Introduction to Digitization
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Critical Editions and the Promise of the Digital: the Evelopmed Nt and Limitations of Markup
Portland State University PDXScholar Book Publishing Final Research Paper English 5-2015 Critical Editions and the Promise of the Digital: The evelopmeD nt and Limitations of Markup Alexandra Haehnert Portland State University Let us know how access to this document benefits ouy . Follow this and additional works at: https://pdxscholar.library.pdx.edu/eng_bookpubpaper Part of the English Language and Literature Commons Recommended Citation Haehnert, Alexandra, "Critical Editions and the Promise of the Digital: The eD velopment and Limitations of Markup" (2015). Book Publishing Final Research Paper. 1. https://pdxscholar.library.pdx.edu/eng_bookpubpaper/1 This Paper is brought to you for free and open access. It has been accepted for inclusion in Book Publishing Final Research Paper by an authorized administrator of PDXScholar. For more information, please contact [email protected]. Critical Editions and the Promise of the Digital: The Development and Limitations of Markup Alexandra Haehnert Paper submitted in partial fulfillment of the requirements for the degree of Master of Science in Writing: Book Publishing. Department of English, Portland State University. Portland, Oregon, 13 May 2015. Reading Committee Dr. Per Henningsgaard Abbey Gaterud Adam O’Connor Rodriguez Critical Editions and the Promise of the Digital: The Development and Limitations of Markup1 Contents Introduction 3 The Promise of the Digital 3 Realizing the Promise of the Digital—with Markup 5 Computers in Editorial Projects Before the Widespread Adoption of Markup 7 The Development of Markup 8 The Text Encoding Initiative 9 Criticism of Generalized Markup 11 Coda: The State of the Digital Critical Edition 14 Conclusion 15 Works Cited i 1 The research question addressed in this paper that was approved by the reading committee on April 28, 2015, is “How has semantic markup evolved to facilitate the creation of digital critical editions, and how close has this evolution in semantic markup brought us to realizing Charles L. -
Digitization for Beginners Handout
DIGITIZATION FOR BEGINNERS SimpleScan Station Scans photos and documents to USB and email Extremely easy to use Located at the Second Floor and Kids department Copy time: Approximately 5 seconds per page Vinyl to MP3 Located in the Creative Studio Room B Copy time: Length of Record Cassette to MP3 Located in the Creative Studio Room B More difficult to use Copy time: Length of Cassette VHS to DVD Located in the computer commons area Three check-out converters available for home use Copy time: Length of VHS DVD to DVD Located near the copiers Extremely easy to use Cannot copy copyrighted DVDs Copy time: -2 7 min Negative/Slide Scanner Located at Creative Studio Copy time: a few seconds per slide/negative 125 S. Prospect Avenue, Elmhurst, IL 60126 Start Using Computers, (630) 279-8696 ● elmhurstpubliclibrary.org Tablets, and Internet SCANNING BASICS BookScan Station Easy-to-use touch screen; 11 x 17 scan bed Scan pictures, documents, books to: USB, FAX, Email, Smart Phone/Tablet or GoogleDrive (all but FAX are free*). Save scans as: PDF, Searchable PDF, Word Doc, TIFF, JPEG Color, Grayscale, Black and White Standard or High Quality Resolution 5 MB limit on email *FAX your scan for a flat rate: $1 Domestic/$5 International Flat-Bed Scanner Available in public computer area and Creative Studios Control settings with provided graphics software Scan documents, books, pictures, negatives and slides Save as PDF, JPEG, TIFF and other format Online Help – files.support.epson.com/htmldocs/prv3ph/ prv3phug/index.htm Copiers Available on Second Floor and Kid’s Library Scans photos and documents to USB Saves as PDF, Tiff, or JPEG Great for multi-page documents 125 S. -
Video Digitization and Editing: an Overview of the Process
DESIDOC Bulletin of Information Technology , Vol. 22, No. 4 & 5, July & September 2002, pp. 3-8 © 2002, DESIDOC Video Digitization and Editing: An Overview of the Process Vinod Kumari Sharma, RK Bhatnagar & Dipti Arora Abstract Digitizing video is a complex process. Many factors affect the quality of the resulting digital video, including: quality of source video (recording equipment, video formats, lighting, etc.), equipment used for digitization, and application(s) used for editing and compressing digital movies. In this article, an attempt is made to outline the various steps taken for video digitization followed by the basic infrastructure required to create such facility in-house. 1. INTRODUCTION 2. ADVANTAGES OF DIGITIZATION Technology never stops from moving A digital video movie consists of a number forward and improving. The future of media is of still pictures ordered sequentially one after constantly moving towards the digital world. another (like analogue video). The quality and Digital environment is becoming an integral playback of a digital video are influenced by a part of our life. Media archival; analogue number of factors, including the number of audio/video recordings, print media, pictures (or frames per second) contained in photography, microphotography, etc. are the video, the degree of change between slowly but steadily transforming into digital video frames, and the size of the video frame, formats and available in the form of audio etc. The digitization process, at various CDs, VCDs, DVDs, etc. Besides the stages, generally provides a number of numerous advantages of digital over parameters that allow one to manipulate analogue form, the main advantage is that various aspects of the video in order to gain digital media is user friendly in handling and the highest quality possible. -
Information Literacy and the Future of Digital Information Services at the University of Jos Library Vicki Lawal [email protected]
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Library Philosophy and Practice (e-journal) Libraries at University of Nebraska-Lincoln Winter 11-11-2017 Information Literacy and the Future of Digital Information Services at the University of Jos Library Vicki Lawal [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/libphilprac Part of the Collection Development and Management Commons, and the Information Literacy Commons Lawal, Vicki, "Information Literacy and the Future of Digital Information Services at the University of Jos Library" (2017). Library Philosophy and Practice (e-journal). 1674. https://digitalcommons.unl.edu/libphilprac/1674 Table of contents 1. Introduction 1.1 Information Literacy (IL): Definition and context 1.2. IL and the current digital environment 2. University of Jos Library: Digital context 2.1. Literature review 3. Research design and methodology 3.1. Data presentation 3.2. Discussion of findings 4. Conclusion and recommendations 1 Information Literacy and the Future of Digital Information Services at the University of Jos Library Abstract This paper highlights current developments in digital information resources at the University of Jos Library. It examines some of the new opportunities and challenges in digital information services presented by the changing context with respect to Information Literacy and the need for digital information literacy skills training. A case study method was employed for the study; data was collected through the administration of structured questionnaires to the study population. Findings from the study provide relevant policy considerations in digital Information Literacy practices for academic libraries in Nigeria who are going digital in their services. -
The Broadcast Flag: Compatible with Copyright Law & Incompatible with Digital Media Consumers
607 THE BROADCAST FLAG: COMPATIBLE WITH COPYRIGHT LAW & INCOMPATIBLE WITH DIGITAL MEDIA CONSUMERS ANDREW W. BAGLEY* & JUSTIN S. BROWN** I. INTRODUCTION Is it illegal to make a high-quality recording of your favorite TV show using your Sony digital video recorder with your Panasonic TV, which you then edit on your Dell computer for use on your Apple iPod? Of course it’s legal, but is it possible to use devices from multiple brands together to accomplish your digital media goal? Yes, well, at least for now. What if the scenario involved high-definition television (“HDTV”) devices? Would the answers be as clear? Not as long as digital-content protection schemes like the Broadcast Flag are implemented. Digital media and Internet connectivity have revolutionized consumer entertainment experiences by offering high-quality portable content.1 Yet these attractive formats also are fueling a copyright infringement onslaught through a proliferation of unauthorized Internet piracy via peer-to-peer (“P2P”) networks.2 As a result, lawmakers,3 administrative agencies,4 and courts5 are confronted * Candidate for J.D., University of Miami School of Law, 2009; M.A. Mass Communication, University of Florida, 2006; B.A. Political Science, University of Florida, 2005; B.S. Public Relations, University of Florida, 2005 ** Assistant Professor of Telecommunication, University of Florida; Ph.D. Mass Communica- tions, The Pennsylvania State University, 2001 1 Andrew Keen, Web 2.0: The Second Generation of the Internet has Arrived. It's Worse Than You Think, WEEKLY STANDARD, Feb. 13, 2006, http://www.weeklystandard.com/ Con- tent/Public/Articles/000/000/006/714fjczq.asp (last visited Jan. -
Digitization Procedure (Video Tapes) 1. Connection. 2. Create New Project with Imovie 3. Import Contents from the Tape to Imovi
Digitization Procedure (video tapes) 1. Connection. Connect video player to the magical box, the magical box to the computer. (It should be connected when you start working on it.) 2. Create new project with iMovie Open iMovie, click FILE – NEW PROJECT, name the project, and select where you want to save it. The default is HD-BAYLOR-MOVIES but since the space of this HD is running out, you have to change it to the BACKUP HD. Then click ok. Note: When iMovie starts, it is under IMPORT mode and therefore there is an IMPORT button. When you start editing the clips, it changes to EDIT mode. If you want to continue to import from videotape after editing clips, you have to switch the EDIT mode back to IMPORT mode so that the IMPORT button reappears. The switch is to the left of the REWIND button. 3. Import contents from the tape to iMovie Play the video and click IMPORT on the iMovie screen. If you can’t find the IMPORT button, it is because the program is under EDIT mode. Switch to IMPORT mode. 4. Where those clips go When digitizing, all the clips will be put on the panes to the right of the screen. Each clip is no more than 10 minutes long and iMovie automatically create a new clip next to the previous one when it reaches the time limit. All the clips are organized chronologically; so you don’t have to rearrange them. 5. What to do when the tape is over or you want to take a break Stop the VCR first when it is over or when you want to take a break from the project; stop importing to iMovie by clicking the button with a square under the IMPORT button. -
Syllabus FREN379 Winter 2020
Department of French and Italian Studies University of Washington Winter 2020 FRENCH 379 Eighteenth-Century France Through Digital Archives and Tools Tues, Thurs 1:30-3:20 Denny 159 Geoffrey Turnovsky ([email protected]) Padelford C-255; 685-1618 Office Hours: M 1-3pm and by appointment Description. The last decade or two has witnessed a huge migration of texts and data onto digital platforms, where they can be accessed, in many cases, by anyone anywhere. This is a terrific benefit to students and teachers alike, who otherwise wouldn't be able to consult these materials; and it has transformed the kind of work and research we can do in the French program and in the Humanities. We can now discover obscure, archival documents which we would never have been able to find in the past. And we can look at classic works in their original forms, rather than in contemporary re-editions that often change and modernize the works. Yet this ease of access brings challenges: to locate these resources on the web, to assess their quality and reliability, and to understand how to use them, as primary sources and “data”, and as new research technologies. The PDF of a first edition downloaded through Google Books certainly looks like the historical printed book it reproduces; but it is not that printed book. It is a particular image of one copy of it, created under certain conditions and it can be a mistake to forget the difference. In this course, we'll explore a variety of digital archives, databases and tools that are useful for studying French cultural history. -
Teaching Process Writing Using Computers for Intermediate Students
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 1997 Teaching process writing using computers for intermediate students Darci Jo Slocum Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Instructional Media Design Commons Recommended Citation Slocum, Darci Jo, "Teaching process writing using computers for intermediate students" (1997). Theses Digitization Project. 1373. https://scholarworks.lib.csusb.edu/etd-project/1373 This Project is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. TEACHINGPROCESS WRITING USINGCOMPUTERS FORINTERMEDIATE STUDENTS A Project Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment ofthe Requirements for the Degree Master ofArts in Education by Darci Jo Slocum September 1997 Calif. State University, San Bernardino Librarv TEACHING PROCESS WRITING USING COMPUTERS FOR INTERMEDIATE STUDENTS A Project Presented to the Faculty of California State University, San Bernardino by Darci Jo Slocum September 1997 Approved by: r ]V|ary^ ^mllings. First Read^ 'Date Dr. Rd'wena Santiago, Second Reader C»W. State Uafvetaltx. San S.rnartlino LFbrar ABSTRACT Statement ofthe Problem The purpose ofthis project wasto demonstrate the importance ofwriting to learning and how computers can help elementary teachers effectively teach writing. Basic writing skills are not being met in the majority oftoday's schools. The ability to write well is vital in our society. So too is the use oftechnology. -
Strategies for Building Digitized Collections
Strategies for Building Digitized Collections by Abby Smith September 2001 Digital Library Federation Council on Library and Information Resources Washington, D.C. ii About the Author Abby Smith is director of programs at the Council on Library and Information Resources (CLIR). She is responsible for developing and managing collaboration with key library and archival institutions to ensure long-term access to our cultural and scholarly heritage. Before joining CLIR in 1997, she had worked at the Library of Congress for nine years, first as a consultant to the special collections research divisions, then as coordinator of several cultural and academic programs in the offices of the Librarian of Congress and the Associate Librarian for Library Services. She directed a preservation microfilming program in the former Soviet Union, curated three exhibitions of Russian library and archival treasures from the former Soviet Union, and was curator and project director for the library’s first-ever permanent exhibition of its holdings, Treasures of the Library of Congress. ISBN 1-887334-87-4 Published by: Digital Library Federation Council on Library and Information Resources 1755 Massachusetts Avenue, NW, Suite 500 Washington, DC 20036 Web site at http://www.clir.org Additional copies are available for $20 per copy. Orders must be placed online through CLIR’s Web site. 8 The paper in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials ANSI Z39.48-1984. Copyright 2001 by the Council on Library and Information Resources. No part of this publication may be reproduced or transcribed in any form without permission of the publisher. -
The New Media Technologies: Overview and Research Framework
THE NEW MEDIA TECHNOLOGIES: OVERVIEW AND RESEARCH FRAMEWORK Linda Weiser Friedman Professor, Department of Statistics & Computer Information Systems Baruch College and the Graduate Center of the City University of New York [email protected] Hershey H. Friedman Professor of Marketing and Director of Business Programs Department of Economics Brooklyn College of the City University of New York [email protected] April 2008 THE NEW MEDIA TECHNOLOGIES: OVERVIEW AND RESEARCH FRAMEWORK ABSTRACT The so-called new media technologies – often referred to as Web 2.0 – encompass a wide variety of web-related communication technologies, such as blogs, wikis, online social networking, virtual worlds and other social media forms. First, we present several views or perspectives that may be used to answer the question, "what is new media?" Then we examine and review five critical characteristics of the new media technolgies – the Five C's: communication, collaboration, community, creativity, and convergence. Finally, we look at some of the uses and applications of new media in a selection of disciplines. This overview provides a much needed framework for scholars and educators who wish to learn from and contribute to this field of study. INTRODUCTION There has been much written in the trade and popular press –and quite a bit in scholarly publications – about specific new media technologies and their use in business (see, e.g., Manyika 2007) and in other arenas. The so-called new media technologies – often referred to as Web 2.0 – encompass a wide variety of web-related communication technologies, such as blogs, wikis, online social networking, virtual worlds and other social media forms. -
History of the Early Days of Ampex Corporation
PAPER History of The Early Days of Ampex Corporation As recalled by JOHN LESLIE and ROSS SNYDER Alexander M. Poniatoff founded Ampex in 1944, primarily to manufacture small motors and generators for military applications. When WWII ended, the military contracts dropped off, and Alex had to search for a new line of business to continue his company’s existence. He and his small group of engineers heard a demonstration of a Magnetophon, a German magnetic tape recorder used by Hitler during WWII. The demonstration quickly convinced Alex to redirect his company and soon it was designing and manufacturing professional-quality magnetic tape recorders. Bing Crosby was a great help in Ampex’s early years. The company grew quickly and, within a short time, dominated the magnetic tape recorder market in radio, television, the record industry, and industrial and military markets for instrumentation recorders . Alex was born in Russia in 1892. His father was well-to- 0 INTRODUCTION do, and sent Alex to Germany for an education in engineering. After college, he returned to Russia only to see his country It has been amazing how many people today are asking become engaged in a civil war. Alex escaped to China, where questions about Ampex and the Company’s contribution to the he went to work for the Shanghai Power Company. He music recording industry, the radio and television broadcast immigrated to the United States in 1927 where he worked for industry and the stereophonic home entertainment field. There General Electric, Pacific Gas & Electric, and the Dalmo Victor is no question that Ampex was a major factor in each of these Corporation in San Carlos, California. -
Strategic Maneuvering and Mass-Market Dynamics: the Triumph of VHS Over Beta
Strategic Maneuvering and Mass-Market Dynamics: The Triumph of VHS Over Beta Michael A. Cusumano, Yiorgos Mylonadis, and Richard S. Rosenbloom Draft: March 25, 1991 WP# BPS-3266-91 ABSTRACT This article deals with the diffusion and standardization rivalry between two similar but incompatible formats for home VCRs (video- cassette recorders): the Betamax, introduced in 1975 by the Sony Corporation, and the VHS (Video Home System), introduced in 1976 by the Victor Company of Japan (Japan Victor or JVC) and then supported by JVC's parent company, Matsushita Electric, as well as the majority of other distributors in Japan, the United States, and Europe. Despite being first to the home market with a viable product, accounting for the majority of VCR production during 1975-1977, and enjoying steadily increasing sales until 1985, the Beta format fell behind theVHS in market share during 1978 and declined thereafter. By the end of the 1980s, Sony and its partners had ceased producing Beta models. This study analyzes the key events and actions that make up the history of this rivalry while examining the context -- a mass consumer market with a dynamic standardization process subject to "bandwagon" effects that took years to unfold and were largely shaped by the strategic maneuvering of the VHS producers. INTRODUCTION The emergence of a new large-scale industry (or segment of one) poses daunting strategic challenges to innovators and potential entrants alike. Long-term competitive positions may be shaped by the initial moves made by rivals, especially in the development of markets subject to standardization contests and dynamic "bandwagon" effects among users or within channels of distribution.