The recent White Glove Salon was featured in the May-June 2018 Houston Calligraphy Guild newsletter, Handscrit (pages 16-18), written by Leigh Owen, who is a member of the Libraries Dean’s Campaign Committee and Cabinet supporting the Rare Books Collections.
University of Houston Libraries is pleased to announce the winners of the first-ever Song of the Semester student song contest.
The first place winner is Desaviour Ikner with “No Stranger” (artist name King Dee). Listen to the winning track below:
Robell Okubamichael won second place with “404 Not Found” (artist name Rxbell).
Agha Jamal took third place with “Lunatic” (artist name Jamari Sack).
Congratulations to the winners and to all those who entered. The next contest will be held in the fall 2018 semester.
All entries were recorded in the Hamill Foundation Multimedia Studio at the MD Anderson Library.
The University of Houston MD Anderson Library will be open extended hours starting Monday, April 23 through Wednesday, May 9.
A UH ID will be required for access after 9pm during finals period.
An exhibition by CamLab will open at the University of Houston Libraries this month.
The Reguarding Room exhibition emerges from an ongoing project of CamLab, an artist collaboration between Anna Mayer, assistant professor of sculpture at UH, and Jemima Wyman, a Los Angeles-based artist. CamLab facilitated on-campus workshops at which participants remade feminist works of art from history about rape and sexual assault, in miniature. “With contributions from UH students as well as members of the Houston public at large, the exhibition makes visible various kinds of labor, from the work of artists whose paintings, sculptures, performances, and installations are being reproduced, to that of the workshop attendees who painstakingly study the originals in order to capture their spirit, to the work of all who experience or witness violence and attempt to keep it in the realm of the visible,” Mayer and Wyman state.
In 2015, CamLab developed the experimental, horizontal strategy of bringing people together on the topic of sexual assault while engaged in a hands-on activity. The workshops allow for non-confrontational expression without being tied to any individual narrative. The miniature artworks crafted in the campus workshops are exhibited in a to-scale model of the Rothko Chapel, one of Houston’s most prized landmarks, to insist on the importance of rape and sexual assault as subject matter, and to propose that the spiritual aims of the Chapel could expand to include radical care for those targeted by patriarchal violence. Both an homage and a question, CamLab’s proposition asks viewers to use their imaginations to consider a different way of being embodied.
An opening reception will be held on April 10 from 5-7pm at the MD Anderson Library. The exhibition will be on display through May 31.
Reguarding Room‘s iteration at UH is supported through the Innovation Grants program of the Cynthia Woods Mitchell Center for the Arts which is funded in part by Houston Endowment. The project is also supported by the sculpture program at the UH School of Art in the Kathrine G. McGovern College of the Arts.
This month, University of Houston Libraries and the UH Creative Writing Program will host three Poetry and Prose events.
Poetry and Prose is a reading series featuring UH faculty, students, alumni and other well-known writers, that happens right here on campus. Readings are free and open to the public. Light refreshments are served.
The University of Houston Libraries will host a workshop for academic librarians on Friday, May 18.
The free, day-long workshop is part of Digging Deeper, Reaching Further: Libraries Empowering Users to Mine the HathiTrust Digital Library Resources, an initiative of the HathiTrust Research Center. The workshop’s “train-the-trainer” curriculum was developed to help academic librarians support the evolving digital scholarship needs of students, faculty, and researchers.
The May 18 workshop, to be held at the University of Houston MD Anderson Library’s Digital Research Commons, will introduce participants to text mining with particular attention to the tools and data of the HathiTrust Research Center.
The three-year project is funded by a Laura Bush 21st Century Librarian grant award from the Institute of Museum and Library Services (IMLS).
The UH Center for Advanced Computing and Data Science (CACDS) and UH Libraries will co-sponsor the 2018 Vizapalooza event to be held on May 9.
A data visualization contest will be held in the morning. DEADLINE EXTENDED: Entries for the contest can be sent ahead of time to CACDS and should be received by May 4. Selected presenters will show and tell their visualization in MREB room 200 from 10am to 12pm. Two winners will receive tablets.
Attendees can choose to attend one of two data visualization tool workshops for the afternoon.
- Paraview – 1-3pm, MREB room 200
- Introduction to Tableau – 1-2:30pm, MD Anderson Library room 10-F (basement level)
It is not necessary to submit visualizations in order to attend any of the Vizapalooza sessions, including the morning contest.
The following is a guest post by Stephanie Lewin-Lane, Music Library coordinator at the University of Houston Libraries. This week, we’ll feature posts by members of the UH Libraries Copyright Team highlighting Fair Use/Fair Dealing Week 2018.
Boston Public Library (BPL) recently announced plans to digitize and make available over 200,000 recordings of their Sound Archives Collection through a partnership with the Internet Archive. Many of BPL’s recordings are on historical formats, such as vinyl LPs or shellac-based 78s, so the impetus for the project is preservation.
It is fair use for libraries to create a preservation copy of at-risk materials, but streaming content has been a bit more problematic due to copyright protections. However, more examples of making streaming content available online are cropping up in recent years citing fair use due to the educational nature of the hard-to-find content. In fact, the Library of Congress has a web page that discusses fair use and preservation with a helpful list of links and examples on the subject.
The following is a guest post by Taylor Davis-Van Atta, digital scholarship coordinator at the University of Houston Libraries. This week, we’ll feature posts by members of the UH Libraries Copyright Team highlighting Fair Use/Fair Dealing Week 2018.
The use of famous figures’ words or images as marketing devices is nothing new, but during this year’s Super Bowl, Chrysler took the practice a bit too far. The car manufacturer used an audio recording of Martin Luther King, Jr., delivering a sermon about the importance of leading a life of service as part of an ad promoting its Dodge Ram truck. Though Chrysler obtained permission to use the recording from Dr. King’s estate, which owns the copyright to his works, the decision to use the civil rights leader’s words to market a truck struck many viewers as tone deaf.
But the strongest—and most entertaining—rebuttal to the ad came from Nathan J. Robinson, a doctoral student at Harvard, who replaced the commercial’s MLK Jr. voice-over with another portion of the same speech, “The Drum Major Instinct,” in which King derides the very sales tactic Chrysler used in making the ad. In the replaced audio, King states of advertisers, “those gentlemen of massive verbal persuasion:”
“They have a way of saying things to you that kind of gets you into buying. In order to be a man of distinction, you must drink this whiskey. In order to make your neighbors envious, you must drive this type of car. In order to be lovely to love you must wear this kind of lipstick or this kind of perfume. And you know, before you know it, you’re just buying that stuff. That’s the way the advertisers do it.”
Robinson’s version of the ad, which appeared on YouTube, was apparently flagged and removed from the site by the platform’s Content ID system, an automated system designed to detect and delete videos that contain materials (audio, video, words, or images) that infringe on copyrighted works. However, because Robinson uses King’s words to criticize or comment on an existing work (the original ad) for noncommercial purposes, his video falls squarely within the provisions of Fair Use, and the video has been restored to YouTube. Enjoy.
The following is a guest post by Julie Grob, coordinator for instruction in Special Collections at the University of Houston Libraries. This week, we’ll feature posts by members of the UH Libraries Copyright Team highlighting Fair Use/Fair Dealing Week 2018.
Fair use doctrine allows a songwriter to use a limited part of an existing song in the creation of a new work. When assessing a legal defense based on fair use, one of the considerations that judges take into account is whether or not the new use is “transformative.” Such was the basis of a ruling by a New York federal judge in favor of the rapper Drake and his 2013 song “Pound Cake,” from the album Nothing Was the Same.
“Pound Cake” includes a sample of the 1982 spoken word song “Jimmy Smith Rap” by the late jazz musician Jimmy Smith. Smith’s Estate filed suit against Drake in 2014, saying that the hip hop artist had violated Smith’s copyright. While the Jimmy Smith song says “Jazz is the only real music that’s gonna last,” Drake’s song claims that “Only real music’s gonna last.” Judge William H. Pauley III explained his ruling in favor of Drake by writing that “Because this purpose is ‘sharply different’ from Jimmy Smith’s purpose in creating the original track, Defendants’ use is transformative and this factor weighs in favor of a finding of fair use.”
Such a finding is rare in songwriting cases.