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The Smallest Deer I Have Ever Seen

August 24, 2014

photo[1]Today it is 99 degrees in Memphis, TN, US.  When many folks head indoors during this weather, I find it to be the ideal time to go bike riding.  So my friend and I loaded up our mountain bikes today and headed out for a couple of hours of riding along the Wolfe River.  This got me to thinking of a story I had written a few years ago called the Smallest Deer I Have Ever Seen.  Here it is again:

 

 

The Smallest Deer I Have Ever Seen
I thoroughly enjoy mountain biking. In a memorable biking experience, I saw the smallest deer I have ever seen in my life – a fawn, couldn’t be but a couple of weeks or so old.  Here is how it happened . . .

I was riding my mountain bike out along the River trail about 4:00 PM, the hottest part of the day.  I have come to savor the heat that is the South.  A couple of days each week I start my work day very early so I can ride the during the heat of the afternoon, when I rarely cross other bikers and only the occasional runner on the trail.

The route I have worked out is a 12 mile loop through the woods.  There are a few steep ascents and descents up and down levees and lots of roots.  I am reading some about technique – the zen of becoming one with the bike and the trail.  Speed seems a big thing in the tech lit of mountain bikes.  On first half of my loop today I did well on the technical end.  My speed picked up – I think the fastest ever.  I got up all the inclines without a hitch, and made it through the sand traps – thanks in large part to recent rain.  The greatest improvement was in my looking ahead on the trail, and not just right past my front wheel – allowing me to feel the flow of the trail unlike ever before.  On my iPod, I listened to Bill Moyers interview the poet W.S. Merwin, reading from his recent volume for which he won the Pulitzer Prize, In the Shadow of Sirius.  All was quite well.

I got to the end of the first half at the trailhead.  The parking lot was empty, baked asphalt. I sucked some water and a Gu Gel and listened to Merwin read a poem about fathers and sons.

I started to head back.  The first leg of the return I know best.  After an initial descent, the trail is about one mile or so of reasonably flat to rolling twists and turns till coming up on the first levee.  I have always felt the most one with bike and trail on this stretch.  Today, I ripped along through the first open field into tree cover.  Barely 30 feet in front of me stood a full size deer – I don’t know a buck from doe to how many points or hands – it was just a big old deer.  I skidded to a complete stop.  I know that deer will run in a completely unpredictable manner – it’s best just to stop and let them go on their way, then proceed.  But this deer held its place in the middle of the trail.  I flipped up my sunglasses, and saw the smallest fawn ever between the legs of the big deer – could not have been more than 24 inches tall – think a miniature Bambi.  The fawn started to trot off and the big deer followed.  After several starts and stops, they soon were in the dense wood, and I could only make out their occasional move through the vegetation.

I stood astride my bike on the trail for a few minutes, put away W.S. Merwin and Bill Moyers, and listened to the heat, the insects, the birds.  I rode off slower and got up on the first levee and down the other side.  I decided to try a different oneness with the trail on the way back – a very slow, mindful, intentional amble, iPod stowed in my back pocket.  I knew not to be so naïve or grandiose to expect to see another deer, or something of a similar spectacle.  When I ascended to the second levee, I rode the spine to the river and sat for a while staring at and thinking of nothing.  I continued on deliberate, mindful, quiet and slow.  Toward the end of the loop, the trail runs along the narrow spine of a ridge full of roots, drops and turns.  Typically, this is the most difficult part of the ride for me.  I get flustered, hit roots wrong, feel awkward, and not one with the trail.  I usually rationalize it’s towards the end of a 12 mile loop and I am just a bit tired, but I know that is not really the case – something is missing.  Today I was more one with the crest and the roots than ever before, slowly looking and living into each root, dip, and turn.

After taking the gravel road back to the main park area, I always end the ride with a quick lap around the one mile asphalt track filled with joggers, walkers, and little kids on bikes.  When I pass the little kids with training wheels, or recently without, I always say “Hey, I like your bike!” and that always gets a smile of pride from the little ones.  And today, even though hot, a child on her hot pink Barbie bike was there with her folks walking along and she grinned wide at the compliment.

Creative Commons and Cultural Heritage

August 19, 2014

Java PrintingI am very pleased to present a post and resource links on Creative Commons by my colleague Jason Baird Jackson.  More and more cultural heritage professionals and students are faced with questions about how to best present original documents for public access and the proper citation and use of internet files.  Jason provides a solid introduction and valuable links to Creative Commons licenses that are relevant today and will be increasingly important in the immediate future.

Creative Commons and Cultural Heritage

by Jason Baird Jackson

Do public archaeologists, heritage professionals, museum practitioners, and graduate students need to know about the Creative Commons? I think so. Robert Connolly does so as well, which is why he thought to ask me to contribute a short note to his blog. After you have learned a bit about it, I hope that you too will see the relevance of the tools provided by the Creative Commons to the work that you do. If you are already using Creative Commons licenses for your work in one of these fields, please consider leaving a note in the comments section telling us how and why.

The Creative Commons (CC) is a public interest organization that provides easy-to-use licensing tools that can help anyone who creates or communicates to specify more clearly the terms under which they wish for their work (writing, photography, almost anything we create) to circulate. When someone speaks of the Creative Commons, what is usually meant are Creative Commons licenses that the organization freely provides. There is more to the organization than its licenses, but the licenses are the focus in this short post. In a nutshell, CC licenses allow you to reserve some rights in your work rather than the full set of rights spelled out under national copyright regimes. As a maker of creative works, the licenses give you more flexibility in how you want to share the things you have made.

The best way to learn about CC licenses is to visit the organization’s website and to watch a few of the explanatory videos that the organization has created.

I am not an expert on the Creative Commons in general and I am not affiliated with the organization (except as an occasional donor), but I have tried to speak helpfully of the Creative Commons in the context of work by public folklorists and of the kinds of local communities with whom they often work. “Why the Creative Commons with Folklorist Jason Baird Jackson” was episode 22 of the Artisan Ancestors podcast hosted by my Indiana University colleague Jon Kay.

Jon is the Director of Traditional Arts Indiana (TAI) and TAI has organized a series of informative webinars, one of which I did on “Using the Creative Commons.”

One place where I use CC licenses to advance museum anthropology is in Museum Anthropology Review, the journal that I edit. For most of its history, MAR content was published under the Attribution, Non-Commercial, Share-Alike license (by-nc-sa 3.0). Reflecting an upgrading of the license set, we now use a 4.0 license. Reflecting growing consensus among open access journal publishers, we now default to the more liberal attribution-only (by) license. Authors can request a different license, but this is now the journal’s default.

Compare these two licenses here:

http://creativecommons.org/licenses/by-nc-sa/3.0/

https://creativecommons.org/licenses/by/4.0/

In closing I want to point to a few more related tools that might prove useful to readers of this blog.

If a work is in the public domain, it is possible to signal this with resources comparable to the CC licenses. It is also possible for a creator of a new work to unambiguously dedicate her or his work to the public domain, thereby asserting no author’s rights in it. These two sets of tools are described here.

Those working in, or in partnership with, local or indigenous communities with special cultural property concerns, should be aware of the Traditional Knowledge licenses and labels being developed by the organization Local Contexts. This is a great effort designed to address important and related, but different needs from those addressed by the Creative Commons. The Local Contexts website and associated videos and documentation do a great job of introducing these tools and the contexts that motivate them. I expect that museums and other organizations stewarding cultural heritage materials will be using these TK licenses and labels more and more in the years ahead.

Thanks to Robert for this chance to share a bit of information about licensing and labels for heritage folks.

Jason Baird Jackson is Director of the Mathers Museum of World Cultures and an Associate Professor of Folklore at Indiana University and can be reached at jbj(a)indiana.edu and visit his blog Shreds and Patches

PIARA Community Outreach in the Summer of 2014

August 11, 2014

robertlfs:

A summary of some of what I was up to this summer in Peru . . .

Originally posted on The Ancash Advocate:

Salta a Español: PIARA Alcance a la Comunidad en el Invierno de 2014

PIARA Community Outreach in the Summer of 2014

by Rebecca Bria

studenticon

Student drawing prehistoric icon. Estudiantes dibujando íconos prehistóricos.

A strategic component of PIARA’s mission beyond archaeological research is engagement with communities of the Huaylas Province. This summer we carried out several important projects in this area of our work. Here are a few examples:

  • In partnership with American Climber Science Program (ACSP), funded by a USAID grant, we studied the impacts of climate change on the people living near the Parque Nacional Huascarán. Dr. Doris Walter, Elizabeth Cruzado Carranza, Erick Luis Casanova Vasquez, and two student collaborators from La Molina University, Lucinda Tafur and Johny Soca, conducted the interviews with residents in the Huaylas and Carhuaz provinces. As part of this research, we organized and hosted workshops with focus group discussions of climate change in Hualcayán…

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Archaeology, Wikipedia, and the Classroom

August 10, 2014

robertlfs:

Be certain to check out Doug’s Archaeology recent posts on Wikipedia and Archaeology. In his last post, Doug graciously linked to some of my previous posts on the subject. Another great resource on digital technology in classroom and in archaeology is Jennifer Carey’s blog over at http://indianajen.com

Originally posted on Doug's Archaeology:

This week I have been posting on why archaeologists should embrace Wikipedia (see Part 1, Part 2, and Part 3), my experience with Wikiclub, and how you can get started editing Wikipedia. An obvious intersection between Wikipedia and Archaeology is the classroom. Luckily, I don’t need to reinvent the wheel as Robert Connolly has already blogged about the topic. Robert gave a hint of his work in the #BlogArch blogging carnival I ran a few months ago. He re-posted a portion of a profile of himself. The first section discussed blogging but then went on to say:

Connolly acknowledges that reading and writing blogs can be a huge time drain and produce little. But ultimately, he sees a bright future for such user-generated content. This semester he is teaching an Undergraduate Honors Forum titled “Wikipedia as a Research Tool.” Like blogs, he is convinced…

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Meet a Museum Blogger: Lori Byrd Phillips

August 5, 2014
Featured Image -- 4456

robertlfs:

Lori Byrd Phillips is one of the true leaders in open authority and co-creation in cultural heritage and museum studies. Check out this excellent interview

Originally posted on Museum Minute:

Lori Byrd Phillips is the Digital Marketing Content Coordinator and the former Wikipedian in Residence at The Children’s Museum of Indianapolis. Lori is a leader within the GLAM-Wiki initiative, an international group of volunteer Wikipedians who help cultural institutions (Galleries, Libraries, Archives, and Museums) broadly share resources through collaborative projects with Wikipedia. Her research centers on the concept of Open Authority, a term she developed to describe the integration of open, collaborative digital communities with museum dialogue and interpretation.

LoriDo you work in a museum? If not, where do you work? Tell us about your job.

I’m very lucky to work in the largest children’s museum in the world—The Children’s Museum of Indianapolis. Day to day, I coordinate content across the museum’s blog and numerous social media platforms. This means working with experts in and outside of the museum on content ranging from dinosaurs and ancient China…

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Why Archaeology Should Embrace Wikipedia- Part 2, Wikipedia is not your competition

August 5, 2014

robertlfs:

Check out some very sound presentations on Wikipedia in Archaeology.

Originally posted on Doug's Archaeology:

As I explained yesterday, Wikipedia is the fifth most visited website on the Internet and an article on it is usually guaranteed a top three result in most search engines. But, what if you want your work to be viewed on your own website? I can think of multiple reasons for this:

  • You have a blog that you want people to read.
  • You got a grant and as one of the deliverables you need to create a website and show use of it.
  • You are a society or group and you want people to visit your website so they become members.
  • I am sure there are some reasons I have not thought of that you have, the list goes on.

The question you might have then is, ‘does Wikipedia taking the top search results hurt my work?’ Is Wikipedia our competition?

Wikipedia is an Undergrad paper, no original research

In case you…

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Cultural Heritage Co-Creation from the Bottom Up

July 23, 2014
quipu

Student adding her string to the class quipu as their History Professor Leodan Abanto Alejo Valerio looks on.

I just read a volume of papers on creativity in museums, visitor experiences, and so forth. Despite the plethora of measurement outcomes for visitors touching pieces, engaging with staff, talking among themselves, voting for their favorites, and so forth, I found no mention of a visitor being asked “what are your needs and wants from this institution.” That is, the papers reflected what professionals determined as an appropriate set of goals and then a set of measures of how well the visitor experience achieved those goals.

The papers reflect the trend that to prioritize the visitor experience is often simply making a decision to value the visitor on an equal or greater level than the object.  The museum staff then generate a set of proposals on how this engagement might occur. This approach seems the antithesis of John Cotton Dana’s 1917 mandate in The New Museum to “Learn what aid the community needs: fit the museum to those needs.” Explicit in this mandate is engaging directly with the community to determine those needs.

I had a couple of interesting lessons recently on Dana’s point. I previously posted how an article published on the engagement between the Southwest Memphis community and the C.H. Nash Museum along with printed banners honoring military veterans were highly valued by the community members. In conjunction with faculty from the University of Memphis, this summer our Museum conducted another round of oral history interviews that will be archived at southwestmemphis.com.  The important point about these projects is that they resulted from the expressed needs of community members.

I emphasize here that I do not mean to take a holier-than-thou position on our community outreach.  I am consistently surprised at which projects resonate with the community.  But through experience, I am coming more and more to act on the direct community input at the very start of project development.  We then filter the community input through the mandates of our museum mission statement.

This process holds true in my recent collaborations in Hualcayán, Peru. On the PIARA Team, my primary responsibility this summer is beginning the process for the development of a cultural center or museum for the small village of 400, a 2-hour drive on an unpaved road from the next larger community. To that end, I have scoured the literature on small indigenous museums and cultural centers for models and have found very few. One of the better resources is Sustainable Cultural Tourism: Small Scale Solutions by Susan M. Guyette, a rather encyclopedic approach to the concept.

Last year I asked Rebecca Bria, the founder and co-director of PIARA, if the Hualcayán community really wanted a museum or were they really more interested in economic, educational, and health care development. She emphatically responded that through her five-year engagement with the community, they expressed that a museum, a physical structure to showcase their heritage was a primary need. Rebecca’s assessment came through quite clear in the discussion with the Hualcayán teachers I posted about last week. The teachers want a written record of Hualcayán generated.

Another example of meeting a community expressed need came last week in a classroom project with Hualcayán high school students carried out by Karissa Deiter and Hannah McAllister. They adapted the quipu exercise from Archaeologyland for this project. After introducing the importance of artifacts in telling the stories of the past, Karissa and Hannah used quipus as an example of how past societies recorded information. Each student then created their own quipu string that recorded their age, numbers of siblings, and so forth.  The project was originally designed so that each student would create their own quipu, yet the teacher and students decided that the individual strings would be tied to a unified class quipu. Minimally, the quipu will live on at the school and ideally will become in “artifact” in the community’s museum set to open on August 2nd. After the quipu demonstration, the history teacher decided that the next project was to develop a timeline of the entire Hualcayán community. To that end Karissa and other members of the PIARA team will lead the high school students on a tour of the archaeological site, the research lab, and more.

As I noted in last week’s post, from the very inception, the in-class presentations developed for this summer in Hualcayán were based on the previously expressed needs of the teachers and community.  The PIARA team put together projects that were then modified and further developed on the spot by the community members.  Ultimately, the product is tailored to the needs of the visitor/student/community member and not the museum.  This approach strikes me as a method that emphasizes a bottom-up method for co-creation.

What are your experiences with this type of co-creation process?

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