How to Request a MARC Organization CodeMARC Code List for Organizations (Network Development and MARC Standards Office, Library of Congress) >> Go to MARC Organization Code Request Form NOW << Before making a request for a new code, search the MARC Organization Code database first to see if a code has already been assigned. CLICK HERE to go to the search interface. Complete the request form (link to form is below) for each separate organization for which MARC code is needed. The Library of Congress will assign a MARC organization code to any organization that needs one, regardless of size. The codes are used in union catalogs to identify holding libraries and in MARC records to relate a record or specific information in a record to an organization. Please provide as much of the information below as possible.
Cataloging Hidden Special Collections and Archives About the Program Libraries, archives, and cultural institutions hold millions of items that have never been adequately described. This represents a staggering volume of items of potentially substantive intellectual value that are unknown and inaccessible to scholars. The Council on Library and Information Resources administers this national effort with the generous support of The Andrew W. The primary criterion the review panel uses to evaluate projects is their potential national impact on scholarship and teaching. All nonconfidential information that applicants supply is made publicly available through CLIR's Hidden Collections Registry. Although the program does not provide funds for the creation of digital surrogates of cataloged materials, CLIR hopes that many funded projects will ultimately be enhanced with publicly accessible digitized versions of the newly cataloged collections. Join our Mailing List We occasionally send announcements and news about this program by e-mail.
You Say You Want a Resolution: How Much DPI/PPI is Too Much? Migrant Mother” by Dorothea Lange. Courtesy of the Library of Congress. Preserving digital stuff for the future is a weighty responsibility. With digital photos, for instance, would it be possible someday to generate perfectly sharp high-density, high-resolution photos from blurry or low-resolution digital originals? Probably not but who knows? The possibility invites the question: shouldn’t we save our digital photos at the highest resolution possible just in case? In our Library of Congress digital preservation resources we recommend 300 dpi/ppi for 4×8, 5×7 and 8×10 photos but why not 1000 dpi/ppi? Recently we received a comment at the Signal in response to a blog post in which the commenter expressed concerns about our ppi/dpi resolution recommendation. Barry Wheeler, one of the experts who responded, is a photographer, staff member of the Library of Congress and one of the digital photograph preservation researchers for the Federal Agencies Digitization Guidelines Initiative.
Interview with Rae Tyson, Artpark Visual Arts Coordinator, 1974-1978 | Art Spaces Archives Project Interviewer: Sandra Q. Firmin, Curator, UB Art Gallery Person Interviewed: Rae Tyson, Artpark Visual Arts Coordinator, 1974-1978 Preface The following oral history transcript is the result of a recorded interview with Rae Tyson on March 18, 2011. Rae Tyson and Sandra Q. This work is licensed under a Creative Commons Attribution-Noncommercial 3.0 Unported License. Interview SANDRA FIRMIN: This is an interview with Rae Tyson, conducted by Sandra Firmin, for Art Spaces Archives Project for the Center for Curatorial Studies at Bard College. RAE TYSON: I became involved in Artpark in the late spring of 1974, when I was contacted by then executive director, Dale McConathy, who asked me if I would be interested in joining the staff for Artpark, to help plan and coordinate and execute the outdoor programs. FIRMIN: And you were working at the Wilson— TYSON: I was a schoolteacher, taught science in Wilson Central School, which is a rural school district about fifteen miles from the Artpark site.
Metadata for all: Descriptive standards and metadata sharing across libraries, archives and museums | Elings Integrating digital content from libraries, archives and museums represents a persistent challenge. While the history of standards development is rife with examples of cross-community experimentation, in the end, libraries, archives and museums have developed parallel descriptive strategies for cataloguing the materials in their custody. Applying in particular data content standards by material type, and not by community affiliation, could lead to greater data interoperability within the cultural heritage community. In making this argument, the article demystifies metadata by defining and categorizing types of standards, provides a brief historical overview of the rise of descriptive standards in museums, libraries and archives, and considers the current tensions and ambitions in making descriptive practice more economic [1].
Legalities of Nonprofit Internships Dear Rita: Our nonprofit is getting inquiries from college students asking if we offer summer internships. I would love to have students assist us this summer, but we have no funds to pay them at regular employee wages. Do we have to pay interns? And if so, what is considered a legal stipend? Dear Worried: I've been barraged recently with people asking: Interns, to pay or not to pay, and how to do either one legally. When interns do not need to be paid minimum wage The Fair Labor Standards Act (FLSA) requires that an internship must satisfy all the following criteria to be exempt from the FLSA: 1. 2. 3. 4. 5. 6. If even one of these criteria is missing, you will need to follow the minimum wage and work standards set by your state. But as you can see from reading these criteria, it will be difficult for many nonprofits to have any workers that could satisfy all six criteria, especially criterion #4. But what about volunteer interns? The Department of Labor defines volunteerism
nestor - Standardisation Navigation and service Go to: Servicemeu Area Menu Standardisation Many technical standards have yet to crystallise in the relatively new field of digital preservation. nestor provides an overview of existing standards, bundles together standardisation activities and proposes new activities where required. Overview of current standards in digital preservation National standardisation To date, the nestor working groups have initiated three standardisation projects. The national standardisation takes place in the working group Records Management and Preservation of Digital Information Objects (NABD 15) in the DIN Standardisation Committee for Libraries and Documentation (NABD). nestor Last update: 30.3.2012 to the top This Page
Joan Mitchell Foundation » Artist Programs » Creating a Lasting Legacy Program Creating a Living Legacy (CALL) is a program of the Joan Mitchell Foundation that provides support to visual artists in creating, through organizing and inventorying, comprehensive documentation of their artworks and careers. In 2007 the Joan Mitchell Foundation began exploring new ways to support mature artists in the thorough documentation and preservation of a their legacy. During the initial pilot phase of CALL, we worked in-depth with four artists in this process: Mildred Howard, Elemore Morgan, Jr., Jaune Quick-To-See Smith, and Freddy Rodriguez. From what was learned during this in-depth work, the Foundation developed a range of tools for artists. The JMF CALL Database was created as a method of keeping accurate records. A workbook leads artists through the basics of creating their own comprehensive organizational system in their studios and archives.