The Brown University Women Writers Project is pleased to announce a
new series of workshops on topics in TEI encoding and tools for
digital humanists. These workshops are aimed at humanities faculty,
librarians, students, and anyone interested in getting a strong
introduction to digital humanities concepts, methods, and tools. Each
workshop combines hands-on practice with discussion and lectures, and
participants are encouraged to work with their own project materials.
These small group events offer a wonderful opportunity to learn about
other digital projects as well as to master important methods and
concepts in an exploratory setting.

More information, including detailed workshop descriptions and
registration information, can be found at http://www.wwp.brown.edu/encoding/workshops/
.

Students and members of the TEI consortium receive a 33% discount on
registration.

All workshops are held at Brown University and are led by Julia
Flanders, Syd Bauman, and John Melson.

July 21-23, 2010
Introduction to TEI
$450 ($300 for students and TEI members)

August 16-18, 2010
Introduction to TEI Customization
$450 ($300 for students and TEI members)

September 24-25, 2010
Introduction to Manuscript Encoding with TEI
$300 ($200 for students and TEI members)

November 5-6, 2010
Essential Tools for Digital Scholarship
$300 ($200 for students and TEI members)

December 3-4, 2010
Introduction to Manuscript Encoding with TEI
$300 ($200 for students and TEI members)

Coming in 2011: Introduction to XSLT

The School of Information and Library Science (SILS) at the University of North Carolina at Chapel Hill, is seeking applicants interested in Digital Archiving and Curation and in earning a Doctoral Degree. These Fellowships are funded by the Institute for Museum and Library Services.

The two-year Fellowships offer:

A 20 hour a week position as a Research Fellow in Digital Curation
An annual stipend of $19,000
In-state tuition and health coverage
Annual enrichment funds of $800
Extensive opportunities to meet key leaders in the Digital Curation research and practice arenas through workshops and symposia to be held at UNC at Chapel Hill
About DigCCurr II
The Institute of Museum and Library Services (IMLS)-funded project, “DigCCurr II: Extending an International Digital Curation Curriculum to Doctoral Students and Practitioners” seeks to develop an international, doctoral-level curriculum and educational network in the management and preservation of digital materials across their life cycle. This project will prepare future faculty to perform research and teach in this area, as well as provide summer institutes for cultural heritage information professionals already working in this arena.

Applying for the Fellowship:
To apply for the fellowship, please follow the regular application procedures found on the SILS Ph.D. Admissions page (http://sils.unc.edu/programs/phd/admissions.html). Students are encouraged to apply by Jan. 1, 2010 as this ensures considertion of the greatest amount of university funding. However, applications are accepted up to Feb. 15, 2010.

In addition to the required written statement of the student’s intended research focus, we ask that a separate essay elaborating on these goals and how they are related to the goals of DigCCurr II be written. Please see the DigCCurr II Web page (http://ils.unc.edu/digccurr/aboutII.html) for more details. Please send this essay in an e-mail message to: Dr. Helen Tibbo, professor at: tibbo (at) ils (dot) unc (dot) edu; or Dr. Cal Lee, assistant professor, at: callee (at) email (dot) unc (dot) edu no later than Feb. 15, 2010. Earlier applications are encouraged. Please note that we are only able to accept applications from United States Citizens at this time.

For more information on Carolina Digital Curation Doctoral Fellowship opportunities, send e-mail to Drs. Tibbo or Lee.

Interested applicants may also direct correspondence to:

DigCCurr II Fellowships
School of Information and Library Science
University of North Carolina at Chapel Hill
Campus Box 3360 Manning Hall
Chapel Hill NC 27566-3360

Dr. Helen R. Tibbo

School of Information and Library Science

201 Manning Hall CB#3360

University of North Carolina at Chapel Hill Chapel Hill, NC 27599-3360

Tel: 919-962-8063

Fax: 919-962-8071

Email: tibbo@email.unc.edu

Peter J. Wosh
Director, Archives/Public History Program
History Department
New York University
53 Washington Square South
New York NY 10012
Phone: (212) 998-8601
Fax: (212) 995-4017

http://history.fas.nyu.edu/object/history.gradprog.archivespublichistory.html

Twitter, a social networking service founded in 2006 by Jack Dorsey, has quickly ballooned into a micro-blogging phenomenon in just a few short years. The 2008 presidential election sparked a movement among American politicians to voice their personal and political opinions using Twitter. The growing popularity of Twitter among politicians seems to be a result of the fight for the youth vote during the 2008 campaign season. Creating Twitter accounts was an easy way to reach a massive and largely youthful audience. Politicians began using Twitter not only to spread their own political ideologies, but also to reach out to younger voters by creating personable and technologically savvy self-images. Charles “Chuck” Grassley, a Republican Senator from Iowa, is one such politician who is using Twitter to reach a broader and more youthful demographic of American voters. By analyzing the purpose and social implications of Twitter as a networking tool, I intend to show how politicians like Senator Chuck Grassley are appropriating Twitter for their political benefit and are doing so without focusing solely on political issues in their tweets.

Twitter is a free social networking site that allows users to upload and read messages, or “tweets,” of up to 140 characters. A user may submit tweets via the web, text message, or instant message. The Twitter homepage is comprised of a live feed of tweets written by users that an individual user has chosen to follow. Conversely, a user’s own tweets are published on the homepages of their subscribers. Non-users have access to public tweets, but users are given the option of restricting access by adjusting privacy settings. Unlike other social networking sites, for example MySpace and Facebook, Twitter offers very limited profile space. Users are allowed one profile picture and can present only the most basic information: name, location, and a mini-biography of up to 140 characters. This profile is displayed on a side bar next to the live feed. Statistical data is displayed below the profile and includes how many people a user is following, how many members are following them, and the number of tweets they have posted since the account was created. Aside from tweets, other users are given little information about individual members. The deliberately limited amount of space for users to describe themselves emphasizes the site’s innovative take on social networking. Twitter explains the inspiration and mission of the site simply and succinctly: “Jack Dorsey had grown interested in the simple idea of being able to know what his friends were doing” (http://twitter.com/about#about). Twitter users are painting a picture of their personality based not solely on thoughts or opinions, but also on where they are and what activity they are performing at any given moment of the day.

Twitter allows followers to learn the idiosyncrasies of particular users, but also compiles and presents its own statistical data in a way that keeps followers in tune with the millions of users worldwide. For example, there is a search engine tool on the side bar which allows users to search for tweets using keywords. If  users search for the term “dog” in the search bar they will be shown a live stream of tweets which include that word. Below the search bar is a heading called “Trending Topics.” This displays the current top ten most popular words or phrases tweeted by users. Clicking on the links to any of the trending topics will take you to a live feed of tweets containing that word or phrase.

Given massive popularity of Twitter and its ability to display the most popular topics among the millions of users who post daily, it is unsurprising that politicians have jumped on the bandwagon and created their own Twitter accounts. Politicians are using Twitter as a tool for spreading political views to a larger audience and also for creating  personable, down-to-earth images of themselves, which they hope will reverberate with the American people.

Chuck Grassley’s (www.twitter.com/chuckGrassley) account is a good example of how politicians are attempting to balance politics with personality by alternately tweeting about topics of political and personal interest. It is important to note that Chuck Grassley’s Twitter stands apart from the pack. While most politicians have aides or interns posting on their behalf, it is evident that Senator Grassley is composing his own tweets. For example, the time and means by which the tweet was sent are displayed below each post. When comparing Senator Grassley’s tweets to Senator John McCain’s (www.twitter.com/SenJohnMcCain) for instance, one notices that all of McCain’s tweets are sent via the web while nearly all of Grassley’s tweets are sent via text (txt). Senator Grassley’s over-use of abbreviations and lack of punctuation, commonly referred to as SMS language, also suggests that his posts were self-composed. On August 27, 2009 at 1:17pm he tweeted: “thnks to Sibley Kiwanis for hostng mtg. Abt 100 came out to tlk about issues. Hope othrs are hldg twn hall mtgs. Is democracy in action.” While the simplified form of the tweet borders on extreme, Senator Grassley is clearly trying to emphasize the fact that it is authentic. He is presenting himself as a simple-speaking member of the American mainstream rather than an elitist, over-educated politician. To uphold this self-image it is beneficial for him to mix political and light-hearted tweets. For example, on September 5, 2009 at 5:02pm he tweeted: “Saw Ia U beat my school 17/16. UNI played best I proud of my team Pres Mason came up 22pts short of her prediction 4 victory. She good Prez.” In this instance, Senator Grassley fashions himself as a football loving, all-American, but is also asserting his political support for Iowa University.

Despite the unpretentious appearance of Senator Grassley’s Twitter account, it is apparent that he is trying to create a certain persona for himself. He creates a show of authenticity by sending his tweets from a mobile device and composing his tweets using SMS language, but also by presenting his personal and recreational habits alongside his political activities and opinions. Regardless of the individual politician’s motivations, Twitter is offering the American public a more intimate relationship with lawmakers than has ever been possible. Moreover, political Twitter accounts raise questions about the importance of these records for future use by historians. An off-the-cuff remark on Twitter may someday be as relevant as a political speech when thinking back on the career of a certain politician. With such reasonable future uses, it is imperative that archivists take notice and incorporate notable Twitter accounts into digital archives.

All,

Sorry that I didn’t learn about this earlier, but today I’ve glanced
once or twice at a fascinating project: Museum in a Day. You can learn
more about it at http://museuminaday.com.

Basically, two IT professionals who work in the cultural heritage sector
in the UK have given themselves one day to build a museum website for a
fictional museum — except now the museum is sort of real, in a virtual
way. Using Omeka and WordPress, they took one day, today, November 2, to
build a website for “The Future Museum,” an online museum of fictional
technologies such as teleporters and hoverboards, “the technologies and
ideas that humankind thought would change the world . . . and didn’t.”
The point, they say, was to prove that “making (museum) websites should
be easy.”

You can see the “dev” (i.e., draft) version of what they built today at
http://dev.thefuturemuseum.com, and you can read about what they did
today on an hour-by-hour basis on the Twitter feed at
http://twitter.com/museuminaday, and you can take a look at their
planning document on their public Google Docs spreadsheet at

http://bit.ly/museuminadaygoogledoc.

Neato!

Amanda

–
Amanda L. French, Ph.D.
Assistant Research Scholar, Digital Curriculum Specialist
Archives and Public History
New York University
King Juan Carlos Center
53 Washington Square South #507
New York, NY 10012

TEL: 212-998-8638
FAX: 212-995-4017
AIM: habitrailgirl
amanda.french@nyu.edu

http://amandafrench.net

http://twitter.com/amandafrench

All,

You might be interested in this Call for Papers for the Digital
Humanities annual conference; the theme is cultural heritage, the
conference will be held in London July 7-10 2010, and proposals are due
(rather precipitously) on October 31.

Cheers,

Amanda

****

We are pleased to announce the Call for Papers for the Digital
Humanities 2010 Conference.

Alliance of Digital Humanities Organizations Digital Humanities 2010
Call for Papers Abstract Deadline: Oct. 31, 2009

Proposals must be submitted electronically using the system which will
be available at the conference web site from October 8th. Presentations
may be any of the following:

•Single papers (abstract max of 1500 words) •
Multiple paper sessions (overview max of 500 words) •
Posters (abstract max of 1500 words)

Call for Papers Announcement

The International Programme Committee invites submissions of abstracts
of between 750 and 1500 words on any aspect of humanities computing,
broadly defined to encompass the common ground between information
technology and problems in humanities research and teaching. We welcome
submissions in all areas of the humanities, particularly
interdisciplinary work. We especially encourage submissions on the
current state of the art in humanities computing, and on recent
developments.

Suitable subjects for proposals include, for example,

* text analysis, corpora, language processing, language learning
* IT in librarianship and documentation
* computer-based research in cultural and historical studies
* computing applications for the arts, architecture and music
* research issues such as: information design and modelling; the
cultural impact of the new media
* the role of digital humanities in academic curricula

The special theme of the 2010 conference is cultural heritage old and new.

The range of topics covered is reflected in the journals of the
associations: Literary and Linguistic Computing (LLC), Oxford University
Press, and the Digital Humanities Quarterly,

http://www.digitalhumanities.org/dhq/

The deadline for submitting paper, session and poster proposals to the
Programme Committee is Oct. 31th, 2009. All submissions will be
refereed. Presenters will be notified of acceptance February 24, 2010.
The electronic submission form will be available at the conference site
from October 8th, 2009 (which will be linked from

http://www.cch.kcl.ac.uk/dh2010/papers/call.html)

Anyone who has previously used the ConfTool system to submit proposals
or reviews or to register for a Digital Humanities conference should use
their existing account rather than setting up a new one.

If anyone has forgotten their user name and/or password please contact
dh2010 at digitalhumanities.org.

See below for full details on submitting proposals.

Proposals for (non-refereed, or vendor) demos and for pre-conference
tutorials and workshops should be made to the local conference organizer
as early as possible.

For more information on the conference in general please visit the
DH2010 web site. http://www.cch.kcl.ac.uk/dh2010/

Types of Proposals

Proposals to the Programme Committee may be of three types: (1) papers,
(2) poster presentations and/or software demonstrations, and (3)
sessions (either three-paper or panel sessions). The type of submission
must be specified in the proposal.

Papers and posters may be given in English, French, German, Italian or
Spanish.

1) Papers Proposals for papers (750-1500 words) should describe
original, unpublished work: preferably completed research with
substantial results, but also the development of significant new
methodologies, or rigorous theoretical or critical discussions.
Individual papers have 20 min. for presentation and 10 for questions.

Proposals concerning new computing methodologies should show how the
methodologies are applied to humanities research, and should critically
assess the application. Those concerning a particular application should
compare earlier traditional and computational approaches and should also
assess the new methodologies. References are naturally required. Those
describing the creation or use of digital resources should follow these
guidelines as far as possible.

2) Poster Presentations and Software Demonstrations Poster sessions
showcase some of the most important and innovative work being done in
humanities computing. Poster presentations may include technology and
project demonstrations. Hence the term poster/demo to refer to different
possible combinations of printed and computer based presentations. There
should be no difference in quality between poster/demo presentations and
papers, and the format for proposals is the same for both. The same
academic standards also apply, but posters/demos may be more suitable
way for late-breaking work, or work in progress. Both will be submitted
to the same refereeing process. The choice between the two modes of
presentation (poster/demo or paper) should depend on the most effective
and informative way of communicating the scientific content of the proposal.

Poster presentations are less formal and more interactive than talks.
Poster presenters can present their work and exchange ideas one-on-one
and in detail with those most deeply interested. Presenters will have
about two square meters of board space for display and may also wish to
provide handouts. Posters remain on display throughout the conference,
and are the sole focus of separate dedicated poster sessions. Additional
times may be available for software or project demonstrations.

As an acknowledgement of the special contribution of the posters to the
conference, the Programme Committee will award a prize for the best poster.

3) Sessions Sessions (90 minutes) take the form of either:

Three papers. The proposal should include a 500-word statement
describing the session topic, include abstracts of 750-1500 words for
each paper, and indicate that each author is willing to participate in
the session. All speakers are required to register for the conference
and to participate in the session. Focused sessions should have added
value when compared to the set of the individual papers.

or

A panel of four to six speakers. The proposal is an abstract of 750-1500
words describing the panel topic, how discussion will be organized, the
names and affiliations of all the speakers, and an indication that each
speaker is willing to participate in the session. All speakers are
required to register for the conference and to participate in the session.

International Programme Committee

Elisabeth Burr Richard Cunningham Jan-Christoph Meister Elli Mylonas
Brent Nelson John Nerbonne (Chair) Bethany Noviskie Jan Rybicki John Walsh

– Digital Humanities 2010 https://secure.digitalhumanities.org/

The following internship opportunities are currently available at StoryCorps, a Peabody Award-winning oral history project and one of the fastest-growing nonprofit organizations in the country. Please share these openings with your networks.

Information Technology Intern, Web Based Systems
Memory Loss Initiative Outreach Intern
Print Intern
StoryCorps Historias Outreach Intern
There are also several additional internship opportunities at StoryCorps (on both the Program and Operations side of our organization) for future internship sessions. You can read the full list at http://www.storycorps.org/about/employment-opportunities/internships.

To apply: please send cover letter and resume to internship@storycorps.org and include your last name and the semester for which you are applying in the subject line (e.g., “Smith, Spring 2010″). Include both cover letter and resume as attachments entitled “YourNameLetter” and “YourNameResume.” In your cover letter, please tell us how you found out about this opportunity, and identify the specific internship(s) in which you are interested. No calls please.

–
Thanks,

Megan Thiele
HR Generalist

StoryCorps
80 Hanson Pl, 2nd Floor
Brooklyn, NY 11217
Phone: (646) 723.7020 ext. 28

Help StoryCorps record more stories from communities like yours throughout the United States
www.storycorps.org/donate

Join StoryCorps’ Facebook Fan Page
facebook.com/storycorps

Peter J. Wosh
Director, Archives/Public History Program
History Department
New York University
53 Washington Square South
New York NY 10012
Phone: (212) 998-8601
Fax: (212) 995-4017

http://history.fas.nyu.edu/object/history.gradprog.archivespublichistory.html

All,

Pardon me for self-promotion, but I’m thrilled to announce that I’ve
made my podcast debut this week. I’ve long been a listener to the
Digital Campus podcast, which is produced by the wonderful people at the
Center for History and New Media (authors of both Zotero and Omeka), and
as of this week I’ve begun to be a semi-regular discussant. (Note to
self: laugh at own remarks less.)

I highly recommend the podcast as an engaging way to keep up with
technology’s effects on libraries, archives, museums, and higher
education, even (perhaps especially) when I’m not on it. Listen or
download at http://digitalcampus.tv/2009/09/30/episode-44-unsettled/ or
else launch the iTunes software, go to the iTunes Store, and search for
“Digital Campus” to subscribe.

Cheers,

Amanda

–
Amanda L. French, Ph.D.
Assistant Research Scholar, Digital Curriculum Specialist
Archives and Public History
New York University
King Juan Carlos Center
53 Washington Square South #507
New York, NY 10012

TEL: 212-998-8638
FAX: 212-995-4017
AIM: habitrailgirl
amanda.french@nyu.edu

http://amandafrench.net

http://twitter.com/amandafrench

Humanist Discussion Group, Vol. 23, No. 327.
Centre for Computing in the Humanities, King’s College London
www.digitalhumanities.org/humanist
Submit to: humanist@lists.digitalhumanities.org

Date: Mon, 28 Sep 2009 15:58:44 +0100
From: j trant
Subject: MW2010 CFP: Deadline Wed. Sept 30, 2009

MW2010 CALL FOR PARTICIPATION: Deadline September 30, 2009

Museums and the Web 2010
the international conference for culture and heritage on-line
April 13-17, 2010
Denver, Colorado, USA

http://www.archimuse.com/mw2010/

Don’t miss this chance to present your best work at the premiere
international conference devoted to culture, heritage, art, and
science on-line: Museums and the Web. Taking an international
perspective, MW reviews and analyzes the issues and impacts of
networked cultural, natural and scientific heritage. Our community
has been meeting since 1997, imagining, tracking, analyzing, and
influencing the role museums play on the Web.

PROPOSALS ARE DUE WEDNESDAY, SEPTEMBER 30, 2009.

Submit your proposal using our on-line form at

http://www.archimuse.com/mw2010/papers/mw2010.proposalForm.html

We’re open to proposals on on any topic related to museums and their
communities creating, facilitating, or delivering culture, science or
heritage on-line. Proposals for MW are peer-reviewed by an
International Program Committee.

Full details about MW2010 can be found on the conference web site at

http://www.archimuse.com/mw2010/

We hope to see you in Denver,

jennifer and David

–
————
Jennifer Trant and David Bearman
Co-Chairs: Museums and the Web 2010 produced by
April 13-17, 2010, Denver, Colordo Archives & Museum Informatics
http://www.archimuse.com/mw2010/ 158 Lee Avenue
email: mw2010@archimuse.com Toronto, Ontario, Canada
phone +1 416 691 2516 | fax +1 416 352-6025

Peter J. Wosh
Director, Archives/Public History Program
History Department
New York University
53 Washington Square South
New York NY 10012
Phone: (212) 998-8601
Fax: (212) 995-4017

http://history.fas.nyu.edu/object/history.gradprog.archivespublichistory.html

Originally posted 2/5/2009 at http://amandafrench.net/2009/02/05/twitter-institutions-historians-audiences/

Yesterday, Kathleen Hulser of the New-York Historical Society (yes, the hyphen is supposed to be there — it’s a historical hyphen), who is writing an article for Perspectives on History, the “newsmagazine of the American Historical Association,” wrote me to ask, “How have social media blurred the boundaries between historian/institution and audience?” Here’s a lightly-edited version of what I wrote.

Sure, happy to answer. Being neither a historian (sorry!) nor an institution (not sorry!), I can’t quite answer from either of those perspectives. But I do have a great deal to say about that blurring as an audience member for history, albeit a somewhat privileged and over-informed audience member who reads a great deal about and via social media and who is part of the “digital humanities” community.

The short answer is that for me, social media have made both historians and institutions more human. I’ll give you a couple of examples, both related to Twitter, which has dominated my own social media landscape in the past year. The first has to do with an institution: the Smithsonian. My mother and brother and I visited Washington DC last year and visited a couple of Smithsonian museums, and afterward, in a gift shop, I signed up for a subscription to Smithsonian magazine. Recently I let that subscription lapse, because although I did enjoy the articles (I remember a great one about the historical evidence that Greek statues were painted), I didn’t find one that I really liked often enough to justify the subscription. However, I’ve been following the Smithsonian on Twitter, and if you visit that link you can easily see how much less formal the language is: “The Smithsonian is playing head games again,” for instance — which, by the way, refers to an actual game that “The Smithsonian” is playing with its Twitter followers. There’s clearly someone familiar with the tone that’s appropriate to social media behind the Smithsonian’s Twitter account. I’d prefer it if the Smithsonian included that person’s name, in fact, like the Brooklyn Museum — note how many more followers the Brooklyn Museum has, in fact: 15,694 to the Smithsonian’s 1,794, and they’ve only been twittering a year longer. Note how much more often Shelley Bernstein replies to the Brooklyn Museum’s followers, too — that’s a sure sign of engagement. But the Smithsonian is making a very good attempt, and when it broadcasts something that sounds interesting, it’s a matter of a fraction of a second to click on the link and explore the Smithsonian’s holdings. (I recently learned a bit about stewardesses’ uniforms in the 60s and 70s — those were some unbelievable hot pants and boots.) I get a similar feeling of serendipitous discovery as I did with the magazine, but at less cost to me in time and money.

I’ve also gotten to know historians through Twitter, most notably Dan Cohen, whom I’ve still never met, but who broadcasts extremely useful information via Twitter almost every day — and some less useful but still charming information, such as this nugget about the Victorians: “We historians of the Victorian era don’t like to tell people our little secret: Victorians had bears, not dogs, as pets”. We’ve exchanged messages about digital tools and issues, and I was particularly interested to read about his visit to the “Smithsonian 2.0″ meeting, which I was able to track amazingly well via Twitter.

The Smithsonian, Dan Cohen, and I are all equal entities on Twitter: when we “tweet” something interesting, people reply. Moreover, we all use Twitter as a place for both play and work, for broadcasting and receiving information — and by “information,” I mean knowledge and enjoyment. It feels very natural.

A few further thoughts: it occurred to me that these examples (such as the hot pants) might actually serve to confirm the “anti-intellectualization” concern raised by an unnamed attendee at the Smithsonian 2.0 meeting. You can hear the incident discussed in the latest episode of the Digital Campus podcast: someone (a curator?) worried about this anti-intellectual bent when shown that content on Flickr Commons includes such “wrong” tags as “guys with moustaches.” And it’s certainly true that the Smithsonian Twitter feed is no replacement for the magazine (though it’s certainly a lot cheaper for the Smithsonian as well as for me), and that the money I’ve lately been giving to the Brooklyn Museum in admission and 1stfans membership fees has a great deal to do with the fact that I now live in Brooklyn. At some point it comes down to premises: is it a good thing for the Smithsonian and historians to be more accessible, meaning both more present online and more individual in tone? I believe it is.

Subject: Archivists’ Toolkit and Archon to Integrate
From: “Westbrook, Bradley”
Date: Tue, 18 Aug 2009 08:32:29 -0700
X-Message-Number: 13

[Apologies for duplicate receipts.]

In response to an invitation from the Andrew W. Mellon Foundation, the
New York University Libraries, University of California, San Diego
Libraries, and University of Illinois Urbana-Champaign Libraries have
agreed to submit a collaborative project proposal for the purpose of
combining the best features of the Archivists’ Toolkit and Archon into a
single hybrid application that will support description, collection
management, and access of archival materials.

It is intended that the development process for this integration be
shared with, and input be solicited from, the archival user and
developer communities during the project work.

AT and Archon have been highly successful in their short product lives.
We anticipate that this integration project will capitalize on those
successes to build a more sustainable application and one more
satisfying to a broader segment of the archives community.

An important element of the Mellon Foundation proposal will be a request
for bridge funding to ensure the continuing support of both applications
and their respective communities during the transition.

Please send comments and questions to info@archiviststoolkit.org or to
digitallibrary@archon.org.

Peter J. Wosh
Director, Archives/Public History Program
History Department
New York University
53 Washington Square South
New York NY 10012
Phone: (212) 998-8601
Fax: (212) 995-4017

http://history.fas.nyu.edu/object/history.gradprog.archivespublichistory.html