New Issue: Journal of Archival Organization

Journal of Archival Organization, Vol. 16 no. 1 2019
(subscription)

Shifting the Model: Pre-Donation Processing of the New York Foundation for the Arts Records
Weatherly A. Stephan & Nicholas J. Martin

Bridging the Digital and Physical: Increasing Engagement with the Grateful Dead Archive at UC Santa Cruz
Alix Norton, Kristina Golubiewski-Davis, Ann Hubble & Reed Scriven

Stakeholder Interviews and University Collections: An Exploratory Methodology
Kristen Iemma, Maddie Mott, Julia Renaud & Nicole Sintetos

Successful Management of an Outsourced Large-Scale Digitization Newspaper Project
Tips for Effective Collaboration, Increased Productivity, and Outstanding Deliverables
Marina Georgieva

Blockchain Is Already Here. What Does That Mean for Records Management and Archives?
Sharmila Bhatia & A. D. Wright de Hernandez

Call for Papers – ‘Century of Broadcasting: Preservation and Renewal’ Conference

DEADLINE EXTENDED

Radio Survivor is pleased to share an announcement from the Radio Preservation Task Force (RPTF) of the Library of Congress about a call for papers for its forthcoming conference, “A Century of Broadcasting: Preservation and Renewal.” The event will be held October 22-24, 2020 at the Library of Congress in Washington, D.C. Presentation proposals are due by December 15, 2019. Read on for the full details from the RPTF:

A Century of Broadcasting: Preservation and Renewal

Conference Dates: Oct 22-24, 2020

Library of Congress, Washington, D.C.

Proposal Deadline: Dec. 15, 2019

Call for Papers

The Radio Preservation Task Force (RPTF) of the Library of Congress invites applications for papers, panels, moderated discussions and workshops for a conference marking the centenary of broadcasting in the United States.

We seek presentations by archivists, radio and television historians, artists, information scientists, journalists, sound studies scholars, broadcasters and others highlighting how preservation can help us complicate and rethink our understandings of the history of mass media at community, local, national and international levels. We particularly welcome participants who put archival resources to work today to enrich radio, television, podcasting, music, literature, journalism, public history, installation art and other creative practices.

The conference will take place Oct. 22nd to 24th, 2020, at the Library of Congress on Capitol Hill, in Washington D.C. Registration is free for all presenters, moderators and respondents.

Celebrating One Hundred Years of Broadcasting

In the United States, the radio industry began primarily as a form of wireless telegraphy used for point-to-point communication. After World War I, government licensing began for stations that were changing the medium by airing point-to-mass broadcast transmissions of music and voice. From the celebrated Election Day broadcasts of Westinghouse station KDKA on November 2, 1920 to similar services offered by hundreds of other stations from coast to coast, the industry paradigm shifted. The broadcasting model endures to the present, characterizing media systems from large commercial networks to public broadcasting, satellite radio and online streaming services, and RSS-based podcasting.

This conference marks the centenary of that paradigm shift and investigates radio’s century of constant renewal and rebirth over the course of the intervening century, during which various radio and radio-like practices have been invented and reinvented, forgotten and remembered, in settings across the United States. We want to highlight a century dotted with “new” sound practices in this restless medium, from the first non-English programs to the first broadcasts aimed at communities of color, from the first international shortwave transmissions to the first true crime podcasts, the first educational shows to the first radio-based art. Our conference underscores the role of preservation in documenting (and even driving) the process of renewing radio from generation to generation and from community to community.

Renewing Radio Heritage

This meeting also takes place at a moment in which media history is itself changing, thanks to a renaissance in radio and television preservation, which has created an archive that is more diverse and richer than ever before, conveying a sharper sense of how broadcast media helped Americans articulate understanding of nation, region, class, gender, race, sexuality and ability. That is thanks in part to the work of the Radio Preservation Task Force, which for five years has been pursuing projects and partnerships to change the very archive itself in a way that necessitates fresh thinking about many firsts—and seconds, and thirds— in conventional national and international narratives of radio history.

Created in 2014 in fulfillment of a radio preservation mandate in the Library of Congress’s National Recording Preservation Plan, the RPTF is charged with fostering collaborations between researchers and archivists to facilitate work on radio preservation, developing an online inventory of extant collections, promoting preservation of endangered radio collections, encouraging use of radio and sound archives in educational settings, and cultivating academic study of archival radio materials. It currently boasts a network of hundreds of scholars and archivists who share materials, fundraising, and best practices. The RPTF has also constructed a national database aggregating information on over 2,500 radio collections from coast to coast, and has encouraged and overseen several special issues and anthologies on radio history and preservation. It is currently developing pedagogical guides for classroom use and resources to assist with preservation of endangered radio materials. To advance its goals, the RPTF partners with over 40 local, national, and international academic, archiving, and media organizations. A full list of partner institutions is available on our conference site.

Suggested Themes

This conference will focus on preservation’s historic and ongoing role in documenting and shaping new research from policy studies to sound studies, and new media practices from journalism to art. To that end, we seek panels, presentations and workshops whose ambit could include, but is not limited to:

  • Highlighting a specific archive based on historic recordings that challenge assumptions about mass media history, the invention or reinvention of formats, or show outreach to new audiences.
  • Offering best practices based on experience in preservation, from digitization and metadata to fair reuse, either on air or in arts settings.
  • Exploring techniques for researching, processing or reusing the changing radio archive, such as how to use specialized methods from machine learning to deep listening.
  • Examining communities whose stories have been lost but can now come to light as a result of the RPTF’s various initiatives and caucuses, especially communities of color, native communities, women’s radio history, LGBTQ histories, as well as among differently abled communities.
  • Examining how preservation can highlight radio’s historic and ongoing role in activism, especially at the regional, local and community level.
  • Looking at international histories of radio, and at preservation practices outside the United States, particularly in Latin America and Europe, from which U.S. archivists might learn.
  • Focusing on long-arc narratives of radio history—the history of crime reporting, for instance, or civil rights radio—that stretch across the entirety of the “broadcast century” and whose history isn’t limited to one “tier” of radio, but rather can be studied in contexts from large networks to local radio and podcasts, and everywhere in between.
  • Studying how preservation methods might be adapted for emerging forms of radio beyond traditional broadcasting platforms, particularly podcasting, as well as the study of broadcast platform elements themselves, from radio tower systems to RSS.
  • Focusing on preserving recordings from arts and freeform stations, as well as exploring how the materials that RPTF projects have uncovered can be reused in contemporary art, journalism and research in the new golden era of podcasting and sound art more broadly.
  • Providing practical advice for independent archivists, particularly when it comes to public history outreach, identifying possible funding and grant writing.

To Participate

Proposal options include papers, pre-constituted panels, moderated discussions, and workshops. To submit a proposal, email abstracts and other materials specified below in a single document to radiotaskforce@gmail.com by December 15, 2019. For questions, please contact neil.verma@northwestern.edu.

Papers. Individual archivists, scholars or artists are invited to submit an abstract for a paper of about 20 to 30 minutes in length on our conference themes. Successful applications will be organized into panels by the steering committee. Applications should include: A brief biography; contact information for the applicant including any institutional affiliation; a 400-word abstract with a title; and five keywords.

Pre-constituted Panels. Pre-constituted panels should have 3-4 participants, plus a moderator and/or respondent. These panels will be based on the presentation of papers, with each speaker given 20 to 30 minutes to speak. Applications should include: A brief biography for each applicant; contact information for each applicant including any institutional affiliations; a 400-word abstract with a title for each paper; five keywords for each paper; a 400-word abstract explaining the goal and ambit of the panel.

Moderated Discussions. These events will differ from pre-constituted panels in that they do not require formal prepared remarks and will instead focus on discussion and exchange. Groups of 4-6 participants may apply, with each participant expected to speak for 5-10 minutes about a current project, archival recording, or issue. Applications should include: A brief biography for each applicant; contact information for each applicant including any institutional affiliations; a 400-word abstract explaining the goal and ambit of the panel; five keywords for the panel as a whole.

Workshops. For workshops on specific issues (e.g., digitization, grant writing, analysis tools, recording workshops), a single presenter or team leads discussion and has an open forum to field questions. Applications should include: A brief biography for the workshop leader(s); contact information including any institutional affiliations; a 400-word abstract explaining the goal and ambit of the workshop including any technical equipment that would be needed.

The Library of Congress RPTF Conference Steering Committee

RPTF 2020 Conference Chair:

Neil Verma, Northwestern University

NRPB Chair:

Christopher Sterling, George Washington University

Library of Congress:

Steve Leggett (NRPB)

Cary O’Dell (NRPB)

RPTF Director:

Josh Shepperd, Catholic University and Penn State University

RPTF Assistant Director:

Shawn VanCour, University of California, Los Angeles

Conference Committee Members:

Matt Barton, Library of Congress

Claudia Calhoun, Fairfield University

Inés Casillas, University of California, Santa Barbara

Susan Douglas, University of Michigan, Ann Arbor

Christine Ehrick, University of Louisville

Anna Friz, University of California, Santa Cruz

Kathryn Fuller-Seeley, University of Texas, Austin

Michele Hilmes, University of Wisconsin, Madison

Bob Horton, Smithsonian National Museum of American History

Tom McEnaney, University of California, Berkeley

Julie-Beth Napolin, The New School

Stephanie Sapienza, University of Maryland

Jacob Smith, Northwestern University

Michael Socolow, University of Maine

Dave Walker, Smithsonian Center for Folklife and Cultural Heritage

Book Recommendation: The Chronicle Productivity Guide to Writing & Publishing

One of my goals for this blog going forward is to offer more resources about writing and research. I’ve posted a few here and there, but plan to be more consistent in offering suggestions.

I periodically read blogs and articles about books about writing. It is easy to be overwhelmed with the seemingly unending resources out there. I’ve started reading books about writing both to see if I can get tips for my own writing, but to also discern what are actually good resources and ones that are less helpful.

One that I like a lot is The Chronicle Productivity Guide to Writing & Publishing by The Chronicle of Higher Education.

Though geared towards academics, anyone can find it helpful. What I like about it is that it is short essays from a variety of people. Though there is a cohesiveness, one need not read it in order nor cover to cover to find useful assistance.

This 84-page book distills the most common questions about and challenges to writing that probably everyone can relate to. It is divided into 5 sections:

  1. Finding Time and Managing Your Project List
  2. Conquering Isolation: The Writing Group
  3. Overcoming Inner Obstacles
  4. Ways to Improve Your Writing
  5. Navigating the Publishing Process

Within each section is realistic, practical advice. For archivists, I think sections 1, 3, and 4 are the most relevant. Two interesting essays in the first section jumped out at me. One discussed doing a reverse day planner, where you document everything you do to see how you spend your time. While I like this idea greatly, I haven’t yet done it. But it can help see how to carve out time to write.

The second one was about energy levels. The author breaks energy up into A, B, and C, and assigns writing to A. It is also about finding the time when your energy is at a peak, to designate that as your writing time. Some people are good early in the morning, others late at night. But identifying that can help be more productive.

The third section about inner obstacles has essays that every writer can relate to. Avoidance, doubts, organization, and many other aspects are the obstacles described. Then, there are some practical and unique ideas on how to move past those obstacles.

The fourth section about writing is also very helpful. I’m amused that one essay is called “7 Tips to Write Less Badly,” which is a good indication of how helpful the tips are. Some of the tips in these essays advise to think less about the amount of time spent on writing and more on the quantity of output, various ways to formulate and organize a strong argument, and how to find your voice.

This is not a cheap book, but is truly one of the best ones I’ve looked at if you are looking for some quick and insightful guidance on improving your writing and writing habits.

CFP: Joint Meeting of The Society for History in the Federal Government and the Oral History in the MidAtlantic Region

Deadline Extended to November 29

“Stories from the Heart of Government: Politics and History”

The Society for History in the Federal Government (SHFG) will hold a joint annual meeting with  the Oral History in the MidAtlantic Region (OHMAR) on March 13-14, 2020, at the Robert C. Byrd Center for Congressional History and Education at Shepherdstown, WV. The 2020 Annual Meeting continues the Society’s 40th Anniversary commemoration.

Questions to consider include:

  • How do historians research and explore the stories of federal history and federal history offices?
  • What specific research challenges do we face in telling the stories of the federal government?
  • How can federal historians and practitioners who study federal history better promote and explain the importance of federal history to the general public?
  • How do federal historians use oral histories to capture and tell stories that supplement or contradict the official record?
  • How do federal history offices develop oral history collection policies to tell new and underrepresented stories in their agency’s histories?

The SHFG Annual Meeting is open to all scholars interested in federal history, including those working outside of the federal government and Washington, D.C. area. We encourage proposals from federal historians, graduate students, public historians, archivists from varied institutions, oral historians, digital archivists, and scholars from other disciplines. We also welcome panels composed of practitioners from a variety of backgrounds and experiences.

CFP: KULA Special Issue: Indigenous Knowledges

Call for Papers – Special Issue: Indigenous Knowledges

KULA: Knowledge Creation, Dissemination, and Preservation Studies
Special Issue: Indigenous Knowledges

Guest Editors
Ry Moran, Director, National Centre for Truth and Reconciliation

Carey Newman, OBC, Multidisciplinary Artist, Master Carver, and Audain Professor of Contemporary Art Practice of the Pacific Northwest in the Department of Visual Arts, University of Victoria

Shelagh Rogers, OC, Broadcast Journalist, Host and a producer of CBC Radio’s The Next Chapter, Honorary Witness for the Truth and Reconciliation Commission of Canada, and Chancellor, University of Victoria

Andrea Walsh, PhD, Associate Professor of Anthropology, University of Victoria

Guest Advisor
Rob Hancock, PhD, LE,NOṈET Academic Manager, Office of Indigenous Academic and Community Engagement and Adjunct Assistant Professor of Anthropology and Environmental Studies, University of Victoria

Editorial Assistant
Samantha MacFarlane, PhD, Associate Editor, KULA: Knowledge Creation, Dissemination, and Preservation Studies and Publications Assistant, University of Victoria Libraries

Abstracts and expressions of interest: rolling, through 30 November 2019
Notice of acceptance of abstracts: February 2020
Deadline for final submissions: June 2020
Anticipated publication: Spring 2021

Contact email: kulajournal@uvic.ca

KULA: Knowledge Creation, Dissemination, and Preservation Studies (https://kula.uvic.ca/) is a peer-reviewed, open-access online journal that publishes multidisciplinary scholarship about the creation, dissemination, and preservation of knowledge. We invite abstracts for contributions to a special issue of KULA on Indigenous Knowledges, to be published in 2021.

The Building Reconciliation Forum is an annual national forum that works toward implementing the Truth and Reconciliation Commission of Canada’s Calls to Action within post-secondary institutions. In November 2018, the University of Victoria hosted the fourth annual forum, the theme of which was Ts’its’u’ watul tseep, a Hul’q’umi’num teaching that means “to help one another.” In direct response to the forum, as part of its commitment to implementing the TRC’s Calls to Action in universities, the University of Victoria Libraries made “Building Reconciliation through Archives” the topic of its annual University Librarian’s Lecture. The 2019 lecture presented a panel discussion with Ry Moran, Carey Newman, and Shelagh Rogers about the past, present, and future of Indigenous documentary heritage. The panelists considered questions such as: What is the relationship between documentary heritage and oral history, land, and historical context? Does ceremony have a role in animating archives? Should documentary heritage held by institutions be returned to communities? How can our approach to Indigenous archives deepen our understanding of the meaning of truth and reconciliation?

Some of the issues the panelists raised during this discussion include:

  • the complicity of archives in the deliberate, violent erasure of Indigenous languages and cultures and the myth of archives as an antidote to the “loss” of cultural heritage
  • the importance of living heritage, particularly the knowledge of Elders (e.g., in addressing inaccuracies in colonial narratives about the history of land and land use, which are preserved in the written record of agencies such as Parks Canada), and the need to create space in libraries and archives for the preservation of intangible cultural heritage as well as documentary heritage
  • the Indigenous perspective of land as a source of knowledge and wisdom, connected to culture, language, and world view–a kind of archival record–and environmental destruction as a threat to the land and the knowledge it holds.
  • the challenge of building a future based on reconciliation when many non-Indigenous people still do not understand Canada’s colonial history or how the concentric harms of colonial genocide continue to affect the lives Indigenous Peoples
  • the various ways that individual Indigenous communities view ownership of tangible objects/land and intangible stories/songs

This special issue is inspired by the panelists’ discussion, and it aims to expand the scope of that conversation by considering the broader category of Indigenous Knowledges. We have deliberately titled the issue Indigenous Knowledges, and we seek to include a range of diverse contributions that reflect this plurality, both in subject and format. We encourage submissions on diverse aspects of Indigenous Knowledges and ways of knowing, including but not limited to:

  • Language; language revitalization; translation
  • Art, literature, and music
  • Governance, laws, Protocols, and justice systems
  • Educational systems
  • Traditional Knowledges, including medicinal and environmental knowledge
  • Oral Traditions
  • Spiritual beliefs and practices
  • Preservation, protection, and custodianship of documentary heritage, intangible cultural heritage, and cultural and ceremonial sites
  • Repatriation of documentary and cultural heritage, including ceremonial objects and human remains
  • Ethics of exhibiting and digitising documentary and cultural heritage; the right to privacy
  • Teaching methods in elementary, secondary, and post-secondary education, including content development and best practices for teaching curricula about the history and legacy of residential schools, the United Nations Declaration on the Rights of Indigenous Peoples, and Treaties and Indigenous rights
  • Librarianship
  • Methods, politics, and ethics of data collection and access to data related to Indigenous Peoples
  • Research practices and methodologies
  • Knowledge systems and policy design in academic and research institutions
  • Editing and publishing
  • Media
  • Health and healthcare
  • Gender and sexuality
  • Architecture
  • Histories of suppressed or destroyed knowledge
  • Citational practices and politics

We are seeking contributions in diverse formats: short- to medium-length scholarly articles; book reviews; project reports; teaching reflections and syllabi; and creative text, image, video, and audio pieces. We invite submissions that incorporate or propose innovative citational practices. We also welcome submissions from youth contributors. Please note that proposals about any non-Indigenous-led projects that do not express clear Indigenous participation, consultation, and relationship from inception will not be considered.

Please submit abstracts of 300-500 words to kulajournal@uvic.ca by 30 November 2019. Based on these abstracts, we will then invite authors to submit full pieces for editorial consideration and, if applicable, peer review.

KULA is an open-access journal requiring no author publication charges (APCs). Authors retain full copyright to their works, which will be published under a Creative Commons license: https://kula.uvic.ca/about/submissions/

CFP: Special Library Association Contributed Papers

SLA Contributed Papers

The inspiration for a paper can come from almost anywhere. A hackfest. A Twitter chat. A conversation with a researcher or library user.

Each year, as many as 12 SLA members are invited to write and present papers at the SLA Annual Conference. The paper topics are chosen through a competitive selection process. Three or four of the papers are presented each day of the conference, thereby offering conference attendees multiple opportunities to hear directly from their peers about experiences they’ve had, research they’ve conducted, and best practices they’ve developed.

REQUIREMENTS FOR ACCEPTANCE
Paper topics should address library science, information management, or other issues related to customer service, technology, or administration in special libraries. Proposals will be judged on several criteria, including the applicability of the topic to SLA members, the clarity of scope, the potential for take-away ideas and concepts, and the quality of the writing.

Proposed papers must also meet these requirements:

  • At least one author is a member of SLA.
  • At least one author commits to presenting the paper at the annual conference.
  • The proposal is received by the deadline.
  • The paper has not been published in, or submitted to, any other publication or conference planning group.
  • The author (and any co-authors) must be willing to sign a copyright assignment form that will permit SLA to use the paper in various formats.

SUBMISSION PROCESS
Abstract submission: Paper authors must submit an abstract describing the topic of their paper. Abstracts should be 250-300 words in length, which is roughly one page in 12-point text. The abstract deadline for papers to be presented at the SLA 2020 Annual Conference is Friday, 13 December 2019. Send abstracts to Stuart Hales at SLA headquarters (shales@sla.org).
Paper selection: As many as 12 abstracts will be chosen for development into papers. All SLA members who submit abstracts will be notified of a decision no later than the end of January 2020.
Paper submission: Authors will submit their completed paper and copyright assignment form to Stuart Hales at SLA headquarters. The submission deadline is Friday, 8 May 2020.
Paper presentation: Authors will deliver a 15-minute presentation of their papers during a session at the SLA 2020 Annual Conference in Charlotte, N.C.

Authors whose proposals are selected for development into contributed papers should follow the guidelines below when writing their papers. Authors may also wish to view papers presented at previous SLA Annual Conferences to see how certain formatting challenges were addressed.

Specific questions should be referred to Stuart Hales at shales@sla.org.

STYLE
Length: Papers may be as long as necessary; however, paper presentations at the conference will be limited to 15 minutes.
Style: The Chicago Manual of Style (University of Chicago Press) should be consulted on all questions about editorial style. In particular, authors should review the chapter about using the author-date style for citations and reference lists, which explains the preferred approach to text and source citations.
Editing/Proofreading: Papers must be in final form when submitted; no editing will be permitted after papers are received. Authors are responsible for arranging for copy editing, proofreading and formatting.

TYPOGRAPHY
Papers should be set in Times New Roman type, as follows:
Title: The title of the paper should be centered at the top of the first page (no blank lines between margin and title) in bold 18-point Times New Roman, with the first letter of each significant word capitalized.
Byline: Authors’ names, titles, degrees, and affiliations should appear below the title of the paper in regular 14-point Times New Roman, centered, with the first letter of each significant word capitalized.
Headings: Chapter or major division headings should be in bold 16-point Times New Roman type, centered, with the first letter of each significant word capitalized. A-level subheadings should be in bold 14-point Times New Roman, centered, with all capital letters. B-level subheadings should be in bold 14-point Times New Roman, centered, with the first letter of each significant word capitalized. C-level subheadings should be in bold 12-point Times New Roman, flush with the left margin. The first letter of each significant word should be capitalized. D-level subheadings should be flush to the left margin in italic (not bold) 12-point Times New Roman, followed by a period. The subheading should in line with the first line of the paragraph. Only the first letter of each significant word should be capitalized.
Endnotes: The heading of the endnotes section should be titled “Endnotes” and set in bold 16-point Times New Roman type, centered.

FORMATTING
Pagination: Do not number the pages. In particular, do not use the “page break before” or “page break after” commands or the header or footer fields.
Margins: All four margins should be set to one inch.
Justification: Do not justify text. All text, except where specified otherwise (e.g., titles and bylines), should be flush left, ragged right.
Spacing: Single-space the text of your paper. Between paragraphs, include a single blank line. Use two blank lines between the end of a section and a following A-, B-, or C-level subheading; use one blank line between an A-, B-, or C-level subheading and the following text. Use only one space between sentences.
Indentation: Indent all paragraphs one-half inch (1.3 cm) using tabs, not spaces.
Authors: Each author’s name, title, degree, and affiliation should be centered below the title of the paper, with the first letter of each significant word capitalized. Insert two blank lines between the last line of the title and the first line of the lead author’s name. The author’s name and degree(s) should be on one line; the author’s title, employer and affiliation should appear below. Insert one blank line between the first author’s credentials and the second author’s name. Insert four blank lines between the last line of the last author’s name and the first line of text (or the first chapter heading).
Subheadings: Subheads should be no more than one-half line long. Do not number subheads.
Widows and Orphans: Try to avoid letting the last line of a paragraph fall by itself at the beginning of the following page (widow) or the first line of a paragraph fall by itself at the end of the preceding page (orphan). Hint: Use the settings in your word processing application to eliminate widows and orphans.
Hyphenation: Do not hyphenate words at the ends of lines. Hint:Use the settings in your word processing application to turn off automatic hyphenation.

GRAPHICS
Authors are encouraged to use charts, tables, maps, and other useful non-text elements to help amplify or clarify text in their papers. Number the illustrations, graphs, charts, and other graphics consecutively as Figure 1, Figure 2, and so on and refer to them as such in the text of the paper. If you create graphs or other illustrations in another application (such as PowerPoint), do not embed them as objects linked to the original file.
Note: If an image is under copyright, it is the author’s responsibility to obtain the proper permissions and provide proof of the permissions to SLA. Copyright and attribution information must be included in the captions for all images used by permission.

HYPERLINKS
Authors are encouraged to use hyperlinks/bookmarks for cross references within the paper or to related online information. Do not link to other documents that reside on your computer, since those documents will not be available to online readers.

Journal of Western Archives Seeks New Editor

The Journal of Western Archives is seeking a new managing editor. The managing editor is responsible for the overall quality of the intellectual content of the journal and works closely with the editorial board to ensure that the needs of the professional community (including the journal’s four regional sponsors) in the western United States are met. If you are interested in this position, please submit a CV and a letter of interest to journal director Gordon Daines at gordon_daines@byu.edu by Monday December 16th at 5:00 pm MST. The successful applicant will assume their duties on January 1st, 2020 and receive a yearly honorarium of $500.00. The initial term will be for three years with the opportunity to renew once.

Journal of Western Archives Editor
Job Description

The Editor is responsible for the overall quality of the intellectual content of the journal and for overseeing the review process to ensure it is thorough, fair, and timely. The Editor is responsible for upholding the mission and scope of the journal and for selecting papers that provide new, original, and important contributions to knowledge.

Responsibilities:

  1. The Editor oversees the mission and scope of the journal in consultation with the journal director and the editorial board.
    1. The Editor ensures that the papers published are consistent with the editorial mission.
    2. The Editor works with the journal director and the editorial board to determine if thematic issues should be published. The Editor identifies and invites potential guest editors for these issues.
    3. The Editor works with the technical editor/layout specialist to ensure that content is visually appealing and readable.
  2. The Editor is responsible for overseeing the peer review process.
    1. The Editor selects editorial board members to shepherd potential articles and case studies through the peer review process.
    2. The Editor and assigned editorial board members will use the BePress platform to conduct the editorial review process.
    3. The Editor will review the feedback from peer reviewers and the assigned editorial board member and will make the final decision regarding acceptance or rejection of articles and case studies.
    4. The Editor will ensure that the peer review process is completed in a timely way and that authors receive constructive feedback about papers submitted.
  3. The Editor is responsible for overseeing the copyediting process
    1. The Editor will work with the journal’s contract copyeditor to ensure that articles and case studies are copyedited in a timely fashion.
    2. The Editor has final authority on all copyediting decisions.
  4. The Editor will seek opportunities to promote the journal.
    1. The Editor will seek to speak at conferences and other events about the purpose and values of the journal, inviting potential contributors to consider submitting papers to the journal.
    2. The Editor will encourage editorial board members to speak at conferences and other events about the purpose and values of the journal, inviting potential contributors to consider submitting papers to the journal.

Qualifications:

Required

  • Excellent oral and written communications skills
  • Must have the technical capacity to work in a fully electronic environment
  • Experience in conducting and writing research, sufficient to enable the individual to solicit and select research that will result in a high-quality publication that addresses the diverse interest of the readership
  • Dynamic, self-motivated individual
  • Ability to delegate
  • Strong organizational skills
  • Ability to set and meet firm deadlines
  • Strong interpersonal skills and the ability to work in a team environment

Preferred

  • Experience with the peer review process as both a peer reviewer and an author
  • Membership in one of the four sponsoring regional associations (Conference of Intermountain Archivists, Society of Rocky Mountain Archivists, the Society of California Archivists, or the Northwest Archivists, Inc.
  • Familiarity with and ability to use the Chicago Manual of Style