The Charles W. Morgan is the world's last remaining wooden whaleship. Her unusually long career included 37 whaling voyages between 1841 and 1921. Over the past few years, she's received a full restoration by the skilled shipwrights at the Mystic Seaport Museum Shipyard, and is in the final stages of outfitting for her 38th voyage, an ambituous plan to make her seaworthy enough to sail her one final time and visit her original homeport of New Bedford, MA, along with many of the ports she frequented in her working days, before she returns to her permanent berth. Among the crew will be one stowaway, a crew member chosen via a selective process including a video application, who'll use video and social media to tell the stories of the voyage, the crew, the accompanying scholars and artists, and what it's like to make amends with whales.
Enter some text about your interests or research topic into the Serendip-O-Matic, and get an intriguing array of related images and primary sources from the Digital Public Library of America (DPLA), Europeana, and Flickr Commons. A One Week | One Tool project.
The George Eastman House is producing a series of nicely produced videos, each about 10 minutes long, demonstrating every major technological development in photographic process with guidance from historians, curators, and artists and illustrated by objects from their collection. There are more to come, but you can start now with The Dageurrotype, The Collodion Process, The Albumen Print, The Woodburytype, The Platium Print, and The Gelatin Silver Print.
Sometimes called the "Alan Lomaxes of India," the founders of Amarrass Records are on a mission to record and revitalize interest in traditional music from India, Turkey, and beyond. Over 100 videos on their YouTube channel chronicle their field recordings and festivals featuring artists like Lakha Khan, the Barmer Boys, Bombino, and many others. [more inside]
After Forbes magazine declared Dayton, OH, one of America's " fastest dying cities," a group of local media makers created Reinvention Stories. The interactive film/multimedia experience rolls out this month in three acts.
Makers: Women Who Make America is a sweeping 3-hour documentary of the movement for women's equality in the last half of the twentieth century. Airing this month on US public television, it's accompanied by an online archive of videos of interviews with individual women in leadership across a variety of fields. Leaders and activists, celebrities and pioneers, and everyday women retell the story of their awakening, organizing, and world-changing efforts.
"Its not like we all sat in silence and stared blankly at our TVs waiting for the Internet to show up. We have probably always had vernacular webs of communication." Digital studies scholar Robert Glenn Howard talks about vaccines, the Christian right [PDF], AC/DC guitar tutorials and other "born-digital folklore" on the "vernacular web."
The Perennial Plate: An American Food Trip is an online documentary series of short videos featuring "adventurous and sustainable eating" beginning in Minnesota and continuing around the US.
The Guggenheim Museum is claiming to be the first museum to begin issuing new exhibit catalogues as e-books for purchase. But even more exciting to the 20th century art history nerd, they've also partnered with the Internet Archive to offer free digitized versions of out-of-print catalogues going back to the 1930s. [more inside]
For more than forty years, Betty Debnam has been writing, illustrating, and publishing a newspaper for kids: The Mini Page. It's now fully archived online. [more inside]
"Broadside was a small underground magazine smuggled out of a New York City housing project in a baby carriage, filled with new songs by artists who were too creative for the folkies and too radical for the establishment." The entire back catalog of this influential magazine - which helped set the visual standard for underground zines until desktop publishing - is now avalable online, in PDF.
Museums build some pretty cool websites. To help people find them, use them, and give them props, the Museums and the Web conference has held an annual Best of the Web contest since 1997. This year's nominees are here. Just a sample: the MOMA on Bauhaus, the Center for New Media's Bracero History Archive, the Textile Museum of Canada's In Touch:Connecting Cloth, Culture, and Art, Perception Deception from The National Science and Technology Center of Australia, The Letters of Vincent Van Gogh from the Van Gogh Museum, the Smithsonian's Prehistoric Climate Change and Why it Matters Today, and more . If that doesn't wash out the remainder of your Friday, you can always dig into the past nominees.
Circuits are flipping on in the nation's attic. A couple of weeks ago, 31 "digerati" -- like Clay Shirky, Chris Anderson, and George Oates -- dropped in to the Smithsonian Institution for the invitation-only conference "Smithsonian 2.0: A Gathering to Re-imagine the Smithsonian in the Digital Age". Dan Cohen of the Center for History and New Media provides a great summary (and continues to pose provocative questions) on his own blog. Those whose invitations were somehow lost in the mail can play fly-on-the-wall by watching the keynotes, paging through the Flickr pool of envymaking glimpses of their behind-the-scenes lab and collections tours, reading the blog (where Bruce Wyman of the Denver Art Museum lays out a succinct road map for museums using social media), and poking around in the SI's website gallery. Want to cheer on the USA's favorite 163-year-old "Establishment for the increase & diffusion of knowledge" without taking the trip to DC? Thanks to their recent efforts, you can now follow the SI on Twitter, listen to its podcasts, watch its YouTube channel, visit the Latino Virtual Museum in Second Life, or use the FaceBook gifts page to send your best friends their very own pair of Dorothy's ruby slippers, Hope diamond, Negro Leagues baseball, or coelocanth.
The recent passing of Studs Terkel sparked a renewed interest in his interview projects, like Working, Race, and Hard Times. But Studs was not just a broadcaster who liked people; he was a practitioner of oral history, a method of gathering information about the past through preserving individual recollections. It's a subfield of history, with its own ethics, techniques, professional literature, uses, and limitations. Learn how to collect and share oral histories yourself, from interviewing to recording and getting clearances to preserving and disseminating. Oral histories have been preserved as text transcripts for decades; now digital media isreinvigorating the form, bringing new ease to recording and wider opportunities for the public to see and hear the content. Explore oral history projects on the web with stories of veterans, suffragists, Tibetans, jazz cats, Nevada nuclear test site witnesses, Basque Americans, rodeo cowboys and cowgirls, musicians, Katrina survivors, ACT UP activists, Cambodians under the Khmer Rouge, Native Americans, women whose lives were affected by the Pill, survivors of the Triangle Shirtwaist Factory fire,women in World War II, Hawai'ians, workers in Paterson, NJ....
Omeka is a newly available, open-source web platform, bringing good-looking, functional online exhibitry within reach of smaller museums, libraries, and arts groups. From the Center for History and New Media.
NPR's On The Media presents a short set of pieces about comments on news websites and the challenges of "digital democracy," with discussion from Ira Glass about responses to a show about teenage runaways, and New Republic editor and critic Lee Siegel, who posted anonymously to respond insultingly to comments on his own blog. And a Roanoke newspaper editor discusses how one paper sees the integration of comments into online news sites and whether it's a valuable reader service. [more inside]
Gravityland. Interactive Web TV series. Watch weekly episodes, respond, contribute. Read blog. Add moves to music video. Play Where in the world is Gravityland? Read comic book. Build FAQ. Somehow, it's all related, and all possibility. [more inside]