Sounds of Music Website

“We need to make every single thing accessible to every single person with a disability.” – Stevie Wonder

Dearest Colleagues,

You will find the link to our webpage here.

I am excited to debut it. It is currently public, but not yet visible to search engines, a visibility status I intend on changing once our prototype draws nearer to completion.

Some things to turn your attention to:

  • There is an accessibility toolbar on the leftmost side of the screen. It allows you to toggle through a combination of high-contrast, grayscale, and/or large-font modes.
  • Our Latency toolkit is far more populated than our Accessibility Toolkit, the latter of which is still very much a page in construction.
  • We have an ‘About’ page and a ‘Contributors’ page, which may or may not be combined as the semester progresses. Your thoughts on this are welcome, colleagues.
  • We have a blog! There are currently only two entries, but for those of you who love it when casual Star Trek references are successfully slipped into serious work, please check out the latest blog post.
  • We are still grappling with our visual identity, and many of the images are placeholders. Thoughts on which images resonate most with you are also appreciated.

Thank you all in advance for checking out website-in-progress! Please do note that it is very much a work in progress. It is a prototype, one that is ever-evolving as our research narrows and expands by degrees, and takes us in exciting new directions. We trust you will be both kind and honest in your critique of our website as it stands today, should you choose to offer us feedback – a gesture which would be very much appreciated by all of us on the Sounds of Music team.

I encourage you to revisit our website in the coming weeks, as I believe the Accessibility Toolkit might be of interest and import to most of your projects.

Cordially Yours,

Caitlin Cacciatore

Kai Prenger Personal Journal Entry 3/15

My thoughts on our semester-long project have been haunted by questions of sustainability after attending a skills lab hosted by CUNY’s Interactive Technology and Pedagogy (ITP) program a month ago on the subject as it relates to digital scholarship. Over the course of the workshop, Jesse Merandy, the first GC PhD candidate to complete a digital dissertation, elaborated on a central theme of what happens to digital projects in academia over time: they age, they falter, and, eventually, with changes in technologies and tools, they stop working. Beyond remarking on how a digital project will age and decade over time, Merandy also offered strategies to preserve the discovery generated by a digital academic project. In a nutshell, Jesse advocated for nth level documentation of research methods and thought processes (within the tolerances of sanity) that ideally takes place continuously throughout the project lifecycle.

While the tool selection decisions for our mainframe project attempted to counteract the speed at which digital work rots by way of statically generated content, markdown content, zero dollar hosting, and publicly available code repositories, we can’t escape the fact that eventually, our project will be hard to access as originally designed, if at all. To that end, Connie and I are focusing on how we can incorporate the process documentation to be present in or alongside our project website. Some of the subjects worth documenting and the rationale are found below

Reuse of our personal journal entry blogs

Reusing from our class commons site, to reflect what our week-to-week thoughts were about the progress, work methods, and moods about the project. We expect to do some reflection beyond our weekly journal entries will also be included, like topics for further discovery, or themes we weren’t able to address during the allotted time frame.

Narrating project challenges

Narrating the challenges we face during our time working on the project. One striking example is the difficulty in accessing physical archives for serendipitous findings. Another is encapsulating a doable topic within the time-allowing and supported by the archival material we were able to collect, both of which may not match any of the project proposal’s original themes or ideas.

Effect of time constraints

Detailing the scope and time titrations necessary to complete as coherent a project as possible. The original project imagined a staff of four to complete the resultant website. With two team members, multidisciplinary role assignments, and learning technology as well as subject matter compresses the origin “thick history” proposed before the project started. Of course, time constraints also help uncover new venues in which to explore, and conceive of novel studies. For instance, we’ve been a little surprised by how abstract and arty some of the advertisement creative turns out for what amounts to business equipment. We’re also exploring deformance and inspired collage as research methods into some of the themes we see in the cultural history of mainframe computers.

Identifying sources of inspiration

Identifying sources of inspiration for the project that aren’t constituent of the end product seems relevant for any future development. We can imagine a Zettelkasten style table for use in research down the line, as unused resources can emerge as relevant upon further research and analysis. We’ve been compiling research sources as well and inspirations from various forms of digital media .

Important side effect of documentation

One important side effect of documenting a digital humanities (DH) project from a bit of a remove: you are able to receive the cash value the enthusiasm on prototyping. That is to say, we can explicitly articulate weakness of the project output, without feeling like shortcomings are synonymous with project failure.

Connie Cordon 03/15 – Personal Blog

David F. Webber, The Computers Are Coming! book cover, 1980

Generally this past week I have continued finding material for the archive. A good resource for visual content I found that I liked is science70.tumblr.com, who has their own YouTube channel, in which they combine old, eclectic clips from the 50s to 80s in their entirety with other clips. They include original sources of the clips in all their videos, which is helpful in finding more material. While speaking with Kai about these findings, he brought up the topic of Hauntology, which is a term I was not familiar with at the time. There seems to be some journals published on it in academia. In an article by Mark Fisher titled “What Is Hauntology?”, he states

What defined this ‘hauntological’ confluence more than anything else was its confrontation with a cultural impasse: the failure of the future.

The future is always experienced as a haunting: as a virtuality that already impinges on the present, conditioning expectations and motivating cultural production.

Mark Fisher – What Is Hauntology?

I think I keep revolving around this idea of a dystopian future in regards to the theme of the mainframe project because with the more materials I compiled, it became evident that there has and always will be a desire for an improved and efficient way of living, however there is no escaping the way in which all suffer on a day to day basis. Somehow technology exists both as a tool to make our lives easier, and yet it also makes it easier to destroy said life.

“We construct our technologies, and our technologies construct us and our times. Our times make us, we make our machines, our machines make our times. We become the object we look upon but they become what we make of them”

Margaret M. Lloyd, There, yet not there: Human relationships with technology, 2010

Sounds of Music Technical Coordinator’s Log, Week of March 14th, 2022

If change is inevitable, predictable, beneficial; doesn’t logic demand that you be a part of it? (Captain James T. Kirk, speaking to Spock in the Star Trek: TOS episode Mirror, Mirror)

 

I confess that when I was writing out “Technical Coordinator’s Log,” I almost put Stardate instead of Week. This is a sure sign that the technical coordinator has been watching too much Star Trek.

 

As we move toward the mid-point of the semester, I have been considering how best to build, expand, and modify the website. The platform is up and running through WordPress, via the CUNY Academic Commons. There is a contact page; one of multiple menu options on the top toolbar. There is a blog, a homepage, and a contributor’s page.

 

None of the more mundane aspects of website building are causing me much trouble at the moment, as I am intimately familiar with WordPress’ suite of tools. I’ve been running my own author’s blog since 2016 on WordPress, and have acquired skills throughout the past six years which have served me well in this project.

 

What truly concerns me is how to make our website more accessible. Our core values include accessibility for all, and as someone with a disability, I am very sensitive to the needs of those who also have disabilities, no matter the form they take or the age at which they were acquired. I am still struggling to make the text-to-speech function work on WordPress, and hope to iron that out within the next week.

 

I have also been playing with the font size, in order to make the site more accessible to the visually impaired without sacrificing aesthetics or clarity. Additionally, I have already installed a toolbar that sits at the left side of the screen, allowing users to toggle between a combination of high-contrast, grey-scale, and large-font modes.

 

I have been exploring other avenues of making our website more accessible and have compiled a list of websites that will be helpful in making it so.

 

Our audience consists largely of homebound, elderly individuals, so I also wish to make our website simple to navigate and easy to use. I wish to suggest a logical path for the journey the user could potentially take, in exploring the website.

 

I will also be researching websites that are highly rated in terms of accessibility, to study them for inspiration.

 

I confess also that I never noticed issues of accessibility until I, myself, became disabled. I cannot discern how much of this is due to the fact that I acquired my disability as a pre-teen, and how much can be attributed to the general lack of awareness of accessibility problems and solutions on behalf of the able-bodied and non-disabled population. Either way, I now notice elements on all levels of infrastructure – both in the physical and the digital world – that are deeply problematic. I always return to the example of the MTA’s new, ‘modern,’ leaning bars, which are hostile to the elderly, the disabled, and the homeless. Only the latter of these populations were being directly targeted, yet the leaning bars acted to the detriment of many more citizens.

 

What might be a mere inconvenience to some can become an insurmountable barrier to others. Inaccessible subway stations with levels and levels of stairs might not do much more than briefly wind the able-bodied, but to a mother with a stroller, or a person in a wheelchair, it takes the ‘public’ out of public transportation.

 

We all struggle in our own ways. It is part of the human experience. But how can we be fully human, if all of us are not given a fair chance to overcome those struggles? How can we proclaim equality for all, when our neighbors and friends and family members and fellow human beings must face barriers that can be, at times, insurmountable – barriers we take for granted, and maybe grumble about; barriers we should be rethinking and re-envisioning and redesigning.

 

Change is inevitable, absolutely, and is predictable to a certain degree, but it’s up to us to ensure it is beneficial for all of us – that every adult might benefit, and that every child might grow up in a brighter future. It is not mere logic that demands this; it is something stronger – empathy. It is only through our empathy for all people that we, too, are rendered fully, completely, vibrantly human. I want to be part of a world where walls are torn down, and barriers are dismantled, piece by piece, so that we may, all of us, emerge, triumphant, into a better future.

 

Ultimately, I want our website to reflect that vision.

Modeling Value in the Anthropocene | Outreach & Social Media Plan

 

Modeling Value in the Anthropocene | Outreach & Social Media Plan

Considering the esoteric nature of Bernard Stiegler’s work in addition to the niche branch of natural language processing that is word embedding, Modeling Value in the Anthropocene intends to engage with scholars from both fields through its unique use of computational tools applied to the world of philosophy. Though our project will likely resonate most with those working closely with the theoretical and technical approaches found in Modeling Value in the Anthropocene, it is our hope that through our findings we are able to capture a broader scope of attention including that of students of philosophy, digital humanist developers and researchers, and recreational readers of theory.

Intended Audience

As noted above, our intended audience is primarily scholars familiar with the work of Bernard Stiegler and students of the digital humanities. However, due to our belief that Stiegler’s work is an invaluable contribution to philosophically navigating the Capitalocene, it is our hope that broader audiences can be reached, given the time, through a variety of “popularized” outreach approaches to be detailed below.

In addition to this, we also intend to reach out to the Internation Collective, which operates as an international body of transdisciplinary researchers concerned with the questions and objectives opened up and pursued by Bernard Stiegler until his passing. As far as we know, there is no one in this group, nor anyone in surrounding orbits who is undertaking these questions and objectives utilizing distant reading methods. We find the work we are engaging with to be important to this potential audience because this kind of research is related to that which Stiegler called for through the utilization of computational tools to generate new knowledges.

Online Presence

For the time being, our online presence will predominantly consist of a website landing page hosted on the CUNY Academic Commons that details our approach, processes, and findings. Ideally, this will also provide some initiatory information giving those who visit our site a brief and digestible introduction to Bernard Stiegler’s philosophy, publications, and biography, along with additional resources for further reading and analysis. This might come to exist as the “NeganthropoZine” detailed below.

If given the time, we also intend on presenting our project as a model and template for other philosophical inquiries explored through word2vec analysis, with the hope of fostering a community of scholars operating similarly across multiple disciplines.

Social Media

Given that this type of project doesn’t lend itself to a conventional social media profile, we intend on reaching out to a variety of popular philosophy and theory YouTube channels (PlasticPills, Epoch Philosophy, etc.), podcasts (Acid Horizon, New Books Network’s New Work in the Digital Humanities, etc.), and blogs (such as Sam Kinsley’s Spatial Machinations) in order to establish a “social network” of contacts with the hope of working in some collaborative capacity to promote both Stiegler’s work and our project’s findings. This could result in anything from participating in a discussion-based podcast episode with other scholars to jointly producing a blog post or article exploring Stiegler’s Nanjing Lectures through the context of our project, opening up unknown but exciting potentials for the breadth of our project’s reach.

Scholarly Engagement

Though the results are impossible to anticipate, we intend on reaching out to Bernard Stiegler’s longtime associate and translator, Daniel Ross, as well as the author of The Thought of Bernard Stiegler: Capitalism, Technology, and the Politics of Spirit, Ross Abbinnett. Each is a leading figure amongst the small collection of English speaking Stieglerian scholars and have been recently willing to participate in modest, up-and-coming podcasts (such as Daniel Ross’s recent appearance on the Life from Plato’s Cave podcast and Ross Abbinnett’s discussion on a Geomedia Karlstad episode in 2019) so we are hopeful that a brief discussion with either of these scholars is not an impossibility. This, of course, comes in conjunction with our aforementioned outreach to the Internation Collective.

Additionally, we plan on contacting Open Humanities Press, the international open access publishing initiative that published many of Stiegler’s works before his passing, to discuss the possibility of submitting our findings as a journal proposal for future development.

Non-Scholarly Engagement

In an effort to breathe life into the typically dry nature of academic text, there is a strong possibility that both Stiegler t-shirts and a “Neganthropocene Zine” will be created to facilitate further outreach. The shirt, likely embellished with a quote and topical digital illustrations, will come equipped with a scannable QR code that acts to quickly link those curious to our project’s landing page. The “NeganthropoZine” will act as a concise, printable pamphlet for those unfamiliar with Bernard Stiegler’s work, allowing key terms and concepts to be elucidated so that those interested in our project are provided a digestible resource detailing its theoretical framework.

 

Group Outreach/Social Media Plan – Mainframe Project

Love at the Mainframe, date unspecified

Audience:

The project aims to develop a historical collection of catalogues, magazines, photographs, print advertisements, illustrations, and manuscripts documenting the history of computers as a cultural reference. Coming from CUNY, a public institution that values accessibility of education, we strive to make the collection accessible to anyone, from professional researchers to those with a more casual interest in computer history. It aims to be a resource for technologists, media ecologists, archivists, designers, and artists alike.

Computers have made a position in media, culture, the work place, etc. One way to examine impact is through brochures and advertising materials companies have produced to promote their products. It represents the culmination of a companies work, from the design and development of the products to marketing and promotion of the brand, and how this process has changed over time.

Social Media Strategy:

We will create Instagram and Twitter accounts to use these platforms for promotion and build relationships with the audiences and share content. The social media manager will post at least one photo per day on Instagram. Because Instagrams algorithm is complicated, the times of the Instagram posts will be crucial. According to an articles posted on statusbrew.com, the best times to post on Instagram are between 10AM & 3PM, ideally either before work, during lunch, & after work with the context that most users work 9-5 and on weekdays. For Twitter, the best time to post is at 9AM all days of the week. Tweeting during happy hours at 5PM and 6PM garners high engagement, as people just get off their work and check their feeds. Although tweeting may reduced to one to two tweets per week.

To maintain user engagement, the website as well as Instagram will be able to accept submissions from users who wish to share their own documents, images, photographs that they believe is engaging and note worthy. Contributors can include graduate students, curators, archivists, or technology enthusiasts.

The ideal tone on our platforms will be casual, but also educational.

Because we are using Wax, we want to try to promote our archive in their examples, and potentially post about our existence in the code4lib slack channel, twitter, etc.

Communication and Website:

We will promote the project with a foundation that includes a completed basic: landing page, about page, Brows Collections, Resources, and a process blog which recaps our research processes and significant images we particularly liked. The blog may be construed into a zine in PDF format for users to browse through.

Visual Identity & Logo:

A logo is still in the process of being created.

Group Outreach and SoMe Plan – Community Gardens

Audience

Our project “Welcome to the digital garden” wishes to explore and engage an audience in community gardens by digital means. By mapping different data we are creating first hand visuals for the user who wishes to explore what a community garden is in New York City by bringing in different perspectives. Furthermore we are opening up the possibility to explore and interact by asking questions and crossing different datasets. We wish to aim the project towards the people who are engaged in community gardens and want to learn more about them on a broader scale through a digital humanities perspective, both to highlight strength and weakness in the work being done across New York City. When considering our intended audience we found it important to analyze who could potentially benefit and be interested in our project. There could be many different actors in the field of community gardens since we are exploring different aspects of them. It could be on a political, educational and academic level. However, to narrow down the scope of who we wish to target specifically we believe we would be most helpful and relevant to those already engaged in community garden work. This accounts for organizations and academics as well. In other words we are targeting volunteers, coordinators and scholars who wish to strengthen the effort done around community garden work.

Communication channels and tone

Through the project we will get a better understanding of the intended audience and their needs and resources, but our main communication will be online through our website and outreach channels. We are additionally gonna present our project to the gardens who we are in contact with through our small ethnographic research. To understand our audience’s use of SoMe we mapped out what platforms the “official” gardens use (not volunteers). Few of them have a website and twitter but most have a facebook and/or an instagram, albeit with little activity

With our project we wish to create a website that is informative whilst showing different important perspectives. The tone for communicating will be educational, inspiring and enlightening. We hope to create a trust in our work that is legit and worth considering and exploring further. Therefore our main choice of social media is twitter. This for two main reasons. Firstly twitter corresponds with our wish for communication between different individuals and communities. The comment section on Twitter encourages discourse within those who find the tweet engrossing. We hope through this outlet those who are interested in community gardening will find a way to link and connect with those already involved or are looking to be involved. Furthermore, the weblink tweeted on our profile should ideally lead to more traffic on our website through likes and shares. In addition we are also considering starting a Facebook page. In many cases it works well for communities of shared interest in groups, which could become relevant for us to share our work. However this will only happen if our research shows us that our audience uses the platform actively.

Social media strategy

One of our goals with this project is to create awareness about community gardens and therefore we will be working on social media alongside our project. The main purpose of our twitter will be to get people to visit our website and engage with the content. We will share the responsibility of posting and engaging with our twitter accounts, so one person is in charge each week. Firstly we will follow relevant people and organizations in the field of community gardens, secondly we will develop content that will revolve around topics directly related to our project. Our content will be news and research shared from others, our own findings and perspectives and lastly a more personal approach with updates on our progress concerning the website. Each post will include a link to our website and we will use different relevant hashtags together with tagging different organizations. Since our audience is a specific group of interested people we don’t aim for a lot of followers or a lot of engagement in our posts but we are hoping to reach at least some people working with community gardens to visit our social media accounts and site.

Website and outreach

Our final product is a website so we will not be working on an additional one as a promotion site. Instead our twitter account will serve as our means of communicating the progress of our website. We will test it before launching and get a review from outside individuals before making final adjustments. After the website is done we will share it and publish in relevant networks to spread the word.

Sounds of Music: Outreach and Social Media Plan

General Goals

The Sounds of Music pilot program seeks to forge connections through music between elderly, homebound individuals in the NYC metropolitan area. 

The Sounds of Music Accessibility Toolkit and Workshop are being constructed with the goal of facilitating the creation of music enrichment programs in schools, daycares, nursing homes, permanent care facilities, rehabilitation facilities, prisons, hospitals, and other public and private settings.*

* We do not claim in any way, shape, or form to be experts in the field of musicology, music therapy, music medicine, or cognitive behavioral therapy. We merely wish to provide a framework for the creation of music enrichment experiences for a wide variety of populations and audiences. We expect that institutional settings will implement their own best practices in the creation of any program they generate and organize for their patrons to enjoy. 

Audiences

Our audience is two-fold. We hope to reach elderly, homebound, and handicapped populations with our pilot program. With our workshop and toolkit, we wish to reach out to different institutions in order to provide a method for anyone to create music enrichment programs for a wide variety of populations. 

Our Values/Voice

Music connects people on a physical, emotional, and spiritual level. Music is deeply, fundamentally human. We believe that music has the ability to move people, both literally and metaphorically. Music connects us to our community and cultural roots, and empowers individuals who create it and listen to it. The bond formed between the musician and the listener is a vital component of what makes a live, synchronous music experience so compelling. 

We believe that music can connect people in new, exciting ways. We wish to bring this form of connectivity to homebound, elderly populations in the NYC metropolitan area in an accessible, easy-to-navigate manner. 

Our values are reflected both on our website and in our program. We believe in accessibility for all, and have created an accessible website that allows users to toggle between high-contrast, grey-scale, and large-font modes. We are investing time in researching how to make our pilot program accessible to those with visual, auditory, or motor-skill impairments. 

Our values are self-evident in our workshop and toolkit, which provides accessibility resources for anyone creating a music enrichment program. We will also include troubleshooting and latency solutions.

Website and Logo

The Sounds of Music Website

Sounds of Music Logo


Social Media Strategies

We plan on creating a Facebook page for our project, where we will disseminate the information we find and the research we have done. 

We plan to update our Facebook once a week for the duration of the project. Facebook will serve as a platform for building our audience, creating new content related to the Sounds of Music, and making important public announcements. 

Communication Strategies

We wish to establish contact with community groups for the elderly, including but not limited to organizations that work with the elderly and the disabled, libraries, and nursing homes. 

We will also keep in touch with and expand our audience through digital flyers and content that will be shared through social media. 

We plan on creating a LinkTree to post to our website and social media platforms in order to direct potential audience members to our social media presence. 

We also plan on disseminating materials about our project on LinkedIn. Additionally, we anticipate performing Search Engine Optimization (SEO) on our website and each post therein.

Community Initiatives

In addition to updating and maintaining our webpage and or Facebook profile, we plan to explore a word-of-mouth strategy. We plan to start that by exploring three potential links to organizations that work with elderly populations:

Personal Blog Connie Cordon 03/08

Visualizing Poetry With 1960s Computer Graphics’ by Stan VanDerBeek and Ken Knowlton

While working with a large selection of images, it was important for me to keep track of the source and the year it was published, as well as having shared access with members of the team. For larger PDFs of files, such as magazines that had 300 pages, I’d save the PDF to my hard drive, and select pages that I’d want to convert to JPGs in order to upload to the Dropbox.Something that I was actually looking forward to was searching physical archives, since scrolling on my laptop can be a bit daunting for hours and hours. Having 14 tabs open and re-clicking links I thought I hadn’t open before gets overwhelming, and the idea of diving into a web of endless images online was overwhelming.

The problem with digital archives is that most are directories to physical archives at the specific library, and the few available digitized collections only represent a fraction of what are at physical archives. In order to keep track of all the digital archives I’ve found, I’d compile a list on Notion where it was tagged as Digital Archive, Physical Archive, Website, Podcast, Book, Video, and References (a website referencing online archives to be used). I included the date in which it was added, title, a link, who added it, and a brief description of the source. The more I kept track of archives I had already searched, the more manageable it became. Before, I’d found myself clicking the link over and over again searching for the same key word in hopes of finding something I had missed the last time. By checking off archives that did not provide results and describing why they were useless, it gave a sense of accomplishment, in that I could cross something off a list and move on.

The past week I generally had a hard time narrowing the scope of our project. It seemed to go in a several directions, when it first started off with the history of mainframe computers, emphasizing on how people interacted with machines and how it has affected us as a society. I then had ideas about digital dark ages– in which there is a lack of historical information in the digital age as a direct result of outdated formats, software, or hardware that becomes corrupt, scarce, or inaccessible as technologies evolve and data decay. What would happen if we, as a species, lost access to our electronic records? What if we could no longer access important documents, scientific data, or treasured family photos?

With more research, I discovered that the Museum of Moving Image had an exhibition called “Computer Films of the 1960s“, a 37-minute reel of psychedelic films. Organized by guest curators Leo Goldsmith and Gregory Zinman; it features work of Stan VanDerBeek, Kenneth Knowlton, A. Michael Noll, and John and James Whitney, among others. In the 1960s, computer programmers at IBM, the MIT, and other research labs experimented with computer-generated films. It highlights the interrelationship of science and art, and the collaboration between artists and engineers. These abstract films are usually about new ways of seeing and new forms of sensory engagement with cinema and the world.

I then discovered Radical Software, a journal cofounded by Beryl Korot in 1970 in NYC. It emphasized the relationship between power and control of information, and the importance of freeing television from corporate control. It was also a call to encourage grassroots involvement in creating an information environment exclusive of broadcast and corporate media.

Radical Software Volume 1 1970 Cover Page

In the magazine’s first issue, it states: “Our species will survive neither by totally rejecting nor unconditionally embracing technology—but by humanizing it: by allowing people access to the informational tools they need to shape and reassert control over their lives.” 

Mainframe project data management plan

grace_seated

Grace Hooper seated at a mainframe. angle=60,lower_threshold=0.2,upper_threshold=1.0

Types of data

The types of data present as a part of the Mainframe: Past-Present project will consist primarily of images and text. Images will be stored as JPEGs while text will be rendered from markdown. We may have video content embedded in the website, which would be stored on a publicly accessible Vimeo collection. Adobe Photoshop, After Effects, hex editors, and software libraries like pixelsort and glitch-this will be used in deformance of original archival content. During archival material collection, Dropbox will be used to share images from archives and magazines. All images and writing will hosted on a publicly visible Github repository, which will be mirrored on GitLab for backup/redundancy, and an alternative hosting platform.

Standards for documentation & metadata

Deformance process will be documented as a part of the website content. Both Wax and CollectionBuilder are informed by FAIR Principles for Library, Archive and Museum Collections. Images will follow the naming convention of description_source_year or source_volume_edition_page#_year. Directory structure and location for images and texts are prescribed by the frameworks mentioned above, which we will follow absent any argument for changing those defaults. Metadata for the collection will be available to browse on the website, and will be downloaded as a csv.

Data reuse, accessibility, sharing

Images, text, and website code will be shared in git repository hosting sites Github and GitLab, and available for cloning and forking via git. Original archival images and deformanced versions will be available for download from a web browser or via the git repo. If video content is provided in the archive, instructions for using youtube-dl will be written and available. Due to the experimental nature of this project, reuse is permissible under the FreeBSD license.

Preservation & long term access

Mainframes: Past-Present will be available on both Github and GitLab, where hosting is free. In the event that we don’t have funding for a domain name, the archives will still be accessible. If desirable, we will create a BagIt bag for the project with bagit-python to be stored at the CUNY’s Mina Rees Library.