Remembering deg farrelly

 deg farrelly, Librarian Emeritus, ASU photo by Jeff Tamblyn

deg farrelly, Librarian Emeritus, ASU
photo by Jeff Tamblyn

One of the US' most respected and often-cited media librarians, and a very good friend of NMM, died this month. This is part of an interview published previously in February, but more about deg's life as a librarian. 

 

deg's Published Works
(a probably incomplete list)

FROM THE ARIZONA STATE UNIVERSITY DIGITAL REPOSITORY:

Academic Library Streaming Video Revisited

Contributors: Hutchison Surdi, Jane, Farrelly, Deg, Arizona State University. ASU Library
Created Date:2016-06-21

Academic Library Streaming Video Revisited - Survey Instrument
Survey instrument used in Survey of Academic Library Streaming Video Revisited, 2015

Contributors: Hutchison Surdi, Jane, Farrelly, Deg, Arizona State University. ASU Library
Created Date: 2015-04-30

ALSVR Survey Results 2015
Document recording all the responses from the survey in table form

Contributors: Farrelly, Deg, Hutchison Surdi, Jane, Arizona State University. ASU Library
Created Date: 2016-01-21

ALSVR Survey Results 2015 Addendum
Addendum to document recording all the responses from the survey in table form. This document records all the additional comments made on the survey responses

Contributors: Farrelly, Deg, Hutchison Surdi, Jane, Arizona State University. ASU Library
Created Date: 2016-01-21

Applying Section 108 to Preserve VHS Collections
Poster presents information on group project to develop a crowd-sourced database of VHS titles eligible for duplication within Section 108 provisions of US copyright law.

Contributors: Farrelly, Deg, Arizona State University. ASU Library
Created Date: 2016-05-17

Running Start: A Crowd-Sourced Database of Due Diligence to Invoke Section 108
Explains the urgent need for libraries to engage in preservation of irreplaceable content on VHS and other obsolete video formats in their collections, and presents a database of titles for which due diligence as required by Section 108 of US Copyright has already been completed.

Contributors: Farrelly, Deg, Arizona State University. ASU Library
Created Date: 2016-10-21

Streaming Video in Academic Libraries: Preliminary Results from a National Survey
In spring 2013 the presenters developed a survey on academic library streaming video and distributed it broadly through various discussion and mailing lists. This is the first large-scale and most comprehensive effort to date to collect data on streaming video funding, licensing, acquisition, and hosting in academic libraries. Its results will provide benchmark data for future explorations of this rapidly expanding approach to video in academic libraries. Streaming video is becoming a common occurrence on many campuses today. Its fast growth is due in part to the steady growth of online classes and programs. Technology has also played a role ...

Contributors: Farrelly, Deg, Hutchison, Jane, Arizona State University. ASU Libraries
Created Date: 2013-11-03

Streaming video in academic libraries: Ten key findings from a national survey
Streaming video has been an option for academic libraries for nearly a decade. What is the state of streaming video in academic libraries today? How are these libraries acquiring streaming videos? Who makes acquisition decisions? How much staff time does supporting streaming video require?

Contributors: Hutchison, Jane, Farrelly, Deg, Arizona State University. ASU Library
Created Date: 2014-09-30

FROM OTHER SOURCES:

Farrelly, Deg. "Digital Video: Merrily, Merrily, Merrily, Merrily Wading into the Stream."Computers in Libraries, no. 9, 2016, p. 4.

Farrelly, Deg. "VHS Copyright and Due Diligence."Library Journal, no. 20, 2016, p. 16.

Farrelly, Deg. "Media Ignored."Library Journal, no. 6, 2012, p. 10.

Hutchison, Jane and Deg Farrelly. "Higher Education Digital Video Summit: From Discussion to Action."College & University Media Review, vol. 15, no. 1, Spring/Summer2009, pp. 17-24.

Farrelly, Deg,  "Use-Determined Streaming Video Acquisition: The Arizona Model for FMG on Demand."College & University Media Review, vol. 14, no. 1, Spring/Summer2008, pp. 65-78.

farrelly, deg and Jane Hutchison. "Academic Library Streaming Video: Key Findings from the National Survey."Against the Grain, vol. 26, no. 5, Nov. 2014, pp. 73-75.

Orlando, Lynn S. and Deg Farrelly. "Captain Video Introduces Power, Process, and Production: Media to Enhance Learning, K-12." 16 Oct. 1987.

Let's (re)Connect, a guest blog by Elizabeth Sheldon, CEO, Juno Films

 Elizabeth Sheldon CEO, Juno Films

Elizabeth Sheldon
CEO, Juno Films

Hello Video Librarians. How are you? I wonder if you feel a little bit like I do: disconnected, adrift... a little like I live in a world where the only place I can shop is either Amazon for my books and Netflix for my movies. It is a lonely place, where I am isolated in front of my computer screen. I have plenty of choice but something is missing... it is a dystopian world of abundance based on algorithms that somehow doesn't satisfy what I crave. Is this ringing a bell with any of you? I find it hard to believe I am the only one suffering from this intellectual loneliness that gnaws at me. For Juno's sake, you're librarians! You, of all people, must understand about intellectual curiosity?

Ballad_of_Narayama_1983.jpg

Assuming you do, the next question is, is there an antidote to a world in which our intellectual curiosity is to be quenched by "products" recommended by algorithms? I signed up for Netflix for my mom the other evening and before completing my order I had to select five series that reflected my taste. This means that going forward my ability to discover something outside of my profile is severely limited. They've got my number and that will be my world. I am a prisoner of my profile. It makes me think about how we supposedly live in a world in which we generally don't interact with people outside of our socio/economic/political bubble and that this leads to the illusion that everyone is just like you. But how boring a world is that when all of my friends, neighbors, colleagues think just like me? When we all watch the same films, read the same books, the same newspapers, same tv commentators? I might come to believe the world is homogenous and without dissent. Somehow, this seems pernicious to me. 

These films, like the library books, were curated by people who were well versed and knowledgeable in the world of literature and film. I could trust these curators to provide not entertainment, but experiences that provoked me to think outside my limited experience.

Do any of you remember the days when you could go into the local book store, or better yet library, and discover new authors? New genres? New ideas? My memory of my formative intellectual years is one of discovery. First I discovered the world of literature, from autobiography to science fiction, at the local library. Then I discovered music by learning to play the flute, and finally I discovered cinema. The discovery of film occurred when I was old enough to ride my bike to the local art house theater in Berkeley on Shattuck Avenue where every night they played a different film. My first films were Eraser Head and Night of the Living Dead, a double bill in black and white. Let us say the evening made an impression. I also discovered Bertolucci, Agnes Varda (after seeing The Hitch Hiker I never hitchhiked again fearing I would end up dead in a ditch), The Ballad of Narayama, Godard, the list goes on. These were neither happy nor easy films to watch but they satiated my desire to learn about the world for the couple of hours that I could escape from the duress of adolescence and I came to the realization that life is not about having fun; it is often bleak and full of suffering. Who today has watched The Ballad of Narayama? It most certainly isn't on Netflix! 

These films, like the library books, were curated by people who were well versed and knowledgeable in the world of literature and film. I could trust these curators to provide not entertainment, but experiences that provoked me to think outside my limited experience. I could experience life in all of its brutality in a pre war Japanese village or determine that sex must be a terrible thing in David Lynch's world after watching Eraser Head

But today my choices are guided by algorithms or worse yet, at the risk of sounding like an elitist snob, the vox populi. Netflix brags about its "binge" model. This is what one does with Twinkies or Oreos or cheap whiskey: you binge until you are sick. You remember little the next day except that while it might have been fun when you were in the process of binging, there is now a terrible headache on top of a terrible hunger but you are too sick to eat. Nothing has been satisfied. It is the endless cycle of addiction. It is spiritually exhausting and a form of intellectual starvation.

Dear librarians, can you please make sure that my children and grandchildren don't grow-up in a dystopian world where the films that they can watch are chosen by an algorithm or their peers looking for cheap thrills, rather than curators? Because the art house theaters are struggling. I live in a university town and I can testify that the offerings are meager in the neighborhood. Can you please help my filmmakers to connect with their audiences directly by licensing indie films with PPR or DSL from the distributors rather than via a cheap smorgas of an all-you-can-eat buffet that leaves everyone hungry for connection and conversation and reaps profit for the platform but not for the artists? 

Dear librarians, can't we (re) connect to make sure that our intellectual world, of which you are the front and last line of defense, is defended?  Please consider the price that is really paid when librarians stop purchasing films from indie distributors and the filmmakers they represent; it is not just financial although the economic impact is staggering. When you purchase direct from the distributor a significant portion of each sale goes back to the filmmaker. When you opt for a subscription model, the price goes down as does the revenue share as the platform also takes a cut of each license fee. We indie distributors are like the neighborhood book stores and, as we know from experience, all of the local book stores will go out of business because they cannot compete with Amazon. We all love "cheap," but let's consider the price we really pay when there are no more local book stores, or by extension, no more indie distributors.

Elizabeth Sheldon, CEO
Juno Films

Note: Guest bloggers are invited to express their own opinions, which may not represent those of NMM

 

How Grasshopper Film Waged an Oscar Campaign About a War Documentary That Came Under Attack

LAST_MEN_IN_ALEPPO.jpg

After Last Men in Aleppo was named Best in Show at the 2017 National Media Market, no one who watched its screening was likely surprised to see it later become an Oscar nominee for Best Documentary. Although it didn't win, the film itself is remarkable for a number of reasons, and the campaign to get the nomination was plagued by politically motivated opposition media and social media attacking its integrity. NMM Chair Jeff Tamblyn spoke with Ryan Krivoshey, the founder and CEO of Grasshopper Film and distributor of Last Men, to learn how to campaign for an Oscar...and what it's like when your film is under fire.

Audio podcast, 20:55. 

deg farrelly and the Academic Libraries Video Trust

deg_official portrait.jpg

This month's post is a podcast with Arizona State University Librarian Emeritus deg farrelly, who's been collecting, curating, and serving up media in libraries for 40 years. 

Recently retired, deg was a major contributor to several landmark research projects and a fierce proponent of video as a tool of scholarship. Some of his most important work has concerned co-creating the Section 108 database for performing due diligence in preserving VHS titles when they're no longer available for sale. 

Now, he's a major supporter of NMM's new project, the Academic Libraries Video Trust, having donated $10,000 as a seed grant. Find out why he feels it's so important.

Digital Disruption in a Small-Town Library

kincaid map.jpg

On Commercial street in Kincaid, Kansas, I only remember seeing one identifiable business — a somewhat decrepit restaurant and bar called Crickets. “The last census counted 93 or so people within the city limits,” I’m told by Jennifer Gum-Fowler, the librarian at Kincaid Public Library, “many of whom are living below the poverty line. We’re part of Rich Township, about 300 people, but not that rich.”

IMG_0871.JPG

The library is in the old high school, which now houses city hall offices and a nutritional program for older adults. Upstairs, along a hallway lined with lockers painted bright red, is a medium-sized former classroom. It’s a neat, brightly decorated, welcoming place with a 3-workstation computer bay, a play/reading area for children, and shelves bearing 2,261 items, according to a recent funding-related petition submitted to the Kansas State Library.

“That [petition] was the final step of being a stand-up, big-boy library,” Jennifer says proudly, “with actually being able to say we’re funding ourselves and moving forward now.” Up until 2014, the library was more like a “book depository,” a gift from the school’s alumnae with a collection that was untended and unsupervised. Sensing the community’s need, she and other citizens formed a board and filed the paperwork to make the library an official project, funded by taxes.

 Citizen-librarian Jennifer Gum-Fowler helped found and now runs the Kincaid public library. 

Citizen-librarian Jennifer Gum-Fowler helped found and now runs the
Kincaid public library. 

As part of the library’s development, Jennifer “took on” the position of librarian. Her degree in History and Political Science from Washburn University had been intended to qualify her for law school. “Then,” she laughs, “life happened.” Jennifer and her husband, an over-the-road welder and machinist, have three children and have lived all over the state, wherever his work takes him. She also describes herself as “a big Dr. Who fan.”

How did she acquire library skills? “It’s touch-and-go,” she says, “but the Southeast Kansas Library System is awesome.” In addition to its state library, Kansas has a unique system of seven regional library organizations that each assist dozens of municipal and county libraries to improve services, qualify them for federal and state funding, and in some cases, train citizen librarians like Jennifer. “We’ve got a Share-It program through them, and a courier service through the state, so we can get books and materials from all over.”

 The library serves a population of over 300 with 24/7 Wi-Fi, even though the building is only open 15 hours per week.

The library serves a population of over 300 with 24/7 Wi-Fi, even though the building is only open 15 hours per week.

The Kincaid library might not be big, but it provides a wealth of services to its patrons, including books for all ages, adult computer classes, a summer reading program, movie nights, weekly story time for children, and a Wi-Fi service that’s on 24/7. “People sit on the steps or in their cars in the parking lot, doing e-mail or downloading movies from their Netflix subscription for the weekend.” She also volunteers a lot of time all over the community as part of her library duties. Crickets runs a game night to help raise money. There’s a flyer on the wall for Zombie Day, a scavenger hunt for local teens and pre-teens, with local volunteers dressed up as undead nemeses. For all of that, their funding only allows them to be open 15 hours per week. Last year, she had over a thousand visits.

Local poverty-line citizens use the library to access Social Security and unemployment, although Jennifer says many have difficulty learning to do so. “If you’ve never done it or you’re terrified of doing it, it’s overwhelming. But if you don’t have access to the internet, you don’t have access to those services. We’ve held classes on how to sign up for the Affordable Care Act. I have one lady in her 70’s who’s selling her stuff on Etsy. It’s a really daunting task for her, but if you don’t show your wares that way, you get left behind.”

“[Digital disruption] causes a whole underclass that is lost. Coming from Topeka and having lived in Western Kansas and here, there’s a whole group of people who’re getting left behind.”
— Jennifer Gum-Fowler, Kincaid, KS Public Librarian

What does digital disruption mean to her library? “It causes a whole underclass that is lost. Coming from Topeka and having lived in Western Kansas and here, there’s a whole group of people who’re getting left behind. If they don’t have access, they don’t actually understand what’s happening around the world. And they don’t see the world the way the majority of people do.  And it’s a real tug-of-war when you talk to them, because you’re trying to discuss thoughts and ideas that they’re not exposed to.”

She talked about how her two sons are home-schooled and learn everything online. “When I’m at the grocery store, I text them to ask what they want and they’ll send me a picture of the item,” she laughs. "But there are other kids here who aren’t in that environment and they don’t even have that concept. Calling someplace to have pizza delivered to your house? These kids have never had that happen.”

 The library's 20 DVDs for kids have been checked out 90 times in the past year. "You know the kids can recite them by heart."

The library's 20 DVDs for kids have been checked out 90 times in the past year. "You know the kids can recite them by heart."

Misconceptions about internet access by outsiders have disrupted the library’s funding. “We’re losing our E-rate [a federal program] grant for our landline phone, because they think everyone has cellular, but you can’t do that in rural America, because we don’t have good service here.” The Kincaid Library budget is now just under $15,000 per year. Jennifer’s applying for a $1,200 collection-development grant through the State Library with which she hopes to augment her DVD collection for kids, which currently numbers 20. “They’ve been checked out 90 times in the past year, so you know the kids can recite them by heart.”

 

Media Literacy and Critical Thinking in the age of Digital Disruption (Part Two)

The fascinating conversation continues among three librarians about media literacy and critical thinking: what are the extent of library responsibilities in the real world, what's the best way to serve, and what's the future of libraries?

Participants:
Scott Spicer, University of Minnesota
Andy Horbal, University of Maryland
Monique Threatt, University of Indiana Bloomington

podcast threesome.JPG

Media Literacy and Critical Thinking in the age of Digital Disruption (Part One)

Join 3 distinguished podcast participants in a thought-provoking discussion of library ideas and responsibilities for media literacy in today's media-dominated environment. 

Featuring:
Scott Spicer - Media Outreach and Learning Spaces Librarian, University of Minnesota
Andy Horbal - Head of Learning Commons, University of Maryland (Incoming head of ALA Video Roundtable
Monique Threatt - Head of Media and Reserve Services, University of Indiana Bloomington

Literature and media referenced in this podcast:
Tamblyn, Jeff. "Kansas vs. Darwin" Kino Lorber, Inc., Kanopy (2008)

W. James Potter. "Media Literacy" Sage Publishing (2016)

farrelly, deg, and Jane Hutchison. "Academic Library Streaming Video: Key Findings from the National Survey." Against the Grain 26.5 (November 2014).

Otto, Jane. "University Faculty Describe Their Use of Moving Images in Teaching and Learning and Their Perceptions of the Library’s Role in That Use." College & Research Libraries, Vol 75, No 2 (2014)

Podcast: Preservation Challenges in the Age of Digital Disruption

In part 2 of a podcast we started in April, NYU Professor Howard Besser and Grad Student Manon Gray share thoughts and experiences about preserving media, as well as some speculations about the challenges libraries may face in the near future. 

The study referred to in the podcast is "Video at Risk" 

Libraries vs. Big Streaming - an unfinished tale of copyright and disruption

A desperate call appeared on the VideoLib listerv.   "13th," a much-lauded social-issue documentary, nominated for an Oscar, could not be shown in class, to groups, or placed in an archive of important 2016 films.  It was showing only on Netflix, where no such rights are usually available. How, the post asked, can it be obtained?

In this case, a reprieve came when Ava DuVernay, the filmmaker, intervened with Netflix and tweeted it out. Public showings would be allowed (although so far, the archiving problem remains).  Such is the Age of Streaming, where most born-digital programming on Netflix, Amazon Prime and other direct-to-consumer platforms comes only via stream, encumbered by highly restricted terms of use.

 John Vallier, University of Washington

John Vallier, University of Washington

It was fitting that the librarian who first sounded the alarm about "13th" should be John Vallier, Head of Distributed Media at the University of Washington.   Vallier comes from an ethnomusicology background -- he also plays drums -- and finding, preserving and distributing music is one of his life's missions.   With music having been the first-wave of media disruption, Vallier has been in the thick of the issue for a bit longer than video-only counterparts.

It started for Vallier back in 2009.  "Two things prompted my involvement," Vallier reflects in a recent email interview with Media This Month.  "D.J. Hoek's 2009 article on the topic in American Libraries, "The Download Dilemma: The demise of the compact disc signals an uncertain future for library sound recording collection," and my own realization that more and more of our audio and video content was only being accessible via portals cloaked in library-hostile terms of use (I'm thinking here of iTunes and Amazon, for example)."

Vallier went beyond the worried and concerned stage and took concrete steps.  In 2010, he and colleagues from UW -- backed by an NEH Digital Humanities Start-Up grant -- tried to negotiate library-friendly end user license agreements (EULA) with Amazon and Apple.   They were rebuffed (the single exception Vallier and his team were able to negotiate: a deal with Universal Music Group for 25 percent of a single recording of a Berlioz symphony, and the account is suggested reading [http://blogs.library.duke.edu/scholcomm/2014/07/28/planning-for-musical-obsolescence/]).

But rather than deliver a EULA-ogy for library music collections, Vallier pressed on, securing a grant from the Institute of Museum and Library Services (IMLS).   Vallier joined in with the UW Libraries and the Music Library Association (MLA) in this venture -- a two-year project that involved one round of community input at the MLA annual meeting in 2014, a meeting with consultants at the ALA meeting the same year, and a concluding summit in late 2014.   The summit was held at the Library of Congress, and took the form of a discussion with the board of the National Recording Preservation Board (NRPB), which includes representatives from scholarly associations, libraries and the music industry.

A raft of recommendations emerged from the summit:

  • Legislative reform, focusing on revision of copyright law.
  • Pursuing a test case via fair use doctrine and best practices.
  • Developing new EULA's with willing partners.
  • Developing new methods for long-term preservation of digitally licensed music.
  • Initiating a campaign of public relations and publish pressure.

Looking back two years later, Vallier professes to still have some hope.  "While the overall topic can seem daunting, irreversible, dire, I have been inspired by working with so many esteemed colleagues on [this] topic," Vallier writes.  "While we didn't 'solve' the issue, I think we are better poised for confronting this issue because of such collaborative work."

Yet as disruption proliferates, the challenge has also grown.  "It's getting worse and spreading rapidly to video, as many have predicted," Vallier notes.  "Just today I had to let some faculty know that we wouldn't be able to purchase the HBO streaming title they wanted because it was only available online from HBO. And yesterday I had to cancel a long list of purchases I wanted to make on Bandcamp as it looks like their terms of use have become more draconian in recent years and in-line with the Apples, Amazons, and Netflixs out there."

"The user-base for library music collections is fairly small when compared to those who check out and use library video collections," he continues. "Because of this, the impact is more noticeable with video. A library not being able to provide access to the latest Netflix-only documentary has a far more disruptive impact than a library not being able to provide access to the latest Deutsche Grammophon release on iTunes. Now when this issue will really become disruptive to librarians, and actually garner more recognition, is when more and more e-book content only becomes available via Amazons, etc."

Reflecting on the recommendations developed at the 2014 summit and refined afterwards, Vallier sees progress on some fronts.   He sees a "glimmer of hope" in the appointment of Carla Hayden as Librarian of Congress, but other staffing questions at the Library, and the partisan climate in Congress, make copyright law reform uncertain. As to fair use, Vallier writes: "It’s really going to take an institution brave enough to volunteer for a lawsuit in order to get clarity on the role of fair use with this issue. Any takers out there?"

In his UW day job, Vallier has become less involved in overall media collection development.  He now spends his time supporting a media maker space ("Media Arcade"), and also attends "to the stewardship and digitization of various audio/video/film archives."

"Being involved with the online-only issue on the one hand, and analog archives on the other, has given me a greater appreciation for the latter," Vallier concludes.  "While it may be dusty and deteriorating, there’s something implicitly reassuring about working with a tangible object, such as reel-to-reel tape."

Further reading:

Hoek, D.J.  "The Download Dilemma: The demise of the compact disc signals an uncertain future for library sound recording collection."  American Libraries.  July 2009. https://americanlibrariesmagazine.org/2009/07/27/the-download-dilemma/

Sound Recording in Crisis (University of  Washington portal)

http://guides.lib.uw.edu/friendly.php?s=research/imls2014

Tsou, Judy, and John Vallier.  "Ether Today, Gone Tomorrow: 21st Century Sound Recording in Crisis."  Notes, Music Library Assoc. Journal.  March, 2016.

 

Digital Disruption in practice: How well do we understand licensing? (A podcast)

Although the responses are still undergoing analysis, Manon Gray's master's thesis contains a survey to probe the understanding of licensing terms between media librarians and distributors. She and Professor Howard Besser (both at NYU) talk about how they put it together, and what they hope to learn and contribute to the academy knowledge base. 

Literature referred to in the podcast includes the following: 

Cross, William. "More than a House of Cards: Developing a Firm Foundation for Streaming Media and Consumer-Licensed Content in the Library." Journal of Copyright in Education & Librarianship 1.1 (2016).

Duncan, Cheryl J., and Erika Day Peterson. Creating a Streaming Video Collection for Your Library. Lanham: Rowman & Littlefield, 2014. 

farrelly, deg, and Jane Hutchison. "Academic Library Streaming Video: Key Findings from the National Survey." Against the Grain 26.5 (November 2014).

farrelly, deg. "Issues in academic library streaming video." Journal of Digital Media Management, 5.2 (Winter 2016-2017).

 

  Howard Besser  is Director of the Moving Image Archiving and Preservation masters degree program at New York University.  He also teaches a regular Cinema Studies course on New Media, Installation Art, and the Future of Cinema.  His current research projects involve preserving digital public television, preserving and providing digital access to dance performance, preserving difficult electronic works, issues around copyright and fair use, Do-It-Yourself media, and the changing nature of media with the advent of digital delivery systems.   Manon Gray   is an MA student in Moving Image Archiving and Preservation and has a bachelor of arts in comparative literature from Princeton. She’s interned at the San Francisco Cinemateque, the Whitney, and the Smithsonian, and served as an AV consultant at the Dominican Studies Institute at City University in New York.

Howard Besser is Director of the Moving Image Archiving and Preservation masters degree program at New York University.  He also teaches a regular Cinema Studies course on New Media, Installation Art, and the Future of Cinema.  His current research projects involve preserving digital public television, preserving and providing digital access to dance performance, preserving difficult electronic works, issues around copyright and fair use, Do-It-Yourself media, and the changing nature of media with the advent of digital delivery systems.

Manon Gray  is an MA student in Moving Image Archiving and Preservation and has a bachelor of arts in comparative literature from Princeton. She’s interned at the San Francisco Cinemateque, the Whitney, and the Smithsonian, and served as an AV consultant at the Dominican Studies Institute at City University in
New York.