Montag, 17. Dezember 2018

Ö1-Mittagsjournal (17.12.2018): Digitalisierung an Bibliotheken

Die Rolle von Bibliotheken in der Gesellschaft ändert sich grundlegend. Die digitale Revolution macht Bibliotheken zunehmend zu Hybrid-Bibliotheken, die neben dem wertvollen Kulturerbe aus Papier, das sie umfassend digitalisieren, auch immer mehr „born digital“-Medien sammeln. Die europäischen Nationalbibliotheken sind gezwungen, ihre Arbeitsprozesse und ihr Selbstverständnis zu reflektieren. Der Alltag der Wissensspeicherung hat sich geändert, schildern internationale Museumsfachleute.
https://oe1.orf.at/artikel/653548

Zum Nachhören: https://oe1.orf.at/player/20181217/538362

via https://www.univie.ac.at/voeb/blog/?p=47964

Edward Gorey, Frank O’Hara and Harvard’s Gay Underground / Mark Dery. In: Lit Hub Dec 17, 2018

Edward Gorey, like all incoming freshmen, had been assigned to one of the residence halls around Harvard Yard. Mower, a small red-brick building completed in 1925, has its own courtyard, a patch of tree-shaded green that gives it a secluded feel. Gorey’s new home was suite B-12, on the ground floor, a no-frills affair with two bedrooms giving onto a common study room with three desks and a fireplace. His roommates were Alan Lindsay and Bruce Martin McIntyre, about whom we know zilch, as he would say.
In his first month at Harvard, Gorey met a fellow veteran and fledgling poet with whom he soon formed a two-man counterculture. Frank O’Hara, his upstairs neighbor in Mower B-21, would go on to fame as a leading light in the New York School of poets (which included John Ashbery and Kenneth Koch, both Harvardians as well). Brilliant, intellectually combative, lightning quick with a witty comeback, O’Hara was a virtuoso conversationalist who turned cocktail-party repartee into an improvisatory art.
Like Gorey, he’d come to Harvard on the GI Bill. He, too, was Irish Catholic, but whereas Ted had slipped the traces of a Catholic upbringing early on, O’Hara had all the post-traumatic baggage of the lapsed Catholic: “It’s well known that God and I don’t get along together,” he wisecracked in one of his poems. But the most obvious evidence that he and Gorey were cast in the same mold was O’Hara’s “drive for knowing about all the arts,” an impulse that “was as tireless as it was unfocused,” according to his biographer Brad Gooch, who adds that “he showed a genius, early on, for being in the know”—another Goreyan quality. By 1944, when he enlisted in the navy, he’d become “something of an expert on the latest developments in 20th-century avant-garde music, art, and literature,” mostly by way of his own autodidactic curriculum, Gooch writes. Like Gorey, O’Hara was fluent in modern art, bristling with opinions on Picasso, Klee, Calder, and Kandinsky. At the same time, he shared Ted’s passion for pop culture, which for O’Hara meant the comic strip Blondie, hit songs by Sinatra and the big-band trumpeter Harry James, and, most of all, film: he was an ardent moviegoer, papering his bedroom walls with pictures of popcorn Venuses like Marlene Dietrich and Rita Hayworth. Insatiable in his cultural cravings, all-embracing in his tastes, unreserved in his opinions, O’Hara was in many ways Gorey’s intellectual double, down to the fanatical balletomania.
The two were soon inseparable. They made a Mutt-and-Jeff pair on campus, O’Hara with his domed forehead and bent, aquiline nose, broken by a childhood bully, walking on his toes and stretching his neck to add an inch or two to his five-foot-seven height, Gorey towering over him at six two, “tall and spooky looking,” in the words of a schoolmate. ... [mehr] https://lithub.com/edward-gorey-frank-ohara-and-harvards-gay-underground/

Forum Musikbibliothek 39 (2018) H.3

Aus dem Inhalt:

SPEKTRUM
Joseph Joachim in die Post geschaut - der digitalisierte Teilnachlass im Brahms-Institut an der Musikhochschule Lübeck

PARFUMO: Projekt Archiv Frau und Musik Online. Einblicke in ein Digitalisierungsprojekt

Schubert Digital: Ein neues Verzeichnis der Autographe Franz Schuberts online

Das Projekt "Mozart-Nachlass": Eine Kooperation zwischen der Internationalen Stiftung Mozarteum und dem Archiv der Erzdiözese Salzburg

Das Musikverlagswiki: ein zentraler Zugangspunkt für die Datierung gedruckter musikalischer Ausgaben von C. F. Peters und anderen Verlagen des 18. und 19. Jahrhunderts   

RUNDBLICK
Berlin: DFG-Projekt zur Tiefenerschließung von Musikautographen an der Musikabteilung der Staatsbibliothek zu Berlin erfolgreich abgeschlossen

Katar: Kuratierte Naxos Playlists für philharmonische Konzerte - Ein Projekt der Qatar National Library in Zusammenarbeit mit dem Qatar Philharmonic Orchestra

NOA - ein Netzwerk für Historische Orchesterarchive

REZENSIONEN

Die Hefte der Zeitschrift Forum Musikbibliothek werden mit einer 12-monatigen Moving Wall mit Hilfe der freien Software Open Journal Systems veröffentlicht, die von der SLUB Dresden bereitgestellt wird (https://journals.qucosa.de/ejournals/fmb)

MUSICAL INSTRUMENT MUSEUMS ONLINE

http://www.mimo-international.com/MIMO/

Music scholars and readers with an affinity for historic musical instruments may be especially interested in Musical Instrument Museums Online (MIMO): "the world's largest freely accessible database for information on musical instruments held in public collections." This resource began in 2009 as a consortium between a number of European musical instrument museums and is now working on expanding its scope to include digitized instruments in publicly held collections around the world. At the time of this writing, visitors to MIMO will find records of more than 100,000 instruments in its database with search information available in multiple languages in addition to English. Readers may search MIMO by keyword or browse the database by instrument family, museum, or instrument-maker. The available information for individual instruments vary, but their records may include such details as multiple photos, audio clips, and written descriptions (which may not always be in English), as well as links to catalog records on other websites if applicable. For museums interested in joining the project, MIMO also provides detailed guidelines and standards on how to photograph and catalog their collections. 

via https://scout.wisc.edu/archives/r50342/musical_instrument_museums_online

PRODUCING GONE WITH THE WIND

https://www.hrc.utexas.edu/exhibitions/web/gonewiththewind/

From the Harry Ransom Center at the University of Texas at Austin comes the digital exhibition Producing Gone with the Wind. This meticulously researched exhibition takes its visitors behind the scenes of the beloved 1939 film to learn how it came to be. Based heavily on archival material from the Ransom Center's David O. Selznick Collection, this exhibition begins by exploring director David O. Selznick's purchase of the film rights from Gone with the Wind's author Margaret Mitchell. The film's arduous casting process receives a thorough treatment here, particularly with regards to Selznick's search for the perfect Scarlett O'Hara. Producing Gone with the Wind also pays close attention to the film's research-intensive costume designs, as well as its hair and makeup. While Scarlett's designs receive the bulk of the scrutiny, other characters' aesthetics are also addressed. An in-depth presentation, this exhibition is sure to please classic film buffs and Gone with the Wind fans alike. 

via https://scout.wisc.edu/archives/r50341/producing_igone_with_the_windi

Schweiz: Nationalrat entscheidet über Revision des Urheberrechts

Der Schweizer Nationalrat modernisiert das Urheberrecht. Künftig sind alle Fotografien urheberrechtlich geschützt, auch schlichte Urlaubsfotos. ... [mehr] https://www.heise.de/newsticker/meldung/Schweiz-Nationalrat-entscheidet-ueber-Revision-des-Urheberrechts-4252141.html

Die Ministerratsprotokolle Österreichs und der Österreichisch-Ungarischen Monarchie 1848–1918

Ab 1970 wurden die Protokolle des österreichischen Ministerrates 1848–1867 in Buchform publiziert. Die als 1. Serie des Gesamtprojekts „Ministerratsprotokolle Österreichs und der österreichisch-ungarischen Monarchie“ bezeichnete Edition wurde im Jahr 2015 abgeschlossen und umfasst 28 Teilbände. Digitalisate dieser Edition können online in Form von PDF-Dokumentenbenutzt werden (OpenAccess), eine XML-basierte Volltextausgabe ist in Vorbereitung.

Ebenfalls in digitalisierter Form finden Sie hier auch die von der Ungarischen Akademie der Wissenschaften herausgegebene 2. Serie des Gesamtprojekts. Diese betrifft die Protokolle des gemeinsamen Ministerrates der österreichisch-ungarischen Monarchie in den Jahren 1867 bis 1918. In Buchform sind bisher sechs Teilbände erschienen, diese sind wie jene der 1. Serie unter https://hw.oeaw.ac.at/ministerrat/ in digitalisierter Form frei zugänglich.

2018 startet die voraussichtlich 13 Teilbände umfassende 3. Serie des Gesamtprojekts, welche die Protokolle des österreichischen (cisleithanischen) Ministerrates aus den Jahren 1867 bis 1918 betrifft. Diese Bände werden sowohl in einer Digitalen Edition online als XML-Volltext als auch in Buchform veröffentlicht.

1. Serie: Die Protokolle des österreichischen Ministerrates 1848–1867



https://hw.oeaw.ac.at/ministerrat/





2. Serie: Die Protokolle des gemeinsamen Ministerrates der österreichisch-ungarischen Monarchie 1867–1918 (hrsg. von der Ungarischen Akademie der Wissenschaften)


https://hw.oeaw.ac.at/ministerrat  
https://www.oeaw.ac.at/inz/forschungsbereiche/kulturelles-erbe/forschung/ministerratsprotokolle-habsburgermonarchie/digitale-editon-ministerratsprotokolle/
https://www.oeaw.ac.at/inz/forschungsbereiche/kulturelles-erbe/forschung/ministerratsprotokolle-habsburgermonarchie/