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Digital Library Federation

DLF Forum, Learn@DLF, & NDSA’s DigiPres 2018 Program now live!

THE PROGRAM IS HERE! We are pleased to share the full program for the 2018 DLF Forum, Learn@DLF (our brand new pre-conference workshop day), & Digital Preservation 2018: In/visible Work—on our Forum website.   Registration is now open for Learn@DLF Check out the amazing program for Learn@DLF here. If you would like to register for Learn@DLF, but have already registered for the Forum and/or Digital Preservation 2018, please contact us at forum@diglib.org!  Registration remains open for the DLF Forum and NDSA’s Digital Preservation 2018, but hurry, tickets for the DLF Forum are going quickly! (Presenting at the Forum? You’re in! Please register now, since we’re holding spots for you!) Additionally, we encourage you to make hotel arrangements soon. Looking to save on lodging or transportation costs for the Forum? Check out our Ride Share/Room Share page!   We have many more exciting affiliated events to share with you!  Sunday, October 14 – co-located with Learn@DLF The Library Publishing Coalition and the Educopia Institute are hosting a pair of in-person workshops based on the IMLS-funded Developing a Curriculum to Advance Library-Based Publishing project. Learn more and apply here. Civic Switchboard, an IMLS-supported effort that aims to develop the capacity of academic and public libraries in civic data ecosystems, is accepting applications for their second workshop through July 11!   Thursday-Friday, October 17-18 – co-located with Digital Preservation 2018 Share your subject, functional, or data expertise and help extend library curation capacity! Join the Data Curation Network for the first of three Specialized Data Curation Workshops and apply now!   P.S. Interested in sponsorship or exhibiting at the DLF Forum or NDSA’s Digital Preservation 2018? Opportunities here.   Want to support our Child Care Fund? Learn more here, and thanks to those who have already donated, including ACH!   Many thanks to our earliest 2018 Forum & DigiPres Sponsors: DPN, Atiz, Code Ocean, i2s, Preservica, Quartex powered by Adam Matthew Digital, AVP, Library Juice Academy, and Legal Information Preservation Alliance!

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Fellow Reflection: Coral Salomón

Coral Salomón is currently the National Digital Stewardship Resident in Art Information at the University of Pennsylvania, and attended the annual conference of the American Institute for the Conservation of Historic and Artistic Works (AIC) with support from a Kress Cross-Pollinator Fellowship. Learn more about Coral, or read on for her reflection on the conference.       Materials Matter?: Searching for ethical and practical conservation strategies in the age of reproduction and digitality Thanks to the generous support of the Digital Library Federation, the Samuel H. Kress Foundation, and the American Institute for Conservation of Historic & Artistic Works (AIC), I had the opportunity to travel and present at AIC’s 46th Annual Meeting, Material Matters 2018, in Houston, Texas.   Although I am an archivist (currently I am the National Digital Stewardship Resident in Art Information at the University of Pennsylvania), working with new media artworks has led me to confront issues that also beguile conservators: How do we acquire, provide access, classify, document, and preserve these works? Material Matters 2018 was my first experience at a conference dedicated solely to conservation. I spent most of the time learning from the excellent speakers in the Electronic Media Group, the section where I also presented. However, one of the joys of AIC is that I had the opportunity to listen to presentations on a wide array of themes and materials, whose lessons can be applied to our line of work. During the Whitney Replication Committee: Transparency in the Age of Reproduction, conservators Margo Delidow and Clara Rojas Sebesta expounded on the challenges that led to the committee’s creation. They discussed why we feel comfortable with certain replications and not others, the need to seek an ethical replication practice, and the importance of clarity in language, especially when transmitting information of museum interventions to patrons. Historically, artists directly transmitted their handwork into a singular authentic work. However, as art objects become reproducible, it has become necessary to rethink how we frame our approaches to preservation and conservation in a way that respects the work’s physical and conceptual identities. The Whitney Replication Committee’s creation came as a consequence of the major interventions performed on Richard Sera’s Prop. Throughout the life of the work conservators glued new Velcro strips, changed its aluminum foil, and performed other extreme conservation measures to ensure the work’s survival. These interventions forced the conservators to ask: When does the work stop being the work? At what point do conservation efforts cross the line? The speakers acknowledged that transformation has always been a part of a museum objects’ lifecycle. However, museum interventions have become so pervasive that the profession needs to create standards, guidelines, and document how they impact the works. Some of the recommendations issued by the Replication Committee are already best practices for the stewardship of time-based media art, such as interviewing artists at the time of acquisition. The artist questionnaire anticipates museum interventions and asks the artists to predetermine when these would have to take place. One of the ideas that I found very compelling is that instead of seeing interventions as subtracting from the authenticity of the work, the Replication Committee sees it as an integral component that needs to be clearly articulated, especially to the public. Clear and standardized language is not only for internal documentation, but to better educate the public about the museum’s hand in the artworks they are viewing. They embrace transparency as a technique to mediate some of the tensions posed by contemporary art. C.Rojas-Sebesta & M.Delidow on why we feel comfortable with certain replications vs others, seeking an ethical replication practice & clarity in lang esp. when transmitting info of museum interventions to patrons. Can’t wait to read the @whitneymuseum Replication Committee paper! pic.twitter.com/DDoyEqPR12 — C.Sal (@CSalinPhilly) June 1, 2018 Another thought that struck me during the conference is how valuable and crucial it is to use a code of ethics to guide the decision-making process, regardless of the artworks’ medium. The Metropolitan Museum of Art Costume Institute’s Christopher Mazza and Sarah Scaturro provided a great case study on this topic. When struck with a challenge between conservation principles and Kawakubo’s curatorial choices during her career encompassing exhibition, Rei Kawakubo/Comme des Garçons: Art of the In-Between, the team relied on AIC’s Code of Ethics to navigate their actions. What to do when artist’s curatorial choices/vision run counter to conservation principles? Code of ethics helped @metmuseum #costumeinstitute conservation dept. navigate initial decision making process. #AICmtg18 pic.twitter.com/FK8L6yEeov — C.Sal (@CSalinPhilly) June 1, 2018 As technology blurs and subverts traditional notions of authenticity, ownership, spaces, physicality, perceptions of stewardship, and the role of patrons and knowledge institutions, adhering to a standardized Code of Ethics for replicable mediums and new media art becomes increasingly paramount. As time passes, we might stumble upon challenges that careful documentation and detailed artist interviews might not anticipate. As articulated by Delidow, science might evolve to the point where we could clone an artwork to the molecular level. But, should we? This isn’t going to end well. I left AIC thinking about what it means to reconcile the tensions that arise between replication, entropy, and fulfilling our professional duty of safeguarding the cultural patrimony for future generations. While these are not easy questions with simple answers, I am animated by the conversations I encountered in Houston and believe there is hope in this collaborative search for strategies. Until next year.

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DLF Statement on Borders and Participation

re: “Zero Tolerance” immigration policy/SCOTUS Travel Ban decision n the third anniversary of its landmark decision affirming marriage equality for members of the American LGBTQ community, the Supreme Court of the United States has issued a disappointing 5-4 ruling that upholds the Trump administration’s so-called “Muslim ban.” This ban, in its latest iteration, restricts travel to the US by nationals of seven countries, five of which are majority-Muslim. Justice Sotomayor’s dissent outlines evidence of the anti-Muslim rhetoric and animus that has surrounded and which “a reasonable observer would conclude [has] motivated” this ban. The ruling comes at a moment when the nation is also reeling from ICE’s implementation of the Trump Administration’s “zero tolerance” and child separation policies, with harsh repercussions against asylum-seekers and those crossing US borders without authorization. Thousands of children have been ripped from their families, which—together or separately—now face deportation, indefinite incarceration, or utter, inconceivable loss.   In the face of governmental assaults on basic human dignity and rights, on the shared values of hospitality and compassion that have underlain the notion of asylum throughout history, and on the free and open intellectual and cultural exchange that bolsters democracy and comes with legal migration across borders, the Digital Library Federation would like to offer some small assurances. First, because planning for our 2018 conference is well underway, with presenters having received notification of the results of peer review just this week, we would like to assure all speakers that DLF staff are conscious of the impact of immigration and travel policies on potential participation. We deeply value your safety, comfort, and ability to participate in DLF programming to the fullest extent possible. No conference presenter impacted by a travel ban or concerned about safety or freedom of movement will lose the chance to share work with the DLF community. Please contact us for assistance with special arrangements, if travel restrictions or any related concerns apply to you. We are also conscious that non-presenters planning to attend the DLF Forum may be affected by actions of the current regime. DLF will waive processing fees for anyone impacted by US border control policy (presenters and non-presenters alike) who wish to have their conference registration costs refunded. While we cannot live-stream all presentations and events, DLF Forum and Digital Preservation 2018 keynotes and plenary panels will be streamed, transcribed, recorded, and made freely available to all. The DLF Forum program committee and broader community will likewise work once again this year toward the goal of making slide-decks, crowdsourced notes, and other presentation materials readily available for each and every conference session. DLF operates under a Code of Conduct that outlines the ways in which we “strive to be a welcoming organization and the focal point for a digital library culture that is anti-oppression, recognizes intersectionalities, and works compassionately across difference.” We therefore decry all travel restrictions that target wide swaths of people based on religion, nationality, or ethnicity, and all violations of customary international law, such as the “right to seek and enjoy asylum” that is codified in the Universal Declaration of Human Rights. Relevant Links: DLF Forum information DLF staff contacts DLF Code of Conduct Torn Apart / Separados (DLF will host a forthcoming “Nimble Tents” toolkit on creating similar rapid-response projects, in collaboration with Torn Apart creators and other Digital Library Federation community members) “Federal Records Transparency and Immigrant Justice” (an April DLF webinar organized by the #DLFgrt group, featuring Victoria López (ACLU National Prison Project) and Emily Creighton and Guillermo Cantor (American Immigration Council). DLF Government Records Transparency/Accountability Group (next full-group #DLFgrt meeting August 17) DLF Technologies of Surveillance Group (next full-group #panoptitech meeting August, TBD) Digital Library of the Middle East prototype project February 2017 statement, “Deepening Resolve” (“February 2017 statement, “Deepening Resolve:” www.diglib.org/deepening-resolve/ (“DLF will pay close attention this year to any executive order or piece of legislation that may impact travel and safety for our Forum participants, with whom we stand in solidarity and pledge to assist.”)

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Three Questions on IRUS-USA

For this special edition of DLF Contribute, we explore IRUS-USA (Institutional Repository Usage Statistics USA), an experimental collaboration between Jisc and the Digital Library Federation (DLF) at CLIR.  Jo Lambert manages services and projects at Jisc, a UK registered charity that champions the use of digital technologies in education and research. Paul Needham is the Research and Innovation Manager at Kings Norton Library, Cranfield University. Santi Thompson is the Head of Digital Research Services at the University of Houston (UH) Libraries and a co-leader of the DLF Assessment Interest Group (AIG). Jo and Paul, could you tell us a bit about IRUS-UK? What has been Jisc’s motivation for developing and investing in a system like this? Jo and Paul: 15 years ago, institutional repositories (IRs) were the new in-thing. Higher education institutions, just about everywhere, were setting up institutional repositories. Money was being spent, time and effort were being expended . . . but there was no way to reliably demonstrate the usage and impact of those repositories. Sure, statistics were being generated—but everyone was doing it differently, applying their own rules to processing data, and many figures produced were vastly inflated by search engine and robotic usage. We were trying to compare apples and oranges. The statistics lacked credibility. So that’s why we started IRUS-UK—the first service to enable IRs to expose and share usage statistics based on a global standard—COUNTER. The COUNTER standard is the one that traditional scholarly publishers and aggregators like Elsevier, Springer, EBSCO, etc. all adhere to when producing usage statistics. We all follow the same rules and usage data are filtered to remove robots and double clicks, so the statistics are reliable, trustworthy, authoritative, and comparable. IRs use IRUS to monitor and benchmark usage of their research against similar organisations in a meaningful way. It provides Jisc with a view of UK repository use to demonstrate the value and impact of IRs. And it provides a UK-wide launch pad for collaborating with other national and international initiatives, projects, and services. We were really interested to hear about DLF AIG work and as our conversations developed our common interests became more and more apparent. A mutual interest in tools to measure impact, develop benchmarks, and share ideas and good practice prompted the collaboration that has since morphed into IRUS-USA. Santi, as co-chair of the DLF Assessment Interest Group (AIG), what DLF AIG connections and research interest led you to recommending our current IRUS-USA pilot project? Santi: The JISC-funded Institutional Repository Usage Statistics (IRUS) aggregation project excited me for several reasons. First, I have found difficulty in gaining access to standardized usage statistics for scholarly works repositories. While many systems offer built-in statistics features, they often lack documentation that offers details on how they work, including what they do (and do not) count. With the COUNTER standard acting as the foundation for the aggregation service, IRUS draws upon standardized practices to deliver usage statistics across a shared community, giving managers access to a diverse range of data. The ability to query the usage statistics by formats and benchmark against other member institutions offers repository managers collection development tools often lacking in institutional repository environments. The work of IRUS also intersects nicely with current and former projects sponsored by the DLF AIG. A former working group, the Web Analytics Working Group, focused a large portion of their efforts on compiling information on various analytic tools and services that could aid in assessing repositories. In 2015 the group published a white paper on the use of Google Analytics in Digital Libraries. The group followed up this work in 2016-2017 by developing an annotated bibliography on how libraries use web analytics to assess their programs, collaborate with other institutions, and make decisions. There work provides a great overview of the world of usage analytics. Another AIG group, the Content Reuse subgroup of the User Studies Working Group, is currently investigating how best to assess the reuse of digital objects. With funding from IMLS (Developing a Framework for Measuring Reuse of Digital Objects [LG-73-17-0002-17]), the group is aiming to expand upon standardized usage statistics to better understand how users utilize or transform unique materials from library-hosted digital collections. The team believes that leveraging usage statistics, like the kind provided by IRUS, and reuse information will provide practitioners with a richer set of data in which to highlight the value of digital repositories and cultural heritage organizations. What are all three of you geeking out on? (Or, what is the most interesting thing you’ve learned through this IRUS-USA initiative?) Santi: My participation in projects like the IRUS-USA pilot program and the Measuring Reuse grant program have me obsessed with better understanding digital library users and reuses. The deep dive that I and my colleagues have taken on who uses digital library materials and for what purposes has allowed me to see how digital libraries are just as much of a “public good” or “public service” as they are a scholarly resource. There are countless anecdotes of how “everyday” people are using digital library objects for a variety of purposes—personal research, genealogy and family history, artistic expression and creation among others. However, I am not sure how well we, as a profession, have embraced the “public good” aspects of digital libraries and think that more attention can be given to the relationship between digital libraries and the “everyday” user. I will continue to collaborate with colleagues to explore this relationship. Jo and Paul: After several years of developing IRUS within the UK, we’re geeking out on seeing a growing appetite for an international family of services that can interoperate with one another to provide a global picture of IR and OA usage. We developed IRUS-UK by working with universities to understand what they need and then delivering a service to meet that need, so we’re hyped to have a US dimension to IRUS through the IRUS-USA pilot project, and excited about the potential for international measurement and benchmarking. Working with CLIR and DLF AIG folks has given us a greater insight into work in the US right now around use Read More

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NDSA Coordinating Committee Member Dr. Helen Tibbo honored with IU ILS Distinguished Alumni Award

Helen Tibbo has been honored with the 41st Distinguished Alumni Award from the Information and Library Science program at the School of Informatics, Computing, and Engineering (SICE).
Tibbo, a 1983 graduate of the then-IU School of Library and Informa…

2018 DLF Comm/Cap Awards: meet the nominees!

e are pleased to announce the nominees for the 2018 DLF Comm/Cap Award! This biennial award honors constructive, community-minded capacity-building in digital libraries and allied fields: efforts that contribute to our ability to collaborate across institutional lines and/or work toward something larger, together. The 2018 award will go to an inspiring project, team, or person selected by the Digital Library Federation membership at large. The winner (person or group) will receive a $1000 prize, one free Forum registration, and some level of assistance toward travel expenses to make it possible for a representative to accept the award certificate in person at the DLF Forum event at which they will be honored. Each DLF member organization gets one vote. Voting is open from May 24 – June 8, 2018 (at 11:59PM ET) and DLF’s liason at each institution has been sent further instructions. For your local DLF liason’s contact information, get in touch with Director of Development & Outreach Louisa Kwasigroch. Congratulations to all thirteen nominees, and thank you for your work. Read more about each nominee below. Amanda Meeks (@A_meeksie) Founder of WTF Maker Nights. Through her work as the Teaching, Learning and Research Services Librarian (Arts/Humanities) at Northern Arizona University, Amanda Meeks has been working to close the gender gap in technology. She has championed creating inclusive, equitable, and diverse making spaces throughout Arizona with the creation of “Women/Trans/Femme Maker Nights.” Women/Trans/Femme (WTF) Maker Nights strives to address the disparity in gender representation in tech environments (e.g. library makerspaces) and has centered the voices, skills, and visibility of communities often relegated to the margins. WTF Makers Nights offers the LGBTQ community, advocates, and allies an environment to express themselves and work with people they can relate to. Amanda ‘s work has inspired other institutions to adopt WTF Maker Nights into their respective makerspaces.   Digital Library of the Caribbean (@dLOCaribbean) A cooperative of partners that provides users with access to Caribbean cultural, historical and research materials held in archives, libraries, and private collections. The Digital Library of the Caribbean (dLOC) is a cooperative digital library for resources from and about the Caribbean and circum-Caribbean. The overdLOC partner institutions are the core of dLOC. dLOC partners retain all rights to their materials and provide access to digitized versions of Caribbean cultural, historical, and research materials currently held in archives, libraries, and private collections. Since 2004, Digital Library of the Caribbean (dLOC), a multi-institutional, international digital library, has worked on data curation with various archives and libraries in the Caribbean by scanning and preserving rare books and manuscripts. dLOC follows a model of decentralized digitization and distributed collection development, thus giving Caribbean institutions, and those that know the collections most intimately, an important role in the decision making and production process. dLOC allows Caribbean institutions ownership of their cultural/national patrimony, while providing access to scholars and students around the world. Together, dLOC partners have created the world’s largest open access collection of resources from and about the Caribbean (3.51 million pages, serving 3 million users per month).   Digital POWRR (@digitalPOWRR) Increasing the confidence, capacities, and capabilities of the less-technically-inclined to take a proactive role in managing and preserving their digital collections. SInce 2012, the Digital POWRR Project has been working to demystify digital preservation with training and resources targeted specifically at resource-restricted institutions, as well as Lone Arrangers and similar solo practitioners. Their IMLS-funded Digital POWRR Institutes ensure that every participant goes home with an actionable plan for stewarding the digital materials their organization is responsible for. POWRR Institute training materials are freely shared to help everyone at every institution, including those who cannot make it to an Institute.   Documenting the Now (@documentnow) Awareness-raising and tool-building to support the ethics of preservation. Documenting the Now responds to the public’s use of social media for chronicling historically significant events as well as demand from scholars, students, and archivists, among others, seeking a user-friendly means of collecting and preserving this type of digital content. DocNow, a joint effort between the University of Maryland, University of California, Riverside, and Washington University in St. Louis, is building a variety of tools to help researchers work with Twitter data, and has drawn together a community to raise the visibility of discussions related to the ethics of collecting digital content. The suite of tools will enable communities to research and preserve digital content in conscientious and thoughtful ways.   Dr. Melissa Nobles and Professor Margaret Burnham Creators of the CRRJ/Nobles Digital Archive.               Dr. Melissa Nobles, Kenan Sahin Dean of the School of Humanities, Arts, and Social Sciences, and Professor of Political Science, MIT (left) and Professor Margaret Burnham, University Distinguished Professor of Law and Director, Civil Rights and Restorative Justice Project at Northwestern University (right) Northeastern University’s Civil Rights and Restorative Justice Project is directed by Margaret Burnham, University Distinguished Professor. Melissa Nobles, Kenan Shahin Dean of the School of Humanities, Arts and Social Sciences and Professor of Political Science, Massachusetts Institute of Technology, has been associated with CRRJ as faculty and board advisor since its inception. Building upon empirical research on lynching and racial violence chronicled by journalist Ida B. Wells, sociologist Monroe Work, the National Association for the Advancement of Colored People, as well as contemporary sociologists Stewart Tolnay and E.M. Beck, the CRRJ-Nobles Archive is a collection of records on incidents of racially-inflected homicides committed against African Americans in the southern states of Alabama, Arkansas, Florida, Georgia, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Texas, and Virginia from 1930-1970. The goal of the CRRJ-Nobles Archive is to bring the important story of homicidal racial assaults in the mid-twentieth century to a broad and varied audience in order to deepen their appreciation of the significance of this history.   Educopia Institute (@Educopia) A catalyst for collaboration among cultural, scientific, and scholarly institutions. In 2017, the Educopia Institute provided administrative and technical scaffolding to support and strengthen the efforts of five networks: BitCurator Consortium, Library Publishing Coalition, MetaArchive Cooperative, Read More

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#DLFteach Digital Library Pedagogy Cookbook

The DLF Digital Library Pedagogy professional development and resource sharing subgroup invites all interested digital library pedagogy practitioners to contribute to the creation of an online, open resource focused on lesson plans and concrete instructional strategies. The DLF Digital Library Pedagogy group is an informal community within the larger DLF community that is open to anyone interested in learning about or collaborating on digital library pedagogy. We use the hashtag #DLFteach to organize Twitter conversation, and we also hold open office hours via the Digital Humanities Slack. Further information about the scope and planned work scheduled can be found below. We welcome practitioners from all digital library settings, roles, and career stages. Experience is less important than willingness to be involved in the process of creating this resource. Interested contributors should complete the Intent to Contribute form by May 31, 2018 at bit.ly/dlfteach-cookbook-contributors. The Call for Participation can also be viewed at bit.ly/cfp-dlfteach-cookbook. Scope We seek to coordinate a collection of instructional resources that recognizes and reflects the diversity of context and practice within this broad field. We take as models the popular Library Instruction Cookbook (eds. Sittler and Cook) and Critical Library Pedagogy Handbook (eds. Pagowsky and McElroy). We plan to adopt a template for submissions, as modeled by the Collections as Data Facets project. We envision that contributions will be lesson-plan like: while they won’t necessarily be full lesson plans, they should focus on providing examples of instructional goals and activities that can be put into practice. Some example contributions might look like: 50-minute introduction to Early English Books Online for research on religious discourse A multi-session outline or description of embedded approach to combining archival research with a digital project A sample workflow preparing students to create metadata for a critical digital exhibit Introduction to data literacy in the context of seeking demographic data An outside-of-class preparatory activity evaluating the accessibility of a digital resource Exercise on determining the rights status of visual resources on museums’ and archives’ websites An annotated list of recommended resources for introducing a tool or topic with suggestions for instructional use An assignment development workshop for instructors Activities that foster a critical approach to digital library materials A workshop on critical digital humanities methods that intersect with the library in some way Potential topics include but would not be limited to: Combining archival research with a digital project Creating critical digital exhibits or archives Embedded librarianship (and how it relates to the other two) Tool- or method-based workshops Assessing appropriate assignment scope Matching tools and methods with learning goals Critical digital library pedagogy Universal design principles Learner-centred teaching strategies Critical information literacy Critical digital humanities methods that intersect with the library in some way The goal of this project is twofold: first, we want to gather resources for critical digital library instruction with a bent toward the practical and concrete; second, we want the process itself to be a form of community building and professional development. In particular, we hope to encourage collaborations that connect participants with new areas of expertise, especially between practitioners of different levels of experience in different areas. Prospective contributors may elect individual authorship, form their own collaborative pairs or groups, or request to be paired with a collaborator of complementary interest by an Editor. Authors will be connected with a Section Editor who will facilitate the process. Next steps for participation Review the schedule, roles & responsibilities below and consider what you would like to contribute. Complete this Intent to Contribute form at bit.ly/dlfteach-cookbook-contributors to suggest topics and ideas and/or to volunteer for a particular role. If you contribute a topic or idea but do not want to volunteer in another capacity, you will receive acknowledgment credit. Completion of the form will also add you to a focused email group list for this project. Watch this thread for further general calls, announcements, and opportunities. Work plan To meet these goals, we propose a distributed, iterative, and collaborative process to unfold throughout the rest of 2018 along a rough target timeline: Planning phase 1: In progress. Template for contributions and peer review process developed in open subgroup meetings and weekly Slack chat (see instructions for joining). Planning phase 2: April 23–May 31. Potential contributors invited to submit topics of interest and indicate desire to author and/or review future entries. Assignment phase: Early June. Editors and Section Editors will finalize topic assignments to Contributors, group prospective Contributors as co-authors based on interest, and assign small groups of Contributors to a Facilitator. Drafting sprint: mid June–July. Co-authors draft initial version of submission, in consultation with Facilitators. Drafting and revision sprint: August. Co-authors revise or expand initial draft. Review sprint: September–October. Over a 1–2 week period, reviewers comment on submissions. Revision sprint: November–December. Co-authors respond to comments and select revisions. Formatting sprint: January–February. Subgroup leaders facilitate the organization and publication of reviewed content on Open Science Framework (likely platform). Roles & responsibilities The purpose of these descriptions is to facilitate your participation at any level that meets your interest and availability at this time. A willingness to show up and take part is more important than prior experience. Editor: Participate in scheduled planning meetings (anticipated 1–2 per month), help make decisions and problem solve via email or chat if necessary, follow through on agreed upon tasks that may relate to communication, content creation, content review, background research, promotion, or other project needs as they arise. Steady participation expected through first iteration of the cookbook. Section Editor: Communicate regularly with Facilitators, Reviewers, and Format/Copy Editors for one section of the cookbook. Work with Editors to generate review procedures for peer review and beta testing. Steady participation expected from Planning Phase 3 through first iteration. Facilitator: Work with a small group of contributors to organize the creation of content by setting meetings, sending reminders, communicating about when the next sprint will happen, helping to set goals and accountability checks for those goals. Communicate with Section Editors and Editors as needed. Bulk of participation would likely take place during summer of 2018. Contributor: Author, either individually or in groups, section(s) of the Cookbook. Respond to communications from Facilitator and meet drafting deadlines. Drafting and revision Read More

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