documents, and scholarly publications, Taylor posited that such a partnership would empower participants to act independently as centralizing service nodes, and together in overarching governance. A community-governed partnership would need to meet functional technical requirements for preservation, speak to representative use cases, and, critically, articulate a sustainable business model in order to engender buy-in. If successful though, it could among other things consolidate the broader field’s needs to for licensing and IP agreements like CCA’s.

In addition to meeting its member organizations’ needs, this version of SPN, or a partnership like it, could benefit an even wider international community. Ryder Kouba (@rsko83), Digital Collections Archivist at the American University in Cairo, spoke to this potential from his perspective on the Technology and Research Working Group of UNESCO’s PERSIST Project. The project has already produced guidance on selecting digital materials for preservation among UNESCO’s 200+ member states. Its longer term ambitions, however, include the maintenance of the virtual environments in which members’ legacy software can be preserved and accessed. Defining the functional requirements and features of such a global resource will take the sustained and detailed input of a similarly globally-spanning community, beginning in the room in which the SPN Forum took place, but continuing on to the International Conference on Digital Preservation (iPres) and international convocations beyond.

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Attendees compose matrices of software preservation needs, challenges, strategies, and outcomes. Photos by Karl-Rainer Blumenthal (left) and @karirene69 (right), CC BY-NC 2.0.

The different scales of partnership thus articulated, the panelists ended their session by facilitating breakout groups in the mapping of discrete problems that partnerships can solve through their necessary steps and towards ideal outcomes. At my table, for instance, the issue of “orphaned” software–software without advocates for long-term preservation–was projected through consolidation in a kind of PRONOM-like registry to get the maintenance that they deserve from partners invested in a LOCKSS-like network. Conceptually simple as each suggestion could be, it could also prompt such different valuations and/or reservations from among just the people in the room as to illustrate how difficult the prioritization of software preservation work can be for a team of partners, rather than independent actors. To accomplish the Forum attendees’ goals equitably as well as efficiently, more consensus needed to be reached concerning the timeline of next steps and meaningful benchmarks, something that we tackled in a final brainstorming session that Susan Malsbury will describe next!

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Karl-Rainer Blumenthal is a Web Archivist for the Internet Archive’s Archive-It service, where he works with 450+ partner institutions to preserve and share web heritage. Karl seeks to steward collaboration among diversely missioned and resourced cultural heritage organizations through his professional work and research, as we continuously seek new, broadly accessible solutions to the challenges of complex media preservation.