In June 2015, the LITA’s President, Rachel Vacek, Program Planning Team partnered with Weave to hold a contest for great, affordable UX ideas for libraries. The winner won some fabulous prizes, but the committee had trouble choosing just one of the entries they received for recognition. Therefore they choose a winner and first two runners-up for the 2015 Great Library UX Ideas Under $100.
Congratualations to all the winners:
Conny Liegl, Designer for Web, Graphics and UX Robert E. Kennedy Library at California Polytechnic State University
Rebecca Blakiston, User Experience Librarian, University of Arizona Libraries
Shoshana Mayden, Content Strategist, University of Arizona Libraries
Nattawan Wood, Administrative Associate, University of Arizona Libraries
Aungelique Rodriguez, Library Communications Student Assistant, University of Arizona Libraries
Beau Smith, Usability Testing Student Assistant, University of Arizona Libraries
Tao Zhang, Digital User Experience Specialist, Purdue University Libraries
Marlen Promann, Graduate Research Assistant, Purdue University Libraries
Weave’s primary purpose is to provide a forum where practitioners of UX in libraries (wherever they are, whatever their job title is) can have discussions that increase and extend our understanding of UX principles and research. This is our primary aim: to improve the practice of UX in libraries, and in the process, to help libraries be better, more relevant, more useful, more accessible places.
For questions or comments related to LITA programs and activities, contact LITA at (312) 280-4268 or Mark Beatty, [email protected]
If you’re going to offer iPad services to your patrons—either as a part of programming/instruction or as items they can check out and take home—you’re going to want some way to get apps in bulk. If you’re only looking at free apps then you’ll want to wait for the next post where I talk about how to get apps onto devices. But if you’re going to use pay apps (which is really what you want to do, right?) then read on.
You could set up each iPad individually and add a credit card/gift card to each one and buy apps as you needed them. That might not be too onerous if you’re managing a handful of devices. What if you have more than 20? What if you have hundreds? Then you’ll want a different solution.
Thankfully Apple has a solution called the Volume Purchase Program (VPP). You’ll notice there are two links on that page: one for Education and one for Business. If you’re an academic or school library you can probably use the Education link (you might need to work with some in your finance department to get things set up). If you’re at a public library, like I am, you’ll have to use the Business link. If you’re not sure which you should use Apple defines institutions eligible for the Education program as:
Any K-12 institution or district or any accredited, degree-granting higher institution in the U.S. may apply to participate.
If you qualify for the Education VPP you’ll get discounts on app purchases (typically in volumes of 20 or more) and you’ll also be able to purchase books for classrooms through the iBooks store. Apple has a wonderful guide on how the VPP program works for education. A Business VPP account doesn’t get the discounts that an Education account does but it can still be used to buy apps in bulk and buy books from the iBooks store.
The process of creating the account is roughly the same for either the Education or Business VPP. First, you need to verify that you are authorized to enroll your institution in a VPP account. In my case this involved using a verified email address and then accepting terms and conditions on behalf of my library. It’s more complicated for an Education VPP account and you can read the details on the link above. The Business VPP account has a fairly comprehensive faq for any questions not covered in this post.
After that you create a special Apple id that works as an administrator of the VPP account. This id will only be used to purchase apps/books through the VPP. You can have as many administrators as you want, but I find having only one or two works best so that can better manage how the VPP account is used. I find having too many people working on the same thing ends up with people inadvertently working against each other.
Quick note: if you are a Business VPP user, you cannot set yourself up as tax exempt (assuming you are a tax-exempt institution). All is not lost, however. You can submit your email receipts to Apple to be reimbursed for taxes after you send them your paperwork showing that you are a tax-exempt institution. The process, despite being an extra step, works pretty well. I email my claims to Apple and we get a check for the taxes within a few weeks.
The whole process of creating a VPP account is pretty straightforward*. It makes the whole process of managing multiple iPads/iPhones a lot easier so it’s worth doing. All that’s left at this point is getting your purchased apps onto the devices.
When you buy apps in bulk you’re given a list of redemption codes to download. I use Apple’s Configurator to deploy apps and manage devices. With the release of iOS9 Apple is rolling out Mobile Device Management and I’ll address both of those in the next post. Honestly the VPP is one of the easier pieces of managing multiple iPads but it’s a step you need to take.
Jump in the comments if you have follow-up questions!
* If you run into any problems, contact Apple support. They are super helpful and will get you the answers you need.
Since the first versions were released in 2002, Creative Commons licenses have become an important part of the copyright landscape, particularly for organizations that are interested in freely sharing information and materials. Participants in this 90 minute webinar will learn about the current Creative Commons licenses and how they relate to copyright law.
This webinar will follow up on Carli Spina’s highly popular Ignite Session at the 2015 ALA Mid Winter conference. Carli will explain how to find materials that are Creative Commons-licensed, how to appropriately use such items and how to apply Creative Commons licenses to newly created materials. It will also include demonstrations of some important tools that make use of Creative Commons-licensed media. This program will be useful for librarians interested in instituting a Creative Commons licensing policy at their institutions, as well as those who are interested in finding free media for use in library materials.
Is the Emerging Technologies and Research Librarian at the Harvard Law School Library. There she is responsible for teaching research and technology classes, as well as working on technology projects and creating online learning objects. She has presented both online and in-person on copyright and technology topics. Carli also offers copyright training and assistance to patrons and staff and maintains a guide to finding and understanding Creative Commons and public domain materials. Prior to becoming a librarian, she worked as an attorney at an international law firm. You can find more information about her work, publications, and presentations at carlispina.com.
I’ve been thinking a lot about scholarly engagement on Twitter lately, especially after reading Bonnie Stewart‘s latest blog post, “The morning after we all became social media gurus.” Based on her research and writing for her thesis, she weighs exactly what we as academic librarians and LIS professionals are getting out of digital scholarly engagement and how we measure that influence in terms of metrics. I’d like to unpack this topic a bit and open it up to a wider reader discussion in the comments section, after the jump!
In the wake of Edward Snowden’s revelations about NSA and FBI dragnet surveillance, Alison Macrina started the Library Freedom Project as a way to teach other librarians about surveillance, privacy rights, and technology tools that protect privacy. In this 90 minute webinar, she’ll talk about the landscape of surveillance, the work of the LFP, and some strategies you can use to protect yourself and your patrons online. Administrators, instructors, librarians and library staff of all shapes and sizes will learn about the important work of the Library Freedom Project and how they can help their patrons.
Is a librarian, privacy rights activist, and the founder and director of the Library Freedom Project, an initiative which aims to make real the promise of intellectual freedom in libraries by teaching librarians and their local communities about surveillance threats, privacy rights and law, and privacy-protecting technology tools to help safeguard digital freedoms. Alison is passionate about connecting surveillance issues to larger global struggles for justice, demystifying privacy and security technologies for ordinary users, and resisting an internet controlled by a handful of intelligence agencies and giant multinational corporations. When she’s not doing any of that, she’s reading.
Creative Commons (CC) is a public copyright license. What does this mean? It means it allows for free distribution of work that would otherwise be under copyright, providing open access to users. Creative Commons licensing provides both gratis OA licensing and libre OA licensing (terms coined by Peter Suber). Gratis OA is free to use, libre OA is free to use and free to modify.
How does CC licensing benefit the artist? Well, it allows more flexibility with what they can allow others to do with their work. How does it benefit the user? As a user, you are protected from copyright infringement, as long as you follow the CC license conditions.
CC licenses: in a nutshell with examples
BY – attribution | SA – share alike | NC – non-commercial | ND – no derivs
CC0 – creative commons zero license means this work is in the public domain and you can do whatever you want with it. No attribution is required. This is the easiest license to work with. (example of a CC0 license: Unsplash)
BY – This license means that you can do as you wish with the work but only as long as you provide attribution for the original creator. Works with this type of license can be expanded on and used for commercial use, if the user wishes, as long as attribution is given to the original creator. (example of a CC-BY license: Figshare ; data sets at Figshare are CC0; PLOS)
BY-SA – This license is an attribution licenses and share alike license meaning that all new works based on the original work will carry the same license. (example of a CC-BY-SA license: Arduino)
BY-NC – this license is another attribution license but the user does not have to retain the same licensing terms as the original work. The catch, the user must be using the work non-commercially. (example of a BY-NC license: Ely Ivy from the Free Music Archive)nudecelebvideo
BY-ND – This license means the work can be shared, commercially or non-commercially, but without change to the original work and attribution/credit must be given. (example of a BY-ND license: Free Software Foundation)
BY-NC-SA – This license combines the share alike and the non-commercial with an attribution requirement. Meaning, the work can be used (with attribution/credit) only if for non-commercial use and any and all new works retain the same BY-NC-SA license. (example of a CC BY-NC-SA: Nursing Clio see footer or MITOpenCourseWare)
BY-NC-ND – This license combines the non-commercial and non-derivative licenses with an attribution requirement. Meaning, you can only use works with this license with attribution/credit for non-commercial use and they cannot be changed from the original work. (example of a BY-NC-ND license: Ted Talk Videos)
Each month, the LITA bloggers share selected library tech links, resources, and ideas that resonated with us. Enjoy – and don’t hesitate to tell us what piqued your interest recently in the comments section!
Linked data. It’s one of the hottest topics in the library community. But what is it really? What does it look like? How will it help? In this series I will seek to demystify the concept and present practical examples and use-cases. Some of the topics I will touch on are:
Tools for implementing linked data
Interviews with linked data practitioners
What can you do to prepare?
In this part one of the series I will give a brief explanation of linked data; then I will attempt to capture your interest by highlighting how linked data can enhance a variety of library services, including cataloging, digital libraries, scholarly data, and reference.
What is Linked Data?
I’m not going to go into the technical detail of linked data, as that isn’t the purpose of this post. If you’re interested in specifics, please, please contact me.
At its core, linked data is an idea. It’s a way of explicitly linking “things” together, particularly on the web. As Tim Berners-Lee put it:
The Semantic Web isn’t just about putting data on the web. It is about making links, so that a person or machine can explore the web of data. With linked data, when you have some of it, you can find other, related, data.
Resource Description Framework is a framework for realizing linked data. It does so by employing triples, which are fundamentally simple (though RDF can become insanely complex), and by uniquely identifying “things” via URIs/URLs when possible. Here is a quick example:
This is the basic principle behind linked data. In practice there are a variety of machine-readable languages that are able to employ the RDF model, among them are XML, JSON-LD, TTL, and N-Triples. I won’t go into any specifics, but I encourage you to explore these if you are technologically curious.
Most of us are leading very digital lives. Bank statements, interaction with friends, and photos of your dog are all digital. Even as librarians who value preservation, few of us organize our digital personal lives, let alone back it up or make plans for it. Participants in this 4 week online class will learn how to organize and manage their digital selves. Further, as librarians participants can use what they learn to advocate for better personal data management in others. ‘Train-the-trainer’ resources will be available so that librarians can share these tools and practices with students and patrons in their own libraries after taking this course.
At the end of this course, participants will:
Know best practices for handling all of their digital “stuff” with minimum effort
Know how to save posts and data from social media sites
Understand the basics of file organization, naming, and backup
Have a plan for managing & organizing the backlog of existing personal digital material in their lives (including photographs, documents, and correspondence)
Be prepared to handle new documents, photos, and other digital material for ongoing access
Have the resources to teach others how to better manage their digital lives
Melody Condron is the Resource Management Coordinator at the University of Houston Libraries. She is responsible for file loading and quality control for the library database (basically she organizes and fixes records for a living). At home, she is the family archivist and recently completed a 20,000+ family photo digitization project. She is also the Chair of the LITA Membership Development Committee (2015-2016).
October 6 – November 11, 2015
LITA Member: $135
ALA Member: $195
Moodle login info will be sent to registrants the week prior to the start date. The Moodle-developed course site will include weekly new content lessons and is composed of self-paced modules with facilitated interaction led by the instructor. Students regularly use the forum and chat room functions to facilitate their class participation. The course web site will be open for 1 week prior to the start date for students to have access to Moodle instructions and set their browser correctly. The course site will remain open for 90 days after the end date for students to refer back to course material.
Back in January, TheAtlanticran an article on a new device being used at the Cooper Hewitt design museum in New York City. This device allows museum visitors to become curators of their own collections, saving information about exhibits to their own special account they can access via computer after they leave. This device is called a pen; Robinson Meyer, the article’s author, likens it to a “gray plastic crayon the size of a turkey baster”. I think it’s more like a magic wand.
Not only can you use the pen to save information you think is cool, you can also interact with the museum at large: in the Immersion Room, for example, you can draw a design with your pen and watch it spring to life on the walls around you. In the Process Lab, you use the pen to solve real-life design problems. As Meyer puts it, “The pen does something that countless companies, organizations, archives, and libraries are trying to do: It bridges the digital and the physical.”
The mention of libraries struck me: how could something like the Cooper Hewitt pen be used in your average public library?
The first thing that came to my mind was RFID. In my library, we use RFID to tag and label our materials. There are currently RFID “wands” that, when waved over stacks, can help staff locate books they thought were missing.
But let’s turn that around: give the patron the wand – rather, the pen – and program in a subject they’re looking for…say, do-it-yourself dog grooming. As the patron wanders, the pen is talking with the stacks via RFID asking where those materials would be. Soon the pen vibrates and a small LED light shines on the materials. Eureka!
Or, just as the Cooper Hewitt allows visitors to build their own virtual collection online, we can have patrons build their own virtual libraries. Using the same RFID scanning technology as before, patrons can link items to their library card number that they’ve already borrowed or maybe want to view in the future. It could be a system similar to Goodreads (or maybe even link it to Goodreads itself) or it could be a personal website that only the user – not the library – has access to.
What are some ways you might be able to use this tech in your library system?