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So I work at the University of Maryland in their digital humanities center, MITH, 
which stands for Maryland Institute for Technology in the Humanities. We work 
with different departments on campus and also collaborate with other university 
and archival insitutions to create tools for the study of the humanities. The 
intersections of library/archival science and DH are frequently a nebulous concept 
to folks on both sides of that coin, but MITH has been at the forefront of trying to 
integrate and work with libraries and archives in ways which utilize their 
methodologies and standards, while also pushing to innovate in ways that DH has 
traditionally done. So the particular project I’m here to discuss is one that I believe 
falls right on that border of a DH and archival digital project, and it concerns 
something that digital humanists and some archivists typically call ‘virtual 
reunification,’ which is when attempts are made to virtually reunite related digital 
objects which have been separated amongst departments or institutions. In this 
case I want to specifically discuss split collections of media and related 
paper/textual collections – which are accepted into archival repositories and then, 
for lack of a better analogy, “separated at birth.” [1:15]
1
Often the “split but related mixed media collections” scenario occurs within an 
institution that holds both paper and media materials, yet processes them 
differently and in different departments. Other times, the paper and media 
collections are also geographically separated. 
For example, recently I’ve come across is the case of the Encyclopedia Cinematographica
collection, a mid century project coming out of Germany, which attempted to create 
an encyclopedic archive of recorded movement as part of a of a postwar attempt to 
reform the German film establishment. It attempts to break movement of various 
species down into basic units, called ‘movement units.’ They also have a grid system 
so users can compare, for example, the strikes of various serpents across different 
species. They cover biology, ethnography and the technical sciences. 
UMD film professor Oliver Gaycken is a current MITH Vambery Fellow. His project is called 
“‘The Living Book of Knowledge’: Visions of the Moving‐Image Encyclopedia,” and it 
traces the history of attempts to create moving image‐based enclopedias such as 
this, from the late nineteenth century to the present.
2
On the one hand, Gaycken is doing a sort of excavation of these various attempts to 
create encyclopedias of movement, and on the other hand he’s trying to discern 
why these movements always fail. So he has a need to conduct his research at both 
a micro‐ and macro‐level. He needs to see the individual films, and whatever item‐
level descriptive data are available for them, and he also needs to understand WHY 
certain decisions were made, both curatorially and organizationally in terms of the 
project’s eventual failure.
The films are now at the HFSA and the Internet Archive, with minimal item‐level 
metadata available for their study. The papers are in the hands of Vizenz Heidiger (U 
Frankfurt), a scholar in Frankfurt, who has promised to give Gaycken access next 
time he travels to Germany. No one knows at this point how those papers ended up 
in the hands of Heidiger, but the fact that they weren’t’ retained as part of the film 
collection is a quite typical scenario. (2:15)
3
The facts surrounding this phenomenon can widely vary, but at a very base level, 
long‐standing descriptive standards for processing paper collections simply diverge 
from many of the needs of a audiovisual collection. Paper‐based collections are 
most often described at the collection level, often resulting in an online finding aid.  
Whereas often (but not always) institutions with significant audiovisual holdings 
traditionally favor an item‐level approach, often with the aim of having the eventual 
catalog return search results at a granular level (by title, producer, etc), but more 
importantly to prepare a collection for a preservation effort which requires 
metadata on item condition, formats, etc. 
Then you have other instances where archivists with media collections are trying to find 
ways to make traditional archival solutions work within their institutions for both.  I believe 
Mary Miller on this panel is doing this at UGA, and there are many other instances. Megan 
McShea at the Smithsonian Archives of American Art just completed a large‐scale grant‐
funded CLIR Hidden Collections project wherein she developed methods for describing 
media within EAD alongside paper components, while also separately creating item‐level 
inventories when they were needed for preservation purposes. (1:10)
4
Actually, when thinking about the very salient points that archivists make to defend the use 
of each of these different approaches, I like to sometimes revisit an online discussion from 
Spring2013 that occurred between McShea and AVPreserve’s Josh Ranger. Ranger originally 
published a blog post entitled ‘Does the Creation of EAD Finding Aids Inhibit Archival 
Activities?’ which posited that using EAD in the most traditional sense is problematic for 
a/v collections, since EAD often has issues with discoverability through Internet search 
engines, and partially because the lack of item‐level information does nothing to 
prepare/plan for preservation efforts.
McShea replied to this post with a longer retort on the values of EAD for certain situations, 
addressing many of Ranger’s points as valid, but arguing that in many cases, finding aids 
become the easiest way for archivists dealing with mixed collections to deal with 
institutional realities. And that, if proper measures are taken (as with the practices she’d 
established at the Smithsonian, you can effectively combine item‐level and collection‐level 
processing.Ranger’s reply was that every one of McShea’s points was also valid, but then 
restressed a set of final points about EAD. That item level processing is really the only 
way to tell what’s what and find the right pieces to preserve or transfer for access, 
and that EAD does not achieve this level of need. In my view the reliance on EAD 
has resulted in it becoming an endpoint or cul de sac, not a pivot point.” (1:20)
5
This brings me to the project I’ve been trying to get funded and deployed for some time, 
which aims to virtually reunify a historic radio collection with its associated paper 
collections. The split collection is question is the National Association of Educational 
Broadcasters (NAEB) historic radio collection. 
The mission of the NAEB was to use communications technology for education and 
social purposes. It was by all accounts an extremely successful and effective trade 
organization that, throughout its 60 years of existence, and ushered in or helped to 
enable major changes in early educational broadcasting policy. The forerunner of 
the Corporation for Public Broadcasting and its arms, National Public Radio (NPR) 
and the Public Broadcasting System (PBS), the NAEB served as the primary 
organizer, developer, and distributor for noncommercial broadcast production and 
analysis between 1925 and 1981 (note: the NAEB tape collection only covers the 
period through 1970). Beginning with low‐wattage AM frequencies and later 
moving into FM, the broadcasts balanced focusing on public service reporting of 
national events (e.g., the economy, the depression, World War II, the Civil Rights 
movement) with providing a forum for local issues (e.g., agricultural prices, 
community events, elections) and with expanding public education. 
6
The central premise of Unlocking the Airwaves is that the NAEB materials, which are 
currently split between the Mass Media and Culture collections of the University of 
Maryland Libraries Special Collections and University Archives (tape collection), and 
the Wisconsin Historical Society (paper collection) can be opened to new research 
through coordination of archival and digital humanities work that will allow users to 
discover and use the digitized audio in an effective online research environment 
alongside information about its creation and original context.
The finding aid for the NAEB paper collection alone reveals that it contains a depth 
of contextual information relevant to the study of the tape collection. Digitized 
paper materials from Wisconsin would reveal even more, and not just the content 
of the broadcast but also the circumstances of its production and its reception. This 
relevant contextual information related to both the subject matter inherent in the 
content itself, as well as the cultural and sociological forces which shaped its 
production and distribution. The NAEB collections account for more than a record 
of a specific broadcasting entity and its industrial/narrative production. They also 
provide an in‐depth look at the engagements and events of American history, as 
they were broadcast to and received by the general public in the twentieth century. 
7
This may be evident in the recordings themselves, but the potential scholarly and 
educational insights are particularly apparent when presented with rich, contextual 
materials to accompany it.
7
8
To do this, we will be working from data organized according to two major 
descriptive standards: Encoded Archival Description (EAD), and PBCore, a metadata 
standard for audiovisual media. The EAD standard will be used to establish 
information at the collection‐level to provide context for (separate) item‐level 
descriptions, which utilize PBCore. Over the course of the project, we will add work 
with another, more recent standard, Encoded Archival Context—Corporate bodies, 
Persons, and Families (EAC‐CPF), to capture information we gather about people, 
organizations, and other entities related to public media collections. 
Our model for the metadata system we will use for Unlocking the Airwaves will be 
that created for the Digital Public Library of America (DPLA), which in turn builds on 
metadata I ntegration work by Europeana, the major cultural heritage aggregator in 
Europe. DPLA ingests metadata from many different institutions through its system 
of “hubs.” By using linked data approaches and formats, the DPLA can map this 
information into a profile usable by its online portal while still retaining the 
semantics and the provenance of the original data. At ingest time, DPLA hubs also 
enhance this metadata by performing additional linking to other common datasets 
and authority files—such as for geographic locations. Unlocking the Airwaves will 
9
ingest information encoded in EAD, PBCore, and EAC‐CPF to create new data in the 
same JSON‐LD (for “linked data”) format published by organizations like DPLA, but 
specifically tailored to the use case of this project. . The mapping of EAD (a 
document‐centric format) into linked data (which is naturally network‐centric) will be 
the most challenging element of this process but models already exist. The LOCAH 
and Linking Lives projects in the UK have not only demonstrated that such 
transformations are feasible, they also have provided software that our project will 
be able to adapt to this end. 
9
Despite the many excellent platforms for digital collections—from Omeka to 
Drupal—these kind of all‐in‐one solutions focus attention—in the form of resources 
for both development and maintenance—on one particular tool or website, rather 
than on the reusable data and digital objects a website may contain. The overall 
design of Unlocking the Airwaves thus favors discrete, composable units and the 
provision of multiple ways of accessing project data.
10
11
12

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