CFP deadline December 1, 2017.
A one-week training workshop (March 25-31, 2018) at UCSC on photogrammetry for early-stage graduate students. Participants in this workshop will gain intensive hands-on experience in the techniques and processing workflow for photogrammetric recording for cultural heritage projects, presented within the context of a critical engagement in discussions of the politics of digital knowledge production. Click here for more information: ARC Photogrammetry Workshop Call UCSC.
CFP deadline January 19, 2018.
Scholars from a wide range of fields are invited to submit proposals for research projects investigating Ed Ruscha’s “Streets of Los Angeles” archive—including, but not limited to digital humanities, cultural geography, architecture, art history, photography, and visual culture. Interdisciplinary approaches and team-based projects are particularly encouraged. Selected researchers would collaborate with Getty Research Institute (GRI) staff as part of a larger research-technology project, which seeks to digitize and make publicly-accessible a portion of the archive in innovative ways. The goal is to publish resulting scholarship at the close of the project. For more details, click here.
CFP deadline Janurary 5, 2018.
This Getty Foundation supported workshop will support interdisciplinary teams focused on the hard questions of Digital Art History as a discipline, a set of methods, and a host of technical and institutional challenges and opportunities.
Participants will gather from June 4-16, 2018 in Venice, Italy at Venice International University, with follow-up activities taking place over the course of the 2018-19 academic year, and leading into a follow-on gathering in Summer of 2019 that will operate as a writing and digital publication workshop, building upon work done over the course of the year by the project teams and in collaboration with our wider network.
CFP deadline January 16, 2018.
Digital Humanities Advancement Grants (DHAG) support digital projects throughout their lifecycles, from early start-up phases through implementation and long-term sustainability. Experimentation, reuse, and extensibility are hallmarks of this grant category, leading to innovative work that can scale to enhance research, teaching, and public programming in the humanities.
This program is offered twice per year. Proposals are welcome for digital initiatives in any area of the humanities.
The Bancroft Library is pleased to announce the publication of the Japanese American Evacuation and Resettlement Digital Archive.
The Japanese American Evacuation and Resettlement Digital Archive is the result of a two-year grant generously funded by the National Park Service as part of the Japanese American Confinement Sites Grant Program. The grant titled, “Voices in Confinement: A Digital Archive of Japanese American Internees”, includes approximately 150,000 original items including the personal papers of internees, correspondence, extensive photograph collections, maps, artworks and audiovisual materials.
Selected from Bancroft’s vast holdings, these rich and often requested collections were digitally captured as high-quality archival TIFFs for preservation. Access images were created as JPEG image files and text searchable PDF formats for optimal accessibility. The project website provides context to our comprehensive digital archive with pointers to collection guides on the Online Archive of California and curated searches of digitized objects on the Calisphere website.
The project builds upon a previous grant conducted between 2011-2014 to digitize 100,000 pages from the Japanese American Evacuation and Resettlement Study. Together, these collections form one of the premier sources of digital documentation on Japanese American Confinement found anywhere.
View the Japanese American Evacuation & Resettlement Digital Archive Website: http://bancroft.berkeley.edu/collections/jacs
This project was funded, in part, by a grant from the U.S. Department of the Interior, National Park Service, Japanese American Confinement Sites Grant Program. Any opinions, findings, and conclusions or recommendations expressed in this material are those of the author(s) and do not necessarily reflect the views of the U.S. Department of the Interior.
The last Nanoscale Science and Engineering (NSE) seminar of the semester is scheduled for Friday, December 1st from 2:00 – 3:00 in 180 Tan Hall. Alice Fan, from the Stanford Medical School, will be speaking on new nanoimmunoassays that enable the isolation and analysis of tumor cells. Following her talk, the Graduate Women in Engineering (GradSWE) will host a coffee hour from 3:30-4:30 in 242 Sutardja Dai Hall.
Wednesday, December 6th, 2017
Doors @ 6:30pm, show @ 7:00pm
405 Moffitt Library
Free; open to UCB students only (UCB student ID required)
What does it mean to be an American revolutionary today? Grace Lee Boggs is a 98-year-old Chinese American writer, activist, and philosopher in Detroit. Rooted for more than 70 years in the African American movement, she has devoted her life to an evolving revolution that encompasses the contradictions of America’s past and its potentially radical future. [This documentary presents] Boggs’s lifetime of vital thinking and action, traversing the major U.S. social movements of the last century; from labor to civil rights, to Black Power, feminism, the Asian American and environmental justice movements and beyond.
Net neutrality, Trump’s tweets, and the rise of wireless culture: UC Berkeley professor’s new book illuminates modern issues by exploring the past
“Sound is really important in the history of literature, technology, and culture,” Tom McEnaney said. “It’s not merely a metaphor.”
And McEnaney knows a thing or two about sound.
The UC Berkeley professor, who earned his Ph.D. from Berkeley in 2011 and returned this year to teach in the Comparative Literature and Spanish and Portuguese departments after six years at Cornell University, has researched and written extensively on the subject.
He has a forthcoming piece about how This American Life has set a new standard for voices on the radio. (The vocal fry and uptalk you hear on NPR? That wasn’t always so common.)
And he has taught classes on punk rock, co-curated an exhibit about punk history, and has made noise in many punk bands over the past 20 years.
So it’s fitting that sound factors heavily into McEnaney’s new book, Acoustic Properties: Radio, Narrative, and the New Neighborhood of the Americas.
On Dec. 4, Morrison Library is hosting an event — a conversation with McEnaney, Emory University’s José Quiroga, and UC Riverside’s Freya Schiwy (“two really wonderful scholars whose work I admire,” he said) — that celebrates the book.
McEnaney’s book explores the “coevolution” of the radio and the novel amid influential movements in populist politics in three countries in the mid-20th century: the New Deal in America; Peronism in Argentina, and the Cuban Revolution. The book illustrates how governments, activists, and artists have struggled for control to represent the voice of the people within a changing media landscape.
“This is really the intersection of a turn to populism on the left” — liberalism in the United States, socialism in Argentina, and communism in Cuba — “with wireless (technologies) that open the possibility, not always actualized, of giving power to the people,” McEnaney said.
His book talk will shine a light on the “unknown and unrecognized history of the hand-in-hand development of two strong media of public discourse” — radio and the novel — during pivotal moments for these three countries, said Liladhar Pendse, a librarian who is helping organize the event, along with Natalia Brizuela, a professor in the Department of Spanish and Portuguese.
McEnaney wears many hats. In addition to his research and teaching, he founded the Latin American Journals Project, established through a grant he received while at Cornell, which, in part, aims to provide scholars and the general public with free and open access to Latin American journals, many of which are otherwise be difficult to find.
McEnaney’s work on Acoustic Properties was bookended by two major political groundswells in the United States. He started the book, which evolved from his dissertation, in 2008, the year that Barack Obama was elected to his first term as president. The book came out in 2017, the year Donald Trump took office.
McEnaney’s book is timely, given today’s climate, and provides context for the current discussion about net neutrality. “The debates of how to regulate radio are the same debates we’re having with the internet,” he said.
“It’s about many things,” McEnaney said of his book. “It’s attempting to understand our present moment through histories of technology, literature, and politics.”
The book covers Franklin Delano Roosevelt’s “fireside chats,” which saw the president embracing the relatively new platform of radio to convey his message. It’s not unlike the way Trump has embraced Twitter — setting aside the differences in tone.
“(It’s) a different type of politics but very much connected to the way the president of the United States uses wireless technology to create the illusion he’s speaking directly to the people,” he said.
While Trump is known for his shoot-from-the-hip candor, Roosevelt’s style was intimate and controlled. (Roosevelt and his advisers were so concerned with the president’s tone, as the book notes, that they had him use a dental bridge to close a gap in his teeth to prevent the whistle in his voice during his radio addresses.)
With his knowledge of populist movements of the past, did McEnaney foresee the upswell that ultimately catapulted Trump into the White House?
“Did I predict it? No,” he said. “It’s a new, troubling twist in the story.”
The book talk, called “Sound, Media, and Literature in the Americas,” will be held in Morrison Library on Dec. 4, and it starts at 5 p.m.
From the early 20th century until the outbreak of the Spanish Civil War, Spain witnessed a flourishing of literary and artistic forms (painting, poetry, prose and film) on par with the experimentialism taking place across Europe and Latin America. According to Jennifer Duprey in Avant-Garde Cultural Practices in Spain (1914-1936), self-taught poet and radical journalist Joan Salvat-Papasseit found inspiration in both the formalist attributes articulated in F.T. Marinetti’s Manifesto del futurismo (1909) and in the social terms of compatriot Gabriel Alomar’s El futurisme (1905). “He was the only Catalan writer that had the conscience of the revolutionary character that the Futurist movement had from a social point of view, yet sustained that his particular point of view was a dialectical concept of tradition,” explains Duprey.
Last fall the UC Berkeley Library became one of three libraries outside of Spain to own an original broadside of Contra els poetes amb minúscula: primer manifest català futurista (Against lowercase poets: the first Futurist manifesto) published in 1920 and is now the first institution in the world to have digitized it. Salvat-Papasseit’s famous collection of poems L’irradiador del port, i les gavines (1921), now housed in The Bancroft Library, was featured in the exhibition No Legacy || Literatura Electrónica installed in Doe Library’s Brown Gallery last year.
L’irradiador del port, i les gavines (Barcelona: Atenes A.G., 1921)
Jane Hu, a PhD candidate in UC Berkeley’s English Department, recently published “The “Inscrutable” Voices of Asian-Anglophone Fiction” in The New Yorker. Hu considers the narrative deftness of the new novel Chemistry by Weike Wang before embarking on an extended meditation of the construction of narrative voicings within influential Asian-Anglophone works, drawing on interviews with Wang and other important figures. She notes a pattern in which many of these novels “feature first-person narrators who keep their distance—actively denying readers direct interior access.” An informative read for anybody interested in contemporary fiction, Asian-Anglophone works, or narrative voice, Hu’s article sheds new light on the works she discusses.
Check out the novels at the Berkeley libraries!
You can find these titles and other recent acquisitions on the Art History / Classics Library’s New Book Shelf.
Thanksgiving is almost upon us. And you know what that means.
That’s right: It’s pie season. After all, mustering up the mental fortitude to feast alongside that obnoxious out-of-town uncle you see once a year should be rewarded with a decadent dessert, right?
We think so.
So we turned the clock back — way back — by baking and taste-testing three historical pie recipes from our collections to see if they would satisfy the modern palate.
The three recipes we chose come from books published in the 18th, 19th, and 20th centuries — well before Pinterest and the advent of the celebrity chef. That’s right — you won’t find Rachael Ray’s or, heavens forbid, Paula Deen’s names on any of these recipes.
Instead you’ll find three distinct, delectable desserts, each one holding its own historical significance — and each giving you a taste of the Library’s offerings and even, perhaps, baking inspiration for Thanksgiving.
A holiday classic
We started with the grandaddy of them all: pompkin pie. That’s no typo — “pompkin,” it turns out, is an old-timey way of saying “pumpkin.” And no Thanksgiving would be complete without this holiday favorite.
The recipe comes from The Bancroft Library’s second edition copy of American Cookery — one of about 900 cookbooks in Bancroft’s collection. It’s a modest-looking volume, published in 1796, that came to Bancroft within the past decade or so.
“It came in, and no one realized the significance of it,” said David Faulds, curator of rare books and literary manuscripts at Bancroft.
The book packs historical significance: It is the first known cookbook written by an American. “It was the standard American cookbook,” he notes.
It’s also incredibly rare.
Just how rare is it? Well, Bancroft’s copy is believed to be one of five or six copies in the world. After living a quiet life at the Northern Regional Library Facility in Richmond, it now is kept in Bancroft’s vault and was recently featured in New Favorites, an exhibit highlighting recent additions to Bancroft’s major collections.
But let’s cut to the chase: How does this pompkin pie actually taste?
To find that out, we put the pie in front of a tasting panel including Faulds and four students (full disclosure: All are avowed pie fans) whose majors — and opinions — ran the gamut. All in the name of research, of course.
“It doesn’t taste quite modern,” one taster said, noting the lack of cloying sweetness.
It does, however, contain many of the hallmark pumpkin pie spices — nutmeg and ginger, among them — which have become ubiquitous in recent years. (Pumpkin pie spice potato chips, anyone?)
Perhaps the most notable difference is the lattice crust on top, which is absent in commonly used pumpkin pie recipes today.
But would the pie hold its own alongside more modern fare?
That’s a resounding yes, according to our panel.
Another classic — with a twist
Next up is another holiday staple: Sweet Potato Pie.
Like the pompkin pie, this one tastes familiar. But it also has an unexpected, zippy twist.
“I like the tang it has to it,” a taster said. “I’ve never had that in a pie.”
One panelist said it tasted like pumpkin and orange, while another swore it was carrot and lemon. (The “citrus-y” taste they noticed actually comes from orange juice and zest.)
The recipe traces back to What Mrs. Fisher Knows About Old Southern Cooking, from 1881 — copies of which are held at both Bancroft and the Bioscience & Natural Resources Library.
Written by a former slave and plantation cook who moved from Mobile, Alabama, to San Francisco, it is thought to be one of the first cookbooks written by an African American. (It was believed to be the first known cookbook written by an African American until the rediscovery of Malinda Russell’s Domestic Cook Book, published in 1866.)
And it was award-winning, too: At the San Francisco Mechanics’ Institute Fair in 1880, it won awards for best pickles and sauces as well as best assortment of jellies and preserves. (The author ran a pickle business.)
According to a later edition of the book, the namesake Mrs. Fisher — Abby Fisher — didn’t know how to read or write. Instead, she dictated the recipes to a group of prominent San Francisco and Oakland residents.
Of all the recipes, the terminology in this one had us scratching our heads the most. We felt that we could safely assume that a “cullender” was a colander. And “yelks,” it seemed, clearly referred to “yolks.”
But what is a “gill” of milk?
It turns out, it’s an antiquated measurement equaling half a cup — and does not, as one taster guessed, involve filling a fish with milk.
Then there’s the Quince Pie.
This one comes from the family cookbook of our very first first lady, Martha Washington. That’s right — move over, Melania Trump.
A quince, if you’re not familiar, is a yellow fruit that looks like a pear but tastes like a “woody apple,” as one taster put it.
A note: We’re using the word “pie” loosely here, because, although it looked beautiful in the pie tin, our attempts to cut it turned it into a crumble. That combined with the reddish tint of the cooked quinces seemed to confuse our tasters — and the resulting presentation looked almost gorey.
“It looks like body horror,” as one taster subtly (yet accurately) put it.
Other responses included that it looked like rhubarb, grapefruit, papaya, or even sashimi.
Though the texture was firm, the tasters agreed the pie was better than it looked, with at least one panelist declaring it the best of the bunch.
The recipe comes from 1940’s The Martha Washington Cook Book, adapted from Washington’s family cookbook. It’s one of the more than 5,000 cookbooks housed at the Bioscience & Natural Resources Library.
Notably, it’s the only recipe we tried that includes exact measurements. According to Faulds, the old practice of omitting measurements was actually quite common.
“That was the standard,” he said. “They assumed we knew what we were doing. They weren’t thinking about 200 or 300 years later.”
The recipe is straightforward enough, with the filling calling for just three simple ingredients: sugar, water, and quinces.
The pie, once ready, can be topped with whipped cream, but, as the recipe sternly notes, “Martha Washington did not do this.”
But this is not the time for holding back. Go ahead and pile on some whipped topping, and enjoy. After all, Thanksgiving happens only once a year.
Martha Washington would understand.
Note: We used recipe No. 1. This recipe refers to other recipes that can be found in the digitized version of “American Cookery,” found here.
No. 1. One quart stewed and strained, 3 pints cream, 9 beaten eggs, sugar, mace, nutmeg and ginger, laid into paste No. 7 or 3, and with a dough spur, cross and chequer it, and baked in dishes three quarters of an hour.
No. 2. One quart of milk, 1 pint pompkin, 4 eggs, molasses, allspice and ginger in a crust, bake 1 hour.
From: American Cookery, 1796
Two pounds of potatoes will make two pies. Boil the potatoes soft; peel and mash fine through a cullender while hot; one tablespoon of butter to be mashed in with the potato. Take five eggs and beat the yelks and whites separate and add one gill of milk; sweeten to taste; squeeze the juice of one orange, and grate one-half of the peel into the liquid. One half teaspoonful of salt in the potatoes. Have only one crust and that at the bottom of the plate. Bake quickly.
From: What Mrs. Fisher Knows about Old Southern Cooking, 1881
1 ¼ cup sugar
1 ½ cups water
Wash the quinces. Cut in quarters, remove cores, and peel. Put in a pan together with one cup sugar and water, and let stew very slowly until tender. Turn fruit often. Line a pie plate with pastry and arrange the quinces in it in a neat design. Pour on the syrup and sprinkle with remaining one-fourth cup sugar. Lay criss-cross pieces of pastry on top and bake until a golden brown. The top pastry may be omitted and the pie covered with whipped cream before serving. Martha Washington did not do this.
From: The Martha Washington Cook Book, 1940