Video: Checking out Moffitt’s reimagined study spaces

Library social media interns Chadwick Bowlin and Rika Pokala survey the new study spaces on Moffitt floors four and five.

Event: Views of the women’s liberation, feminist movements of the 1970s, 1980s

A New Women's Symbol

A New Women’s Symbol, 1971, The Bancroft Library, BANC PIC 2012.054

Bancroft Library’s first Roundtable of the semester will take place in the Lewis-Latimer Room of The Faculty Club at noon on Thursday, February 16. Cathy Cade, documentary photographer, will present “Views of the Women’s Liberation and Feminist Movements of the 1970s and 1980s: Selections from the Cathy Cade Photograph Archive.”

Cade was introduced to the power of documentary photography as she participated in the Southern Freedom Movement of the 1960s. In the years that followed, she took an array of images that depict the women’s liberation movement, union women, trades women, lesbian feminism, lesbian mothering, lesbians of color, LGBT freedom days, fat activism, and the disability rights movement. Cade will speak of her personal experiences with social justice causes and the connections between these movements and communities. She will feature highlights drawn from her extensive photograph archive acquired by The Bancroft Library over the past several years.

Event details
Bancroft Roundtable
Thursday, February 16, noon
Lewis-Latimer Room, The Faculty Club
Presented by Cathy Cade, documentary photographer

Research Data Publishing & Licensing 101

LoveYourData Logo

Love Your Data Logo

Please join Science Data & Engineering Librarian Anna Sackmann and Scholarly Communication Officer Rachael Samberg for practical tips about why, where, and how to publish and license your research data.

This workshop will be held from 11 a.m.–12 p.m., Doe Library, Rm. 190 (BIDS) on February 16, 2017 as part of Love Your Data Week. Check out the reservation form!

Why Should We Care About Publishing Research Data?

Sharing research data promotes transparency, reproducibility, and progress. Indeed, it can spur new discoveries on a daily basis. It’s not atypical for geneticists, for example, to sequence by day and post research results the same evening—allowing others to begin using their datasets in nearly real time (see, for example, Pisani & AbouZahr’s paper about this data publishing cycle). The datasets researchers share can, in turn, inform business or regulatory policymaking, legislation, government or social services, and much more.

Publishing your research data can also increase the impact of your research, and with it, your scholarly profile. Depositing datasets in a repository makes them both visible and citable. You can include them in your CV and grant application biosketches. Conversely, scholars around the world can begin working with your data and crediting you. As a result, sharing detailed research data can be associated with increased citation rates (check out this Piwowar et al. study, among others).

Publishing your data may also be required. Federal funders (e.g. National Institutes of Health), grant agencies (e.g. Bill & Melinda Gates Foundation), and journal publishers (e.g. PLoS and other journals listed in this Open Access Directory) increasingly require that datasets be made publicly available to readers—often immediately upon associated article publication.

How Do We Publish Data?

Merely uploading your dataset to a personal or departmental website won’t achieve these aims of promoting knowledge and progress. Datasets should be able to link seamlessly to any research articles they support. Their metadata should be compatible with bibliographic management and citation systems (e.g. CrossRef or Ref Works), and be formatted for crawling by abstracting and indexing services. After all, you want to be able to find other people’s datasets, manage them in a your own reference manager, and cite them as appropriate. So, you’d want your own dataset to be positioned for the same discoverability and ease of use.

How can you achieve all this? It sounds daunting, but it’s actually pretty straightforward and simple. You’ll just want to select a data publishing tool or service that is built around both preservation and discoverability: It should offer you a stable location or DOI (which will provide a persistent link to your data’s location), help you create sufficient metadata to facilitate transparency and reproducibility, and optimize the metadata for search engines.

For instance, UC’s Dash tool is a terrific and easy-to-use solution that preserves and publishes your datasets. At the Feb. 16 workshop we’re hosting, you can learn more about how to prepare, describe, and upload your data for deposit and publishing with Dash and other tools.

We also recommend that, if your chosen publishing tool enables it, you should include your ORCID (a persistent digital identifier) with your datasets just like with all your other research. This way, your research and scholarly output will be collocated in one place, and it will become easier for others to discover and credit your work.

What Does it Mean to License Your Data For Reuse?

Uploading a dataset—with good metadata, of course!—to a repository is not the end of the road for shepherding one’s research. We must also consider what we are permitting other researchers to do with our data. And, what rights do we, ourselves, have to grant such permissions—particularly if we got the data from someone else, or the datasets were licensed to us for a particular use?

To better understand these issues, we first have to distinguish between attribution and licensing. Citing datasets is an essential scholarly practice. But the issue of someone citing your data is separate from the question of whether it’s permissible for them to use the data in the first place. That is, what license for reuse have you applied to the dataset?

The type of reuse we can grant depends on whether we own our research data and hold copyright in it. There can be a number of possibilities here. For instance, sometimes the terms of contracts we’ve entered into (e.g. funder/grant agreements, website terms of use, etc.) dictate data ownership and copyright.   Sometimes, our employers own our research data under our employment contracts (e.g. the research data is “work-for-hire”). In some cases, the dataset might not be copyrightable to begin with if it does not constitute original expression. We could run into hot water if we try to grant licenses to data for which we don’t actually hold rights. For an excellent summary addressing these “Who owns your data?” questions, including copyright issues, check out this blog post by Katie Fortney written for the UC system-wide Office of Scholarly Communication.

To try to streamline ownership and copyright questions, and promote data reuse, often data repositories will simply apply a particular “Creative Commons” license or public domain designation to all deposited datasets. For instance:

  • Dryad and BioMed Central repositories apply a Creative Commons Zero (CC0) designation to deposited data—meaning that, by depositing in those repositories, you are not reserving any copyright that you might have. Someone using your dataset still should cite the dataset to comply with scholarly norms, but you cannot mandate that they attribute you and cannot pursue copyright claims against them.
  • UC Dash applies a Creative Commons Attribution (CC-BY) license to datasets deposited by UC researchers. This means that someone using your Dash-deposited dataset not only should cite it to adhere to scholarly norms, but also is required to attribute you as the author.

What’s the Right License or Designation for Your Data?

Well, sometimes you don’t have a say in the matter, as your funding agreement or the repository you choose dictates the license applied. Otherwise, it’s worth considering what your goals are for sharing the data to begin with, and selecting a designation or license that both meets your needs and fits within whatever ownership and use rights you have over the data. Your Scholarly Communication Officer or librarian can help you with this.

Bear in mind that ambiguity surrounding the ability to reuse data inhibits the pace of research. So, try to identify clearly for potential users what rights are being granted in the dataset you publish.

How To Learn More if You’re a UC Berkeley Researcher

Come to the workshop, of course! For data publishing questions, contact the Research Data Management team at With questions about data ownership, copyright, or licensing, contact the Library’s Scholarly Communication Officer at You can also check out the Research Data Management website for more on preserving and disseminating your data. In the meantime, we hope to see you at the workshop next week!

Rare Books and Mystery Buff: Bancroft Cataloger Showcases Recent Donations at Oakland Book Fair

While most of Randal Brandt’s work involves sleuthing out cataloging information for the rare volumes that routinely cross his desk, he also finds time to curate Bancroft’s California Detective Fiction Collection.

Randal Brandt. Photo by Cade Johnson for the University Library.

This collection will be showcased, along with examples of fantasy and science fiction and western fiction, at the upcoming 50th California International Antiquarian Book Fair, Feb. 10-12, in an exhibit Brandt curated. Many of the exhibited books are recent donations acquired through Brandt’s extensive network in the mystery writing community. Some of these include:

  • Bill Pronzini and Marcia Muller presented the library with a gift of over 700 volumes in 2015, of books written, compiled, or edited by the “Mulzinis,” as they are affectionately known by their friends.
  • The Thomas H. Reynolds Collection of Ross Macdonald was received as a gift by Bancroft in 2016. Comprised of 37 exemplary copies of first editions and other rare volumes by Ross Macdonald, the collection was compiled by Thomas H. Reynolds, who, before his retirement, was the foreign and comparative law librarian at Berkeley.
  • The Anthony Boucher Collection was donated to the Bancroft Library in 2016. Boucher, who earned an M.A. from Berkeley, was a prolific writer of mysteries and science fiction, but is noted primarily for his reviewing and other activities. His renown in the field is such that the premiere annual conference of mystery authors, fans, and aficionados is known as Bouchercon.

Anthony Boucher

Also featured in the exhibit will be materials from other recent Bancroft acquisitions.

  • The Kenneth Perkins Papers were donated in 2015, including a wide-ranging array of hardcover novels, manuscript drafts, plot outlines, summaries, and synopses, research notes, correspondence, personal materials, newspaper clippings, and ephemera. Perkins, a prolific writer of westerns and mysteries, graduated from Berkeley in 1914.

Photo by Joseph Driste

  • The library also acquired the Frank M. Robinson Papers in 2015. Robinson moved to San Francisco in the 1970s to be a speechwriter for politician Harvey Milk. Shortly thereafter he started writing techno-thrillers and science fiction novels. The collection comprises books, manuscripts, and photographs, including shots taken during the 2008 production of the film Milk in which Robinson had a small part playing himself.

Photo by Joseph Driste

Q & A with Julie van den Hout

Van den Hout, a 2015 graduate from Berkeley, has been a Digital Humanities Project Archivist at the Bancroft since October 2016.  Julie came to Berkeley having discovered her passion for historical research after working for some years in health care. Her honors thesis explored a 17th-century Dutch book aimed at potential immigrants to what is now New York; it was awarded the Charlene Conrad Liebau Library Prize for Undergraduate Research (honorable mention).

Julie van den Hout. Photograph by Alejandro Serrano for the University Library.

What inspires you about your position?
It has been an honor to work with the Engel Sluiter Historical Documents Collection. This immense personal research collection, donated to the Bancroft Library, is truly a legacy of Dr. Sluiter’s life work as a UC Berkeley Latin American History professor and researcher. By bringing together materials from archives worldwide, the collection provides detailed Spanish, Dutch, English, and Portuguese perspectives on sixteenth and seventeenth century Atlantic trade. Through a UC Berkeley Digital Humanities Collaborative Research grant, Dutch Studies and the Bancroft Library are working together to digitize a small subset of the collection on the seventeenth century colony of New Netherland (now New York), and then analyze the texts using natural language processing. Working with the primary sources in the Engel Sluiter Collection has taught me much more than I could ever learn in a classroom. I am excited about the capabilities of digital humanities, and what our current project will reveal about the Dutch colony.

Your priorities over the next 6-9 months
My overarching and ultimate goal with the project is to enhance search capabilities for the Engel Sluiter Collection, and help make these impressive, but relatively unexplored, materials more accessible to researchers. My immediate focus is to reconcile the Dutch documents with the digitized OCR outputs, in preparation for processing using our in-house topic modeling application that will identify themes within the corpus. The documents will be then be published online, with the new search capabilities freely available to researchers worldwide. At the same time, I will be working to learn more about the potential of digital humanities and applying our model to other historical texts.

Opportunities at the Berkeley campus and the Library
The libraries of UC Berkeley are a treasure trove of primary and secondary sources for study of the Atlantic World. Being at a research institution is a great way to find support for new ideas, and digital humanities at UC Berkeley is at the cutting edge in its field. While some people see digital humanities as trying to replace traditional scholarship, I see it as being able to enhance and partner with traditional scholarship to add new dimensions or perspectives. In our project, for example, the use of technology is helping us find connections in the historical data and texts that may not readily visible in traditional formats.

A favorite book or favorite campus hangout
My favorite book is Two Years Before the Mast, by Richard Henry Dana, Jr., Dana’s own memoir of two years spent, as an ordinary sailor, on a merchant ship between Massachusetts and California around Cape Horn, in the early 1800’s. Long before I became interested in academic history, Dana’s engaging accounts of life at sea and trading hides along the Pacific Coast brought the past to life for me. His descriptions of colorful, pre-gold rush Mexican California opened my eyes to a California I had never learned in history books.

New Books in Graduate Services February 2017

Letters of samuel beckett : 1966-1989 volume 4.

The Letters of Samuel Beckett volume four: 1966-1989 edited by George Craig, Martha Dow Fehsenfeld, Dan Gunn, and Lois More Overbeck

The Princeton history of modern Ireland

The Princeton History Of Modern Ireland edited by Richard Bourke and Ian McBride

February Story Hour Features Adam Hochschild

Join us on Thursday February 9 from 5 to 6 pm for Story Hour in the Library featuring Adam Hochschild, the author of eight books. His Spain in Our Hearts: Americans and the Spanish Civil War, 1936-1939 appeared in 2016. Bury the Chains: Prophets and Rebels in the Fight to Free an Empire’s Slaves won the Los Angeles Times Book Prize, the PEN USA Literary Award, the Gold Medal of the California Book Awards, and was a finalist for the National Book Award. He has twice been a finalist for the National Book Critics Circle Award. Story Hour in the Library is a monthly prose reading series held in UC Berkeley’s Morrison Library.

Thursday, February 9, 2017
5 to 6 pm
Morrison Library, UC Berkeley Campus
Free and open to the public

The Library attempts to offer programs in accessible, barrier-free settings. If you think you may require disability-related accommodations, please contact the event sponsor — ideally at least two weeks prior to the event. The event sponsor is Ashley L. Bacchi, 510-664-7737,

Current Trial: The Digital Karl Barth Library

The Digital Karl Barth Library –

The Digital Karl Barth Library supports a new generation of research into the works of one of the 20th century’s most influential theologians. The collection includes the original German version and the English translation of Karl Barth’s magnum opus, The Church Dogmatics, in its entirety. Also included is Barth’s Gesamtausgabe, which includes hundreds of letters, sermons, lectures, conversations, and academic writings.

For more information about the content included in this collection, click HERE.
For general help, including navigation instructions and search tips, click HERE.

The trial will run through March 8th.

Please send your comments and feedback to jdorner (at)

CODEX 2017 opens this weekend

6th Biennial Codex Book Fair & Symposium

The biennial International CODEX Book Fair and Symposium opens this weekend, February 5-8. The sold-out symposium will be held on campus in the mornings and the book fair at the panoramic Craneway Pavilion in Richmond in the afternoons.

The Codex Foundation preserves and promotes the hand-made book as a work of art in the broadest possible context and to bring to public recognition the artists, the craftsmanship, and the rich history of the civilization of the book. Book artists and printers from France, Italy, Spain, and Mexico but also from Argentina, Australia, China and beyond will exhibit.

More details including a full list of exhibitors is available on the CODEX website.

Getty Oral Histories: Jim Druzik and Neville Agnew

We are pleased to announce the release of two new oral histories in our continuing partnership with the Getty Trust to document the careers of extraordinary artists, scientists, preparators, scholars, and administrators that have guided and shaped the Getty over the past thirty years. Historians Todd Holmes and Paul Burnett spent four days alternating full-day interview sessions in an intense baptism into the world of conservation science, exploring the careers of two remarkable scientists from the 1960s through to the present: Jim Druzik and Neville Agnew.

Foxes and Hedgehogs: Jim Druzik and the Development of the Field of Conservation Science
Getty Conservation Institute Senior Scientist Jim Druzik had a baptism of his own rubbing shoulders with the geniuses of postwar modern art as they worked together on installations at the Pasadena Museum of Modern Art. Trained as a chemist, and with one foot ever in the scientific world, Jim very quickly applied the latest scientific research to the problems of conservation. He joined the Getty Institute of Conservation in 1985, and soon established himself as a world leader in conservation science, always concerning himself with how the physical and chemical composition of museum artifacts reacted with the physical and chemical composition of their environments. But much more than that, Druzik was a student of the larger social and economic context of the museum world, taking advantage of initiatives in pollution research, assessments of industrial chemicals, and energy conservation, to name just a few, to make the museum world a better, more accessible and sustainable place. Finally, Jim is very reflective about his roles as a scientist and an administrator. He understands that the world of science and the world of the museum are defined by the people who work in them and on them. Science is social, as the historians are fond of saying, and the keys to Jim’s success can be found as much in his enthusiasm for the people he works with as for the work he does with them.

Neville Agnew: Thirty Years of Cultural Heritage Site Conservation with the Getty Trust
South-African-born Neville Agnew is a more nomadic scientist. If Jim’s work brings laboratory tools to the museum environment, Neville’s brings lab techniques and tools far out into the field. Whether raising and preserving the guns of a long-lost naval vessel off the north coast of Australia, or studying the deterioration of the Great Sphinx in Egypt, or restoring ancient Buddhist cave paintings in southwestern China, Neville underscores the fact that international conservation work is not just bringing the tools of the laboratory to bear on ancient sites, but also a skillful diplomatic effort to build and maintain the partnerships—between project sponsors, international conservation research teams, national political leaders, and local communities—needed to conduct such work. He explores the tension between an ideal of conservation in controlled environments versus the compromises inherent in dealing with “immovable cultural property.” At a time when the willful destruction of cultural heritage is almost a daily news item, we are reminded of the importance and fragility of the work that both of these scientists have done to protect the world’s art and cultural heritage for future generations.

Paul Burnett and Todd Holmes, Historians/Interviewers, January 2017

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