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Trial Access to the Africa Commons Digital Archival Collections
Trial access to the Africa Commons digital archival collections, produced by Coherent Digital, is available until January 31st. This resource provides access to books, magazines, newspapers, government documents, manuscripts, photographs, videos, and oral histories related to African history and culture. Africa Commons is a project which aims to enable Africa to easily control, digitize, and disseminate its cultural heritage–within Africa, and internationally.
Africa Commons comprises four distinct collections:
History and Culture, an index of open source materials related to African history and culture.
Black South African Magazines created from 1937-1973 targeting Black audiences.
Southern African Films and Documentaries including propaganda, newsreels, documentaries, feature films, and interviews spanning the 1900s to the early 2000s.
The Hilary Ng’wengo Archive documents the fifty-year career of the iconic Kenyan journalist, publisher, commentator, and public figure Hilary Ng’wengo through his magazines, newspapers, television programs, and documentaries.
Send your feedback to mmckenzie@berkeley.edu.
Book Awards
Check out some of the best we have to offer with the 2023 Booker Prize and National Book Award winners and shortlisters on UCB Overdrive today!
Winner of the National Book Award:
Justin Torres
Finalists of the National Book Award:
Hanna Pylväinen
Aaliyah Bilal
Winner of the Booker Prize:
Paul Lynch
Shortlist for the Booker Prize:
Paul Harding
Chetna Maroo
Mona Susan Power
LaToya Watkins
Tania James
Jayne Anne Phillips
Center for Research Libraries releases Soviet-Era Ukrainian Newspapers Online
Center for Research Libraries in collaboration with the Global Press Archive of East View has released its latest digital collection of select Soviet-Era Ukrainian Newspaper. The collection can be accessed here: https://gpa.eastview.com/crl/seun/ or here
About the collection:
The early 20th century was a crucial time in Ukraine’s history, marked by attempts to establish an independent state, leading to the Ukrainian War of Independence. This conflict resulted in the creation of two countries by 1922: the Second Polish Republic in western Ukraine and the Ukrainian Soviet Socialist Republic in the rest of the country.
Following this, rapid Soviet collectivization in the Ukrainian SSR triggered the Holodomor, a famine that began in 1932 and claimed millions of lives.
The Soviet-Era Ukrainian Newspapers (SEUN) collection, with over 50,000 pages and five titles, documents Ukraine’s history during this turbulent period, including events leading up to WWII. It includes newspapers from Kyiv, Kharkiv, and Lviv, featuring content in both Ukrainian and Russian.
PhiloBiblon 2024 n. 1 (enero): Vulnus amoris: vulnerabilidad más acá del Tratado de amor atribuido a Juan de Mena
Salvador Cuenca
Valencia
En una reciente visita a la Biblioteca Nacional de Francia pude consultar el manuscrito que contiene el Tratado de amor (BnF esp. 295) [BETA manid 2478], atribuido por una mano moderna a Juan de Mena (1411-1456).
Las notas allí tomadas y la celebración de la natividad de Jesús propician la redacción de este texto acerca del tópico del vulnus amoris en particular y acerca de la vulnerabilidad humana en general. Esta entrada de blog, por tanto, se articula entre las proyecciones de un texto tardomedieval y sus todavía posibles lecturas y lectores del siglo XXI; como si nos halláramos en medio de un juego de espejos que nos sitúa entre el vulnus amoris causado por las flechas de Cupido y nuestra propia vulnerabilidad, como entre los infinitos reflejos de nuestras figuras en los espejos de un ascensor. Seguiremos, pues, el sentido de las flechas de oro y de plomo de los goldres de Cupido, disparadas desde un códice cuatrocentista hasta nuestro espíritu navideño y hasta su reinterpretación desde las aportaciones de la neurobiología a la descripción de las relaciones humanas. Entre el siglo XV y el siglo XXI, se multiplicarán nuestros reflejos.
1. En las celebraciones navideñas, la vulnerabilidad del niño Jesús nos podría hacer recordar el niño que todos hemos sido. Todos hemos sido traspasados por flechas de oro que nos han llevado a perseguir el afecto y a captar la atención de aquellas personas de las que hemos dependido y de las que, en algunas ocasiones, para bien o para mal, todavía dependemos. Esa vulnerabilidad nos ha hecho ser humanos, animales sociales y políticos. Ese primer vulnus amoris de nuestra niñez lo causaría, desde la perspectiva adoptada para escribir este texto, otro dios con forma de niño: Cupido.
En el inicio del Tratado de amor se reproduce su imagen:
Todas las otras passiones li|ibidinosas
て venereas llama el vulgo amor
⸿Delas quales los fabulosos fingimjentos
dispusieron commo si pudieran disponer fue|se
deesa venus て cupido dios ⸿ E pintauan
a este cupido. mas verdadera mente llama|do
ydolo que dios. con dos goldres llenos
de frechas. て con vn arco dorado ⸿ E las
frechas que traya enel vn goldre . eran dora|dos.
las del otro plunbias es a dezir de plo|mo.
E dezian que al que este dios feria con
la frecha dorada.sienpre le cresçia el deseo
de amar ⸿ E al que feria con la frecha de plo|mo.
mas le cresçia aborresçer a qujen le amªse
No sería Cupido, sin embargo, el dios de las tres maneras básicas de querer—“amistad, dilectión, que es amorío, e amor” (Valero 2001: 35)—, sino solo de una de ellas, a saber, de la pasión de amor. Por tanto, no sería el arquetipo de las relaciones escogidas e igualitarias de la amistad ni de las relaciones dilectas del amorío de los superiores para con sus inferiores, como el amorío del Creador para con sus criaturas, de la madre para con sus hijos o de “la yegua cuando pare el potrico” (Valero 2001: 47). ¿Qué tipo de pasión se establecería con el amor de Cupido? Una pasión “libidinosa e venérea” entre inferiores y vulnerables, que a su vez “se subdivide en dos partes: la una es en amor líçito e sano; la otra en no líçito e insano” (Valero 2001: 36). El amor lícito es el conyugal, al cual “non solamente la dotrina christiana alaba e bendize, mas aun la dotrina [de la] gentilidad” (Valero 2001: 36). La vieja solución pagana al desafío del desorden que puede producir el deseo libidinal, expresada por el mito clásico de Cupido y Psique, se cristianizaría con el amor conyugal del matrimonio lícito. Dicho de otro modo, el Tratado de amor subraya la coincidencia entre la solución gentil y la cristiana al alabar las bondades del matrimonio para solucionar los trastornos ocasionados por el vulnus amoris. Pero esa solución no cautiva la atención del autor del Tratado; son más interesantes, en cambio, los problemas que surgen del otro miembro de la bipartición, a saber, de la parte del amor no lícito. El Tratado además subraya que el amor, aparte de aumentar la vulnerabilidad de los amantes, provoca que estos no puedan escoger el tipo de pasión que les embarga, es decir, que no puedan elegir si persiguen o si son perseguidos, si son atraídos o atraen. De aquí que el modo de vulnerabilidad no sea elegido y de aquí que podamos entender la imagen del “amador çiego” como un trasunto de una voluntad débil que no elige o como—y aquí va la primera intersección de literatura y neurobiología—una motivación que nos impulsa a actuar desde determinadas áreas del sistema límbico y que escapa al control racional del córtex prefrontal, en el cual se concentran los circuitos cerebrales conectados con los procesos de la elección deliberada. Dicho de otro modo, la deliberación se puede entender como un proceso de la corteza cerebral que controla los impulsos procedentes de las zonas más internas del encéfalo, como se puede inferir a partir de la lectura de “Decision-Making and Consciousness” (Kandel et alii 2021: 1392-1419).
La pasión amorosa, en suma, se liga con el sistema límbico, la impulsividad irracional y la vulnerabilidad humana a través de la imagen literaria de los dos goldres de flechas de Cupido, unas de oro, otras de plomo: “E dezían que al que este dios fería con la frecha dorada, siempre le cresçía el deseo de amar. E al que fería con la frecha de plomo, más le cresçía aborresçer a quien le amase. E pintávanle la efigie o imagen del su rostro tierna e de poca hedad, como de niño, a dar a entender que como en el niño se varía la conplisión, así en el que ama la voluntad.” (Valero 2001: 35)
Por ello, el Tratado de amor equipara la herida de la pasión amorosa con la carencia infantil de juicio y con la debilidad de la voluntad o incontinencia, en consonancia con algunas doctrinas aristotélicas divulgadas en ambientes cortesanos ibéricos por el Compendio de la Ética nicomáquea (ca. 1463-64) [BETA texid 1294]. En efecto, su descripción de la incontinencia como debilidad de la voluntad proporciona un ejemplo coetáneo de la problemática latente en el arranque del Tratado de amor: “continente solamente es dicho el que finca e permanece en recta razón e elección. E incontinente es su contrario” (Cuenca 2017: 151). Sin embargo, el amor hace variar la razón de tal manera que impide la deliberación y sus efectos, a saber, las elecciones racionales, e imposibilita, por consiguiente, la práctica de los hábitos electivos que son las virtudes morales, tal como se explica en el capítulo 5 del libro segundo del Compendio: “Capítulo quinto pone tres notificaciones de virtud. La primera, que virtud es perfección de la cosa. Segunda, que es mediedad entre dos extremos. Tercera, que es hábito electivo.” (Cuenca 2017: 51)
De acuerdo con esta cita, podemos indicar que la inclusión de la virtud en la lista de las once causas de amor que, según el Tratado, “despiertan e atrahen los corazones a bien querer” es paradójica. Es decir, si en el arranque del Tratado se estipulaba que la pasión de amor es ciega e irresistible, después se argumenta lo contrario, a saber, que “como el camino del amante sea libertad para descoger lo que más le plaze, el hábito electivo de amor viene en ábito de elegir antes al virtuoso que a un otro” (Valero: 37-38). Aquí el Tratado no es estricto en el uso de la terminología filosófica y parece que copia irreflexivamente el sintagma “hábito electivo”, porque el término ético más adecuado para referirse al hábito virtuoso—y, por ello, electivo, en relación con la selección activa del mejor compañero—sería “amistad” y no “amor”, cuyo uso se restringiría a la pasión irresistible, o sea, no escogida, no selectiva, pasiva (Cuenca 2019). Es como si las flechas doradas de Cupido no cegaran al herido por ellas, como si el único “amante çiego” fuera aquel magullado por las flechas de plomo, o como si las flechas doradas activaran la selectividad y las plúmbeas fomentaran la pasividad de la pasión. ¿Cómo podemos entender la paradoja del vulnus amoris de las flechas doradas?
2. Gracias a las investigaciones de David J. Anderson (Californa Institute of Technology) sobre las conexiones neuronales que ponen en marcha nuestras interacciones como animales sociales, podemos reinterpretar el gozo de los heridos por las flechas doradas, o sea, el gozo provocado por la vulnerabilidad selectiva o por la vulnerabilidad que escoge. Anderson, especialista en las funciones del hipotálamo, nos permite entender la paradoja con la que hemos concluído el apartado anterior, a saber, la paradoja que resulta de combinar la herida y el gozo, la pasión del amor y la selección activa del amante virtuoso.
Todos los animales poseen un repertorio de conductas instintivas que pueden ponerse en práctica sin una enseñanza previa, es decir, que, desde la perspectiva en este texto adoptada, pueden manifestarse sin una elección racional y, por ende, asemejarse a las conductas descritas e identificadas con la etiqueta literaria de la pasión amorosa o vulnus amoris. Según Anderson, no se sabe aún si estas conductas están mediadas por circuitos neuronales diferenciados anatómicamente y/o genéticamente. Sus investigaciones, a partir de las imágenes de las conexiones neuronales del hipotálamo del ratón, concluyen que las conductas que impulsan a establecer vínculos con otros especímenes están modeladas por determinadas experiencias sociales—en humanos podríamos añadir “culturales”. De tal manera que las mismas neuronas (Esr1+: Oestrogen receptor 1-expressing neurons) de una área concreta del hipotálamo (VMHvl) controlan tanto el apareamiento como la dominación y agresión en los roedores machos (Anderson et alii 2017). Si damos el salto mortal de ratones a hombres y hacemos el ejercicio de aplicar estas investigaciones al tópico de las flechas de Cupido, podemos intuir que su disparo indiscriminado podría describir la conducta innata que a todos nos impulsa a establecer vínculos sociales, o sea, nadie elige las flechas que le hieren, las doradas o las plúmbeas, pero todos estamos expuestos a alguno de sus tipos de herida. Es decir, todos estamos cableados con los mismos circuitos neuronales que nos hacen someternos al influjo de Cupido. Ahora bien, ese influjo está moldeado por las experiencias sociales y los modelos culturales, de manera que las mismas neuronas pueden estar involucradas en las conductas de la seducción y persecución activa provocadas por las flechas doradas y en las conductas de aversión y evitación provocadas por las flechas plúmbeas. Resaltemos una curiosa coincidencia: la medicina medieval localizaba en un único ventrículo de la media pars cerebri la sede de la facultad estimativa, encargada de las conductas de persecución y de evitación, de manera semejante a la actual localización en el midbrain de los circuitos conectados con las conductas de fight or flight asociados al hipotálamo.
Tomás de Aquino, basándose en el Liber de anima de Avicena (I, 5 y II, 2), proporciona uno de los listados más conocidos de los sentidos interiores en Summa Theologiae, Iª, q. 78, a. 4: “Avicenna, in suo libro de anima, ponit quinque potentias sensitivas interiores, scilicet sensum communem, phantasiam, imaginativam, aestimativam et memorativam”. El dominico describe que la facultad estimativa es imprescindible para explicar las conductas animales de buscar/querer y de huir/evitar, como el huir de la oveja cuando ve al lobo: “necessarium est animali ut quaerat aliqua vel fugiat, non solum quia sunt convenientia vel non convenientia ad sentiendum, sed etiam propter aliquas alias commoditates et utilitates, sive nocumenta, sicut ovis videns lupum venientem fugit, non propter indecentiam coloris vel figurae, sed quasi inimicum naturae”. Subrayamos, también en este mismo artículo de la Summa, que el Aquinate explicita que la medicina medieval localizaba en la media pars capitis la facultad estimativa –cogitativa en los humanos– : “alia animalia percipiunt huiusmodi intentiones solum naturali quodam instinctu, homo autem etiam per quandam collationem. Et ideo quae in aliis animalibus dicitur aestimativa naturalis, in homine dicitur cogitativa, quae per collationem quandam huiusmodi intentiones adinvenit. Unde etiam dicitur ratio particularis, cui medici assignant determinatum organum, scilicet mediam partem capitis”. (Tomás de Aquino: 1889)
Volviendo a las investigaciones de Anderson, podríamos pensar que, aunque sean las mismas zonas del hipotálamo las involucradas en los procesos de persecución y aversión, en ellas se podrían activar circuitos neuronales distintos—como ha probado el profesor de CalTech en relación con los circuitos neuronales activos en las conductas sexuales de los roedores machos, que son distintos de aquellos activos en las conductas de dominación. Es decir, aunque la conducta masculina de montar y dominar sea muy parecida a ciertas conductas sexuales, se activan circuitos neuronales distintos en cada una de ellas, aun estando localizados en el hipotálamo todos esos circuitos. Podríamos pensar, volviendo al tópico del vulnus amoris, que la conducta de dominar y herir y la conducta de seducir y amar están muy cerca la una de la otra, aun siendo diferentes.
Ahora podemos responder a la pregunta formulada al final del segundo apartado: no elegimos nuestra anatomía, no escogemos tener circuitos neuronales que puedan encender un ánimo propenso a sentir el amor; lo único que podemos escoger en algunos casos es si orientamos esos circuitos del hipotálamo hacia personas virtuosas. Dicho de otro modo con la terminología del Tratado de amor, no elegimos ser heridos por las flechas de Cupido; lo único que podemos escoger, si nos ha perforado una flecha dorada, es orientar nuestra persecución hacia una persona virtuosa o que reúna alguna de las otras diez condiciones que motiven una constante persecución, ya que “muchas cosas se vençen por el seguimiento que en otra manera non se acabarían” (Valero 2001: 44). El que la seguía antes la conseguía, aunque en los últimos años ya no es así: primero con el paradigma del “no es no” y después del “solo sí es sí”. Podemos estar asistiendo, quizás, a una de esas experiencias sociales que modelan la conducta y cortocircuitan los impulsos procedentes del hipotálamo, gracias a la actividad deliberativa del córtex prefrontal.
3. Lo interesante del Tratado de amor es que muestra cómo la cultura bajomedieval ya diferenció el tipo de interacciones sociales del herido con las flechas doradas de aquellas del herido con las flechas plúmbeas. Las flechas doradas mueven a perseguir y las plúmbeas a evitar. La paradoja que hemos pretendido explicar con este breve texto es que las flechas de plomo no nos hieren, sino que nos hacen invulnerables y, por tanto, menos humanos. Sin embargo, esa invulnerabilidad es muy dolorosa, porque nos aísla y nos mueve a evitar las relaciones que nos hacen ser más humanos: las relaciones del amor. De aquí surge una última paradoja expresada por el tópico del vulnus amoris : todos somos propensos a un determinado tipo de herida, a un modo de vulnerabilidad, incluso aquellos que anhelan la invulnerabilidad. La dulce herida se abriría en la carne perforada por la flecha dorada y la herida amarga, en cambio, magullaría la dura piel contusionada por la flecha plúmbea. La invulnerabilidad, en conclusión, resultaría paradójicamente más dañina y dolorosa que la dulce vulnerabilidad infantil. Por eso adoramos a los niños, y no solo en Navidad.
Obras citadas:
Anderson et alii 2017: David J. Anderson, Ryan Remedios, Ann Kennedy, Moriel Zelikowsky, Benjamin F. Grewe, Mark J. Schnitzer: “Social behaviour shapes hypothalamic neural ensemble representations of conspecific sex”, Nature, 550: 388-92.
Cuenca 2017: Salvador Cuenca (ed.), Compendio de la Ética nicomáquea. Zaragoza: Prensas de la Universidad de Zaragoza.
Cuenca 2019: Salvador Cuenca, “Φιλία › amor, amicitia › ¿amor, amistança, amicicia o amistad? Las traducciones de φιλία en las traslaciones hispánicas de la Ética a Nicómaco en el siglo XV”. Cahiers d’études hispaniques medievales, 42:85-95.
Kandel et alii 2021: Eric R. Kandel, John D. Koester, Sarah H. Mack, Steven A. Siegelbaum (eds.), Principles of Neural Sciences, 6th edition: McGraw-Hill.
Qualiter caput hominis situatur. Cambridge University Library, Ms. Gg.1.1, ff. 490r-491r.
Roman de la Rose. National Library of Wales, Ms. NLW 5016D.
Tratado de amor. Bibliothèque national de France, Ms. Espagnol 295, ff. 71r-84v.
Valero 2001: Juan Miguel Valero (ed.), ¿Juan de Mena? Tratado de amor. En Tratados de amor en el entorno de la Celestina (Siglos XV-XVI), coord. Pedro M. Cátedra. Madrid: Sociedad Estatal España Nuevo Milenio: 31-49.
Tomás de Aquino 1889: Corpus Thomisticum. Sancti Thomae de Aquino Summa Theologiae
OHC Staff Reflects on 2023
The Oral History Center has been as busy as ever this year, publishing hundreds of hours’ worth of interviews online. On top of making this wide range of voices available to the public, my colleagues have also used these collections of The Bancroft Library to interpret, frame and share new stories about our past. In November, the Japanese American Intergenerational Narratives project was launched, featuring interviews with the descendants of the incarceration camps during World War II. Not only are the transcripts online, but there is also a podcast and a deeply moving work of graphic illustrations that draw meaning from the interviews. In October, Todd Holmes and Roger Eardley-Pryor designed, wrote, and launched a new museum exhibit, Voices for the Environment: A Century of Bay Area Activism at the Bancroft Library Gallery, which runs through November 2024. There is an accompanying digital exhibit, which will feature podcasts, mini-documentaries, and a curriculum guide for students and teachers that will live on long after the gallery exhibit closes.
Center staff showed great leadership in the field of oral history. There is always lots to say about our oral history education programs, but what was new this year was OHC participation in a pilot historical methods course for undergraduate majors of UC Berkeley’s history program. Oral historian Shanna Farrell took a seat this year on the council of the Oral History Association, and Amanda Tewes and Roger Eardley-Pryor also led panels and gave papers at the OHA annual meeting. Todd Holmes, together with our Advanced Institute alum Emi Kuboyama, won the Autry Prize from the Western History Association for their documentary on the redress of the incarceration of Japanese Americans during World War II.
Communications and editorial lead Jill Schlessinger created, oversaw, and updated our editorial process. On the back end of our production, David Dunham led the team that transferred and preserved almost two thousand hours of audio-video that was trapped on defunct recording formats. Of course, we couldn’t have done this work without the help we get from student employees in production, preservation, and communications. Finally, following a competitive national search, I would like to celebrate the arrival of the new historian of science, technology, and medicine, Liz Semler.
I want to thank every member of the OHC staff for a great year! From all of us, we wish you all a peaceful and magical holiday and a wonderful 2024!
–OHC Director Paul Burnett
OHC Staff Reflections
I am grateful to have celebrated my 21st year with the Oral History Center. It is a privilege to support the efforts of our interviewers in producing the array of oral histories produced this year. I relish the opportunity to work with student workers, undergraduate research apprenticeship program [URAP] participants, and librarian interns. Students are integral to our production and preservation processes, ensuring that our transcripts, audio, and video are accessible and preserved. They also bring new perspectives and insights into our oral histories. It’s a cliche to say win-win, but our student workers and interns consistently share how participating with the OHC enriches their academic, intellectual, professional, and human interests. We could not do a fraction of the work we do without them. Special thanks this year to the following students and interns that contributed in countless ways to the OHC: Max Afifi; Sadie Baldwin; Peter Beshay; Hue Bui; Mina Choi; Georgia Cutter; Jason de Haaff; Nikki Do; Ava Escobedo; Leah Freeman; Samantha Goodson; Meiya Gujjalu; Anthony Lin; Lina Matine; Solomon Nichols; Guisselle Salazar; Mela Seyoum; Joe Sison; Manyi Tang; Kate Trout; Erin Vinson; and Cathy Zhang.
–David Dunham
My fifth year at OHC was the busiest yet! I’m especially grateful for exceptional and collaborative colleagues at OHC. This past year, we curated our first oral-history-focused gallery exhibit with videos and a podcast; we promoted our innovative Japanese American Intergenerational Narratives project, including graphic art and a superlative podcast; and we continued conducting and publishing outstanding oral history interviews. I’m also grateful that our new colleague, Liz, joined the OHC team. I hope you and yours celebrate all that’s good at the end of this year, and that next year is even better.
–Roger Eardley-Pryor
What a year 2023 has been! While I’ve had the privilege of working on several projects this past year, I’m very proud of working with Roger Eardley-Pryor and Amanda Tewes on the Japanese American Intergenerational Narratives project, which launched in November. We interviewed 23 survivors and descendants of WWII-era site of Japanese American incarceration, and produced a podcast and commissioned an artist to make graphic illustrations based on these oral histories. It’s been an extremely meaningful project to be a part of, and I’m grateful for the collaborative efforts of my colleagues to bring it to fruition.
–Shanna Farrell
Looking back on the year of 2023, I am struck by the power of collaboration. This year the Oral History Center curated the multimedia exhibit, Voices for the Environment: A Century of Bay Area Activism, at The Bancroft Gallery, a collaborative effort that was beyond rewarding. I am extremely grateful for the opportunity to do this work and collaborate with an amazing cast of colleagues.
–Todd Holmes
I look forward every year to this opportunity to acknowledge the talented team of student editors that make the pace of our work possible. They do the work of professional editors, create abstracts for oral histories with missing metadata, write articles about our narrators and projects, and provide invaluable suggestions in our department’s quest for continuous improvement of our workflow and processes. We said farewell to some long-term employees who recently graduated: Mollie Appel-Turner, William Cooke, Adam Hagen, Serena Ingalls, and Shannon White; I’d like to say thank you to our ongoing editor, Timothy Yue; and welcome two new staff, Nikhil Jagota and Lauren von Aspen. My favorite memory from 2023 was learning about how the experience of working with oral history has had a profound impact on how our student employees see things. I hope you will enjoy reading about their reflections as much as I did in this article, Connection, Insight, Inspiration, Truth: Berkeley undergraduates reflect on oral history.
–Jill Schlessinger
This past year has been a wild ride! I said goodbye to multi-year projects, moved across the country, and started a position at the Oral History Center in October. Although it’s only been a few months, I’ve already learned much in my new role, including technical details like how to use video recording equipment and more broadly about UC Berkeley and the surrounding area. As with any big change, sometimes I feel overwhelmed with the new-ness of it all. But change brings opportunity! I’m grateful for the chance to forge a new path as an interviewer and historian here at the Oral History Center and am excited to discover what the upcoming year holds.
–Liz Semler
In November 2023, I was honored to be a part of a great team (along with Roger Eardley-Pryor and Shanna Farrell) that launched the Japanese American Intergenerational Narratives Oral History Project, featuring 100 hours of oral history interviews with 23 Japanese American narrators who are survivors and descendants of two World War II-era sites of incarceration: Manzanar in California and Topaz in Utah. This public launch highlighted the release of most of the 23 oral history interviews, a four-part podcast series based on these original interviews, and graphic art inspired by the stories and themes from the interviews. It has truly been a meaningful experience to be a part of such important work about intergenerational memory and healing. Many thanks to the National Park Service’s Japanese American Confinement Sites Grant for funding this phase of the project!
–Amanda Tewes
The Oral History Center Presents The Berkeley Remix Season 8: “‘From Generation to Generation’: The Legacy of Japanese American Incarceration”
Just a couple of months after the United States entered World War II, President Franklin D. Roosevelt signed Executive Order 9066 on February 19, 1942. This order authorized the government to forcibly remove more than 120,000 Japanese American civilians—even American-born citizens—from their homes on the West Coast, and put them into incarceration camps shrouded in barbed wire and patrolled by armed guards for the duration of the war. This imprisonment uprooted families, disrupted businesses, and dispersed communities—impacting generations of Japanese Americans.
In season 8 of The Berkeley Remix, a podcast of the Oral History Center at UC Berkeley, we are highlighting interviews from the Japanese American Intergenerational Narratives Oral History Project. The OHC team interviewed twenty-three survivors and descendants of two World War II-era sites of incarceration: Manzanar in California and Topaz in Utah. This four-part series includes clips from these interviews, which were recorded remotely via Zoom. Using healing as a throughline, these life history interviews explore identity, community, creative expression, and the stories family members passed down about how incarceration shaped their lives.
This season features interview clips from the Japanese American Intergenerational Narratives Oral History Project.
Produced by Rose Khor, Roger Eardley-Pryor, Shanna Farrell, and Amanda Tewes. Narration by Devin Katayama. Artwork by Emily Ehlen. A special thanks to the National Park Service’s Japanese American Confinement Sites Grant for funding this project.
The views and conclusions contained in this document are those of the authors and should not be interpreted as representing the opinions or policies of the U.S. Government. Mention of trade names or commercial products does not constitute their endorsement by the U.S. Government.
Episode 1: “‘It’s Happening Now’: Japanese American Activism.” In this episode, we explore activism and civic engagement within the Japanese American community. The World War II-era incarceration of Japanese Americans inspired survivors and descendants to build diverse coalitions and become engaged in social justice issues ranging from anti-Vietnam War activism to supporting Muslim Americans after 9/11 to protests against the separation of families at the US-Mexico border. Many Japanese Americans also participated in the redress movement, during which time many individuals broke their silence about incarceration, and empowered the community to speak out against other injustices.
This episode features interviews from the Oral History Center’s Japanese American Intergenerational Narratives Oral History Project, and includes clips from: Bruce Embrey, Hans Goto, Jean Hibino, Roy Hirabayashi, Susan Kitazawa, Kimi Maru, Margret Mukai, Ruth Sasaki, Nancy Ukai, and Rev. Michael Yoshii. Additional archival audio from Tsuru for Solidarity and the National Archives. The transcript from Sue Kunitomi Embrey’s testimony comes from the Los Angeles hearings from the Commission on Wartime Relocation and Internment of Civilians. To learn more about these interviews, visit the Oral History Center’s website.
Episode 2: “‘A Place Like This’: The Memory of Incarceration.” In this episode, we explore the history, legacy, and contested memory of Japanese American incarceration during World War II. Incarceration represented a loss of livelihoods, property, and freedom, as well as a disruption—cultural and geographic—in the Japanese American community that continued long after World War II. While some descendants heard family stories about incarceration, others encountered only silence about these past traumas. This silence was reinforced by a society and education system which denied that incarceration occurred or used euphemisms to describe what Japanese Americans experienced during World War II. Over the years, Japanese Americans have worked to reclaim the narrative of this past and engage with the nuances of terminology in order to tell their own stories about the personal and community impacts of incarceration.
This episode features interviews from the Oral History Center’s Japanese American Intergenerational Narratives Oral History Project, and includes clips from: Miko Charbonneau, Bruce Embrey, Hans Goto, Patrick Hayashi, Jean Hibino, Mitchell Higa, Carolyn Iyoya Irving, Susan Kitazawa, Ron Kuramoto, Kimi Maru, Lori Matsumura, Alan Miyatake, Jennifer Mariko Neuwalder, Ruth Sasaki, Masako Takahashi, Peggy Takahashi, Nancy Ukai, and Rev. Michael Yoshii. Additional archival audio from the US Office of War Information and the Internet Archive. To learn more about these interviews, visit the Oral History Center’s website.
Episode 3: “‘Between Worlds’: Japanese American Identity and Belonging.” In this episode, we explore identity and belonging in the Japanese American community. For many Japanese Americans, identity is not only personal, it’s a reclamation of a community that was damaged during World War II. The scars of the past have left many descendants of incarceration feeling like they don’t wholly belong in one world. Descendants have navigated identity and belonging by participating in Japanese American community events and supporting community spaces, traveling to Japan to connect with their heritage, as well as cooking and sharing Japanese food. However, embracing Japanese and Japanese American culture can highlight for descendants their mixed identities, leaving them feeling even more like they have a foot in multiple worlds.
This episode features interviews from the Oral History Center’s Japanese American Intergenerational Narratives Oral History Project, and includes clips from: Miko Charbonneau, Hans Goto, Jean Hibino, Roy Hirabayashi, Carolyn Iyoya Irving, Susan Kitazawa, Kimi Maru, Lori Matsumura, Alan Miyatake, Jennifer Mariko Neuwalder, Ruth Sasaki, Steven Shigeto Sindlinger, Masako Takahashi, Peggy Takahashi, Nancy Ukai, Hanako Wakatsuki-Chong, and Rev. Michael Yoshii. To learn more about these interviews, visit the Oral History Center’s website.
Episode 4: “‘Origami as Metaphor’: Creative Expression, Memorialization, and Healing.” In this episode, we explore creative expression, healing, and the memorialization of Japanese American incarceration. It is clear that stories about World War II incarceration matter. Some descendants embrace art and public memorialization about incarceration history as not only means of personal creative expression and honoring the experiences of their ancestors, but also as avenues to work through the intergenerational impact of this incarceration. Stories shared through art and public memorialization help people both inside and outside of the Japanese American community learn about the past so they have the tools to confront the present. Others seek healing from this collective trauma by going on pilgrimage to the sites of incarceration themselves, reclaiming the narrative of these places.
This episode features interviews from the Oral History Center’s Japanese American Intergenerational Narratives Oral History Project, and includes interviews from: Miko Charbonneau, Bruce Embrey, Hans Goto, Patrick Hayashi, Jean Hibino, Mitchell Higa, Roy Hirabayashi, Carolyn Iyoya Irving, Susan Kitazawa, Ron Kuramoto, Kimi Maru, Lori Matsumura, Jennifer Mariko Neuwalder, Ruth Sasaki, Masako Takahashi, Nancy Ukai, Hanako Wakatsuki-Chong, and Rev. Michael Yoshii. Additional audio of taiko drums from Roy Hirabayashi. To learn more about these interviews, visit the Oral History Center’s website.
ABOUT THE ORAL HISTORY CENTER
The Oral History Center of The Bancroft Library preserves voices of people from all walks of life, with varying political perspectives, national origins, and ethnic backgrounds. We are committed to open access and our oral histories and interpretive materials are available online at no cost to scholars and the public. You can find our oral histories from the search feature on our home page. Search by name, keyword, and several other criteria. Sign up for our monthly newsletter featuring think pieces, new releases, podcasts, Q&As, and everything oral history. Access the most recent articles from our home page or go straight to our blog home.
Please consider making a tax-deductible donation to the Oral History Center if you would like to see more work like this conducted and made freely available online. The Oral History Center is a predominantly self-funded research unit of The Bancroft Library. As such, we must raise the funds to cover the cost of all the work we do, including each oral history. You can give online, or contact us at ohc@berkeley.edu for more information about our funding needs for present and future projects.
Q&A with Artist Emily Ehlen on Illustrating the OHC’s Japanese American Intergenerational Narratives Oral History Project
For the first time, the Oral History Center, or OHC, partnered with an artist named Emily Ehlen, who created ten graphic narrative illustrations based upon stories and themes recorded in the OHC’s Japanese American Intergenerational Narratives Oral History Project, or JAIN project. The JAIN project documents and disseminates the ways in which intergenerational trauma and healing occurred after the United States government’s mass incarceration of Japanese Americans during World War II.
The OHC’s JAIN project documents and disseminates the ways in which intergenerational trauma and healing occurred after the United States government’s mass incarceration of Japanese Americans during World War II. The OHC team interviewed twenty-three Japanese American survivors and descendants of the World War II incarceration to investigate the impacts of healing and trauma, how this informs collective memory, and how these narratives change across generations. Initial interviews in the JAIN project focused on the Manzanar and Topaz prison camps in California and Utah, respectively. The JAIN project began at the OHC in 2021 with funding from the National Park Service’s Japanese American Confinement Sites Grant. The grant provided for 100 hours of new oral history interviews, as well as funding for a new season of The Berkeley Remix podcast and Emily Ehlen’s unique artwork, all based on the JAIN project oral histories.
Below is an interview with Emily Ehlen about her processes in creating such dynamic illustrations drawn from the memories and reflections of JAIN oral history narrators. You can see and save copies of larger images of Emily’s artwork for the JAIN project in a separate blog post.
Artist Bio:
Emily Ehlen is best known for her colorful and whimsical illustrations using mixed media. Watercolor, ink, spray paint, and gouache are the primary mediums she uses for her traditional works, and she also integrates them in her digital pieces. She loves being positive and expressing her interests while using her surroundings as inspiration. To invoke curiosity and imagination, her drawings reflect an open view of the subject and are framed with pieces of expression and reality. Change and adaptability are a constant as she goes through various experimentations and approaches to her art.
Q&A with artist Emily Ehlen:
Q: What was your process for creating the Japanese American Intergenerational Narratives artwork?
Emily Ehlen: My process started with selecting powerful imagery and phrases in relation to connecting themes found throughout the oral history transcripts. I composed thumbnails with the intent to represent the information clearly and use symbolism to convey the narrative. I wanted to use as much text from the source as I could, but I wanted to avoid it being too word heavy. It was a balancing act of editing the text and imagery to support each other in the composition and narrative. After developing and consolidating the initial drafts I moved on to tighter linework and color concepts. Once the colors were established, I inlaid patterns and handmade textures to add contrast between objects, panels, and the background. The handmade textures were made with ink washes and spray paint. The final step was applying shading and details to enhance the focus of each element while also keeping the flow throughout the entire composition.
Q: How was your work on this project similar or different to your prior art projects?
Emily Ehlen: This Japanese American Intergenerational Narratives art project was similar to the comic series Drawn to Art: Tales of Inspiring Women Artists that I worked on in 2021 for the Smithsonian American Art Museum. For that Smithsonian project, I drew a three page comic called “Weaver’s Weaver,” featuring Kay Sekimachi, a Japanese American artist. My process for both projects were pretty identical. Although, I think I had a little more freedom with expanding the storytelling elements working on the JAIN project comics. Overall, they were mutually great experiences that I am so grateful to have been a part of.
Q: How did engaging with the Japanese American Intergenerational Narratives oral history transcripts shape the stories you chose to tell and some of the imagery you used in your graphic art?
Emily Ehlen: When drafting the concepts of the illustrations, I wanted to use imagery that would convey the message the stories presented. Reading the oral history transcripts, I found lots of interesting details to include, like with the different types of food to include in the FEAST composition. It was inspiring to hear everyone’s unique voice sharing aspects about their and their family’s lives.
Q: How did you choose the various scenes and stories that you eventually depicted? What stories in the transcripts most stood out to you? Why?
Emily Ehlen: I illustrate with the goal to portray a story the audience can connect and respond to. I wanted to choose stories with lots of emotions that I could highlight in each drawing. The piece I got the most emotional while drawing was Nancy Ukai’s grandfather in EUCALYPTUS. I sympathized with the longing and sadness of missing Berkeley that her grandfather felt. I understood the rationality behind using the box for something else, but that emphasized just how important Berkeley was to him. It was heartbreaking to read, so I knew I had to draw it.
Q: What are some of the story themes that you worked to express throughout your art for this project?
Emily Ehlen: The focus was how the Japanese American incarceration during World War II impacted themselves, their families, and how they responded to it. The themes were identity and belonging, intergenerational connections, and healing. I wanted the weight of the words to be carried through to the art accompanied with them.
Q: Can you describe some of the visual themes or repeated imagery that you incorporated throughout the various pieces you created? How and why did you develop these visual themes?
Emily Ehlen: The color palette I used helped create the tone and atmosphere of each piece separately while also keeping the collection cohesive. The red was used with duality: the bright saturated hue represented youth, rebelliousness, and intensity; while the dark maroon represented authority and repressed quietness. The soft green color was used to depict change and positivity that connects to the healing theme. The navy blue signifies unity and freedom, but it is used with a sense of serenity and heaviness. For example, the blue in TEACHER extrudes an overbearing presence in contrast to when it’s used in TREE. The ochre yellow has different meanings for its surroundings, like in TEACHER it signifies uncertainty, and in STORIES it’s used to display hope.
The water pattern, waves, and watercolor texture are used with family elements, and it contrasts the dry gritty spray paint texture that references the environment of Topaz and Manzanar. Waves are symbols of growth, renewal, and transformation. They also represent the unpredictability of life, to which people learn to navigate its ups and downs. The plants and paper cranes also relate to family connections, development, and healing, going through many stages and flourishing together.
For darker imagery, I wanted the red barbed wire to be synonymous with the red stripes we see on the American flag. To show the lack of freedom and injustice that the Japanese Americans faced, those stripes became wire that entrapped and left scars on following generations. The guard towers were a beacon of looming authority and danger at the incarceration camps. They became a mental block for some that were confined in their silences.
Q: While creating the JAIN art, what did you learn that was new to you?
Emily Ehlen: I really enjoyed learning about everyone’s perspectives and experiences with being Japanese American. I am Chinese American, so I empathize with the stories about identity and the sense of belonging. This project lit up my desire to discover more about my culture. My motivation for drawing is to see how my art mirrors my development as a person. I think art is a record of growth and change. Like time, it never stops moving forward.
Q: Can you describe one or two of your favorite pieces that you created for this project? Why does this one stand out for you?
Emily Ehlen: This is like asking the question, “Who’s your favorite child?” It’s super difficult because I love each piece for different reasons. I had the most fun drawing the piece SPLASH, about Jean Hibino and her mother. I think it has the most dynamic composition with how the imagery flows together with the text. I like the sequence of stillness to movement, and how a ripple can start a wave.
Q: What are your hopes for how people engage with your art for this project? Who do you hope sees it? What do you hope people take away from your art for this project?
Emily Ehlen: My hope for how people engage with the comic is to have open conversations about them or topics related to it. It would be nice to see what sticks out to people the most and what connections they make through their perspectives. I hope people are able to feel the sentiments in each piece and learn new aspects of its history. I can’t think of anyone specific I’d want to see it, but I strive to be someone who inspires others by taking creative approaches to new ideas. So, I hope other artists who are interested in drawing and story-telling see it
You can see and save copies of larger images of the graphic art that Emily Ehlen created for the Japanese American Intergenerational Narratives Oral History Project in a separate blog post. We encourage you to use and share Emily Ehlen’s artwork, along with the JAIN project oral history interviews, especially in classrooms when teaching the history and legacy of the World War II incarceration of Japanese Americans. When using these images, please credit Emily Ehlen as the artist (for example, Fig. 1, Ehlen, Emily, WAVE, digital art, 2023, Oral History Center, The Bancroft Library, University of California, Berkeley), and see the OHC website for more on permissions when using our oral histories.
Acknowledgments for the Japanese American Intergenerational Narratives Oral History Project
This project was funded, in part, by a grant from the U.S. Department of the Interior, National Park Service, Japanese American Confinement Sites Grant Program. The views and conclusions contained in this document are those of the authors and should not be interpreted as representing the opinions or policies of the U.S. government. Mention of trade names or commercial products does not constitute their endorsement by the U.S. Government.
This material received federal financial assistance for the preservation and interpretation of U.S. confinement sites where Japanese Americans were detained during World War II. Under Title VI of the Civil Rights Act of 1964, Section 504 of the Rehabilitation Act of 1973, and the Age Discrimination Act of 1975, as amended, the U.S. Department of the Interior prohibits discrimination on the basis of race, color, national origin, disability or age in its federally funded assisted projects. If you believe you have been discriminated against in any program, activity, or facility as described above, or if you desire further information, please write to:
Office of Equal Opportunity
National Park Service
1201 Eye Street, NW (2740)
Washington, DC 20005
ABOUT THE ORAL HISTORY CENTER
The Oral History Center of The Bancroft Library preserves voices of people from all walks of life, with varying political perspectives, national origins, and ethnic backgrounds. We are committed to open access and our oral histories and interpretive materials are available online at no cost to scholars and the public. You can find our oral histories from the search feature on our home page. Search by name, keyword, and several other criteria. Sign up for our monthly newsletter featuring think pieces, new releases, podcasts, Q&As, and everything oral history. Access the most recent articles from our home page or go straight to our blog home.
Please consider making a tax-deductible donation to the Oral History Center if you’d like to see more work like this conducted and made freely available online. The Oral History Center is a predominantly self-funded research unit of The Bancroft Library. As such, we must raise the funds to cover the cost of all the work we do, including each oral history. You can give online, or contact us at ohc@berkeley.edu for more information about our funding needs for present and future projects.
Sovetskii Ekran (Soviet Film) Digital Archive at UC Berkeley Library
The Library has purchased the Digital Archive of a Soviet film magazine: Sovetskii Ekran. The archive provides access to the full-text of journal issues that were published from 1925-1998.
Below is the screenshot of the landing page of the Sovietskii Ekran.
At the time of writing this blog, the digitization of issues was completed through 1970 and the additional digitization was in progress.
About the journal:
Soviet Screen was a magazine in the USSR that ran from 1925 to 1998 (with a break from 1941 to 1957). It talked about movies, both from the Soviet Union and other countries, cinema history, and had articles critiquing films. They also had reader polls each year to pick the best film, actor, actress, film for children, and music film.
The magazine had different names over the years, like Screen Film Gazeta in 1925, Cinema and Life in 1929–1930, Proletarian Cinema from 1931–1939, and Screen from 1991–1997. Before 1992, it was connected to the Union of Cinematographers of the USSR State Committee for Cinematography and the USSR.
In 1984, they printed 1.9 million copies. In 1991, the editor was Victor Dyomin, and the magazine was published under the title: Screen. It started coming out less often, monthly instead of more frequently. It kept going as Screen Magazine until 1997, then for a few months in 1997-1998, it went back to its old name-Soviet Screen. But it couldn’t survive the financial troubles in 1998 and had to stop publishing (Source: Wikip.).
Native-American Heritage Month
Celebrate National Native American Heritage Month in November with us! We’ve put together a collection of fiction and non-fiction for you to explore. Find more information and discover live events on the Native American Heritage Month website.
Angela Sterritt
Lisa Bird-Wilson
Peter Stark
Rebecca Roanhorse
Stephen Graham Jones
Patty Krawec
PhiloBiblon 2023 n. 6 (octubre): PhiloBiblon White Paper
A requirement of the NEH Foundation grant for PhiloBiblon, “PhiloBiblon: From Siloed Databases to Linked Open Data via Wikibase: Proof of Concept” (PW-277550-21) was the preparation of a White Paper to summarize its results and provide advice and suggestions for other projects that have enthusiastic volunteers but little money:
White Paper
NEH Grant PW-277550-21
October 10, 2023
The proposal for this grant, “PhiloBiblon: From Siloed Databases to Linked Open Data via Wikibase: Proof of Concept,” submitted to NEH under the Humanities Collections and Reference Resources Foundations grant program, set forth the following goals:
This project will explore the use of the FactGrid: database for Historians Wikibase platform to prototype a low-cost light-weight development model for PhiloBiblon:
(1) show how to map PhiloBiblon’s complex data model to Linked Open Data (LD) / Resource Description Framework (RDF) as instantiated in Wikibase;
(2) evaluate the Wikibase data entry module and create prototype query modules based on the FactGrid Query Service;
(3) study Wikibase’s LD access points to and from libraries and archives;
(4) test the Wikibase data export module for JSON-LD, RDF, and XML on PhiloBiblon data,
(5) train PhiloBiblon staff in the use of the platform;
(6) place the resulting software and documentation on GitHub as the basis for a final “White Paper” and follow-on implementation project.
A Wikibase platform would position PhiloBiblon to take advantage of current and future semantic web developments and decrease long-term sustainability costs. Moreover, we hope to demonstrate that this project can serve as a model for low-cost light-weight database development for similar academic projects with limited resources.
PhiloBiblon is a free internet-based bio-bibliographical database of texts written in the various Romance vernaculars of the Iberian Peninsula during the Middle Ages and the early Renaissance. It does not contain the texts themselves; rather it attempts to catalog all their primary sources, both manuscript and printed, the texts they contain, the individuals involved with the production and transmission of those sources and texts, and the libraries holding them, along with relevant secondary references and authority files for persons, places, and institutions.
It is one of the oldest digital humanities projects in existence, and the oldest in the Hispanic world, starting out as an in-house database for the Dictionary of the Old Spanish Language project (DOSL) at the University of Wisconsin, Madison, in 1972, funded by NEH. Its initial purpose was to locate manuscripts and printed texts physically produced before 1501 to provide a corpus of authentic lexicographical material for DOSL. It soon became evident that the database would also be of interest to scholars elsewhere; and a photo-offset edition of computer printout was published in 1975 as the Bibliography of Old Spanish Texts (BOOST). It contained 977 records, each one listing a given text in a given manuscript or printed edition. A second edition followed in 1977 and a third in 1984.
PhiloBiblon was published in 1992 on CD-ROM, incorporating not only the materials in Spanish but also those in Portuguese and Catalan. By this time BOOST had been re-baptized as BETA (Bibliografía Española de Textos Antiguos), while the Portuguese corpus became BITAGAP (Bibliografia de Textos Antigos Galegos e Portugueses) and the Catalan corpus BITECA (Bibliografia de Textos Antics Catalans, Valencians i Balears). PhiloBiblon was ported to the web in 1997; and the web version was substantially re-designed in 2015. PhiloBiblon’s three databases currently hold over 240,000 records.
All of this data has been input manually by dozens of volunteer staff in the U.S., Spain, and Portugal, either by keyboarding or by cutting-and-pasting, thousands of hours of unpaid labor. That unpaid labor has been key to expanding the databases, but just as important, and much more difficult to achieve, has been the effort to keep up with the display and database technology. The initial database management system (DBMS) was FAMULUS running on the Univac 1110 at Madison, a flat-file DBMS originally developed at Berkeley in 1964. In 1985 the database was mapped to SPIRES (Stanford Public Information Retrieval System) and then, in 1987, to a proprietary relational DBMS, Revelation G, running on an IBM PC.
Today we continue to use Revelation Technology’s OpenInsight on Windows, the lineal descendent of Revelation G. We periodically export data from the Windows database in XML format and upload it to a server at Berkeley, where the XTF (eXtensible Text Framework) program suite parses it into individual records, indexes it, and serves it up on the fly in HTML format in response to queries from users around the world. The California Digital Library developed XTF as open source software ca. 2010, but it is now in the process of being phased out and is no longer supported by the UC Berkeley Library.
The need to find a substitute for XTF caused us to rethink our entire approach to the technologies that make PhiloBiblon possible. Major upgrades to the display and DBMS technology, either triggered by technological change or by a desire to enhance web access, have required significant grant support, primarily from NEH, eleven NEH grants from 1989 to 2021. We applied for the current grant in the hope that it would show us how to get off the technology merry-go-round. Instead of seeking major grant support every five to seven years for bespoke technology, this pilot project was designed to demonstrate that we could solve our technology problems for the foreseeable future by moving PhiloBiblon to Wikibase, the technology underlying Wikipedia and Wikidata. Maintained by Wikimedia Deutschland, the software development arm of the Wikimedia Foundation, Wikibase is made available for free. With Wikibase,we would no longer have to raise money to support our software infrastructure.
We have achieved all of the goals of the pilot project under this current grant and placed all of our software development work on GitHub (see below). We received a follow-on two-year implementation grant from NEH and on 1 July 2023 began work to map all of the PhiloBiblon data from the Windows DBMS to FactGrid.
❧ ❧ ❧
For the purposes of this White Paper, I shall focus on the PhiloBiblon pilot project as a model for institutions with limited resources for technology but dedicated volunteer staff. There are thousands of such institutions in the United States alone, in every part of the country, joined in national and regional associations, e.g., the American Association for State and Local History, Association of African American Museums, Popular Culture Association, Asian / Pacific / American Archives Survey Project, Southeastern Museums Conference. Many of their members are small institutions that depend on volunteer staff and could use the PhiloBiblon model to develop light-weight low-cost databases for their own projects. In the San Francisco Bay Area alone, for example there are dozens of such small cultural heritage institutions (e.g., The Beat Museum, GLBT Historical Society Archives, Holocaust Center Library and Archives, Berkeley Architectural History Association.
To begin at the beginning: What is Linked Open Data and why is it important?
What is Wikibase, why use it, and how does it work?
Linked Open Data (LOD) is the defining principle of the semantic web: “globally accessible and linked data on the internet based on the standards of the World Wide Web Consortium (W3C), an open environment where data can be created, connected and consumed on internet scale.”
Why use it? Simply, data has more value if it can be connected to other data, if it does not exist in a silo.
Wikibase in turn is the “free software for open data projects. It connects the knowledge of people and organizations and enables them to open their linked data to the world.” It is one of the backbone technologies of the LOD world.
Why use it? The primary reason to use Wikibase is precisely to make local or specialized knowledge easily available to the rest of the world by taking advantage of LOD, the semantic web. Conversely, the semantic web makes it easier for local institutions to take advantage of LOD.
How does Wikibase work? The Wikibase data model is deceptively simple. Each record has a “fingerprint” consisting of a Label, a Description, and an optional Alias. This fingerprint uniquely identifies the record. It can be repeated in multiple languages, although in every case the Label and the Description in the other languages must also be unique. Following the fingerprint header comes a series of three-part statements (triples, triplestores) that link a (1) subject Q to an (2) object Q by means of a (3) property P. The new record itself is the subject, to which Wikibase assigns automatically a unique Q#. There is no limit, except that of practicality, to the number of statements that a record can contain. They can be input in any order, and new statements are simply appended at the end of the record. No formal ontology is necessary, although having one is certainly useful, as librarians have discovered over the past sixty years. Must records start with a statement of identity, e.g.: Jack Keraouc (Q160534) [is an] Instance of (P31) Human (Q5).[1] Each statement can be qualified with sub-statements and footnoted with references. Because Wikibase is part of the LOD world, each record can be linked to the existing rich world of LOD identifiers: Jack Keraouc (Q160534) in the Union List of Artist Names ID (P245) is ID 500290917.
Another important reason for using Wikibase is the flexibility that it allows in tailoring Q items and P properties to the needs of the individual institution. There is no need to develop an ontology or schema ahead of time; it can be developed on the fly, so to speak. There is no need to establish a hierarchy of subject headings, for example, like that of the Library of Congress as set forth in the Library of Congress Subject Headings (LCSH). LC subject headings can be extended as necessary or entirely ignored. Other kinds of data can also be added:
New P properties to establish categories: nicknames, associates (e.g., other members of a rock band), musical or artistic styles);
New Q items related to the new P properties (e.g., the other members of the band).
There is no need to learn the Resource Description Access (RDA) rules necessary for highly structured data, such as MARC or its eventual replacement, BIBFRAME. This in turn means that data input does not need persons trained in librarianship.
How would adoption of Wikibase to catalog collections, whether of books, archival materials, or physical objects, work in practice? What decisions must be made? The first decision is simply whether (1) to join Wikidata or (2) set up a separate Wikibase instance (like FactGrid).[2] The former is far simpler. It requires no programming experience at all and very little knowledge of data science. Joining Wikidata simply means mapping the institution’s current database to Wikidata through a careful analysis of the database in comparison with Wikidata. For example, a local music history organization, like the SF Music Hall of Fame, might want to organize an archive of significant San Francisco musicians.
The first statement in the record of rock icon Jerry García might be Instance of (P31) Human (Q5); a second statement might be Sex or Gender (P21) Male (Q6581097); and a third, Occupation (P106) Guitarist (Q855091).
Once the institutional database properties have been matched to the corresponding Wikidata properties, the original database must be exported as a CSV (comma separated values) file. Its data must then be compared systematically to Wikidata through a process known as reconciliation, using the open source OpenRefine tool. This same reconciliation process can be used to compare the institutional database to a large number of other LOD services through Mix n Match, which lists hundreds of external databases in fields ranging alphabetically from Art to Video games. Thus the putative SF Music Hall of Fame database might be reconciled against the large Grammy Awards (5700 records) database of the Recording Academy.
Reconciliation is important because it establishes links between records in the institutional database and existing records in the LOD world. If there are no such records, the reconciliation process creates new records that automatically become part of the LOD world.
One issue to consider is that, like Wikipedia, anyone can edit Wikidata. This has both advantages and disadvantages. The advantage is that outside users can correct or expand records created by the institution. The disadvantage is that a malicious user or simply a well-intentioned but poorly informed one can also damage records by the addition of incorrect information.
In the implementation of the new NEH grant (2023-2025), we hope to have it both ways. Our new user interface will allow, let us say, a graduate student looking at a medieval Spanish manuscript in a library in Poland to add information about that manuscript through a template. However, before that information can be integrated into the master database, it would have to be vetted by a PhiloBiblon editorial committee.
The second option, to set up a separate Wikibase instance, is straightforward but not simple. The Wikibase documentation is a good place to start, but it assumes a fair amount of technical expertise. Matt Miller (currently at the Library of Congress) has provided a useful tutorial, Wikibase for Research Infrastructure , explaining how to set up a Wikibase instance and the steps required to go about it. Our programmer, Josep Formentí, has made this more conveniently available on a public GitHub repository, Wikibase Suite on Docker, which installs a standard collection of Wikibase services via Docker Compose V:
Wikibase
Query Service
QuickStatements
OpenRefine
Reconcile Service
The end result is a local Wikibase instance, like the one created by Formentí on a server at UC Berkeley as part of the new PhiloBiblon implementation grant: PhiloBiblon Wikibase instance. He used as his basis the suite of programs at Wikibase Release Pipeline. Formentí has also made available on GitHub his work on the PhiloBiblon user interface mentioned above. This would serve PhiloBiblon as an alternative to the standard Wikibase interface.
Once the local Wikibase instance has been created, it is essentially a tabula rasa. It has no Properties and no Items. The properties would then have to be created manually, based on the structure of the existing database or on Wikidata. By definition, the first property will be P1. Typically it will be “Instance of,” corresponding to Instance of (P31) in Wikidata.
The Digital Scriptorium project, a union catalog of medieval manuscripts in North American libraries now housed at the University of Pennsylvania, went through precisely this process when it mapped 67 data elements to Wikibase properties created specifically for that project. Thus property P1 states the Digital Scriptorium ID number; P2 states the current holding institution, etc.
Once the properties have been created, the next step is to import the data in a batch process, as described above, by reconciling it with existing databases. Miller explains alternative methods of batch uploads using python scripts.
Getting the initial upload of institutional data into Wikidata or a local Wikibase instance is the hard part, but once that initial upload has been accomplished, all data input from then on can be handled by non-technical staff. To facilitate the input of new records, properties can be listed in a spreadsheet in the canonical input order, with the P#, the Label, and a short Description. Most records will start with the P1 property “Institutional ID number” followed by the value of the identification number in the institutional database. The Cradle or Shape Expressions tools, with the list of properties in the right order, can generate a ready-made template for the creation of new records. Again, this is something that an IT specialist would implement during the initial setup of a local Wikibase instance.
New records can be created easily by inputting statements following the canonical order in the list of properties. New properties can also be created if it is found, over time, that relevant data is not being captured. For example, returning to the Jerry García example, it might be useful to specify “rock guitarist”(Q#) as a subclass of “guitarist.”
The institution would then need to decide whether the local Wikibase instance is to be open or closed. If it were entirely open, it would be like Wikidata, making crowd-sourcing possible. If it were closed, only authorized users could add or correct records. PhiloBiblon is exploring a third option for its user interface, crowdsourcing mediated by an editorial committee that would approve additions or changes before they could be added to the database.
One issue remains, searching:
Wikibase has two search modes, one of which is easy to use, and one of which is not.
- The basic search interface is the ubiquitous Google box. As the user types in a request, the potential records show up below it until the user sees and clicks on the requested record. If no match is found, the user can then opt to “Search for pages containing [the search term],” which brings up all the pages in which the search term occurs, although there is no way to sort them. They show up neither in alphabetical order of the Label nor in numerical order of the Q#.
- More precise and targeted searches must make use of the Wikibase Query Service, which opens a “SPARQL endpoint,” a window in which users can program queries using the SPARQL query language. SPARQL pronounced “sparkle,” is a recursive acronym for “SPARQL Protocol And RDF Query Language,” designed by and for the World Wide Web Consortium (WC3) as the standard language for LOD triplestores, just as SQL (Structured Query Language) is the standard language for relational database tables.
SPARQL is not for the casual user. It requires some knowledge of SPARQL or similar query languages as well as of the specifics of Wikibase items and properties. Many Wikibase installations offer “canned” SPARQL queries. In Wikidata, for example, one can use a canned query to find all of the pictures of the Dutch artist Jan Vermeer and plot their current locations on a map, with images of the pictures themselves. In fact, Wikidata offers over 400 examples of canned queries, each of which can then serve as a model for further queries.
How, then, to make more sophisticated searches available for those who do not wish to learn SPARQL?
For PhiloBiblon we are developing masks or templates to facilitate searching for, e.g., persons, institutions, works. Thus, the institutions mask allows for searches for free text, the institution, its location, its type (e.g., university), and subject headings:
This mimics the search structure of the PhiloBiblon legacy website:
The use of templates does not, however, address the problem of searching across different types of objects or of providing different kinds of outputs. For example, one could not use such a template to plot the locations and dates of Franciscans active in Spain between 1450 and 1500. For this one needs a query language, i.e., SPARQL.
We have just begun to consider this problem under the new NEH implementation grant. It might be possible to use a Large Language Model query service such as ChatGPT or Bard as an interface to SPARQL. A user might send a prompt like this: “Write a SPARQL query for FactGrid to find all Franciscans active in Spain between 1450 and 1500 and plot their locations and dates on a map and a timeline.” This would automatically invoke the SPARQL query service and return the results to the user in the requested format.
Other questions and considerations will undoubtedly arise for any institution or project contemplating the use of Wikibase for its database needs. Nevertheless, we believe that we have demonstrated that this NEH-funded project can serve as a model for low-cost light-weight database development for small institutions or similar academic projects with limited resources.
Questions may be addressed to Charles Faulhaber (cbf@berkeley.edu).
[1] For the sake of convenience, I use the Wikidata Q# and P# numbers.
[2] For a balanced discussion of whether to join Wikidata or set up a local Wikibase instance, see Lozana Rossenova, Paul Duchesne, and Ina Blümel, “Wikidata and Wikibase as complementary research data management services for cultural heritage data.” The 3rd Wikidata Workshop, Workshop for the scientific Wikidata community, @ ISWC 2022, 24 October 2022. CEUR_WS, vol-3262.
Charles Faulhaber
University of California, Berkeley