This video is the recording of the fourth webinar RDAP “Ask me Anything” town hall series entitled “Data Management for GIS projects”, held on February 26, 2020. It was jointly sponsored by RDAP and the University Consortium for Geographic Information Science (UCGIS). UCGIS was host this webinar.
Webinar Description: With federal and other funding agencies wanting to ensure long term access to research output, data management planning for GIS projects has great importance. This webinar shares insight on lessons learned through GIS projects and highlights best practices for different steps in project exploration and creation. Also in this webinar, a geology researcher using GIS techniques and collecting geospatial data will explain how she communicated her use of best practices through a data management plan for a successfully funded NSF grant. Attendees will understand the importance of well-written data management plans, how to put those plans into action through implementing data management planning and reproducible research best practices, and how library engagement can help with data management planning.
Presenters: Amy Koshoffer, University of Cincinnati; Jennifer Latessa, University of Cincinnati; and Paula Figueiredo, North Carolina State University
Slide deck is also included.
About UC–GIS: The University Consortium for Geographic Information Science (UCGIS) is a non-profit organization that creates and supports communities of practice for GIScience research, education, and policy endeavors in higher education and with allied institutions. We are the professional hub for the academic GIS community in the United States, with partnerships extending this capacity abroad.
This webinar was presented to the RDAP community on January 29, 2020 @ 1 pm EST. The goal of the webinar was to raise awareness of the special requirements of clinical data for data management.
Managing data has a number of common principles that get applied to each subject domain. As a result, it’s easy to start consideration of data with a disciplinary subject and data structure. But in the health sciences and medicine there is a key issue that has to be asked first: Is it clinical research data? Before delving into metadata standards, FAIR principles, or sharing, a health sciences data librarian often starts with the clinical/nonclinical distinction.
But what’s so special about clinical data? What do we even mean when we talk about clinical data? This session will introduce basic concepts in clinical data management, processes that are commonly used by researchers looking to do clinical data research. We will explore how a health sciences library can provide patron support on local infrastructure for accessing and using clinical data for research. We will also provide resources for further exploration by librarians and patrons.
Attendees will come away with:
(1) a better understanding of basic terminology and data workflows in clinical research data management;
(2) a sense of typical workflows that happen with the clinical research data lifecycle;
(3) an introduction to systems in clinical data collection and analysis, particularly REDCAP; and,
(4) at least one answer to the question of “What’s different about clinical?” When it comes to data.
Date: January 29, 2020 @ 1 pm EST
Nina Exner is the research data librarian at Virginia Commonwealth University, serving both the medical and core campuses. Before joining VCU in 2017, she was a Researcher and Grant Support Services librarian, supporting all disciplines. She received her Master’s in Library Science in 1997 from North Carolina Central University and her Ph.D. in information science from UNC-Chapel Hill in 2019. ORCID 0000-0002-8746-8364
Christy E Navarro joined UC Davis in August of 2019 as Health Library Informaticist at Blaisdell Medical Library. Prior to that she designed privacy programs for large health systems in California, helped implement ecosystems of research data sharing, developed best practice guidelines in data management, and served as the resource of choice for privacy, data de-identification, and research data questions. She brings 20 years of expertise in healthcare informatics, health information exchange, process improvement, program design, population health improvement, human subject research and patient & consumer privacy. Christy has a Master of Science in Health Informatics from UC Davis Health and a Bachelor of Science in Business with an emphasis in Management Information Systems from CSU Sacramento.
Lori D Sloane has been working at the University of New Mexico Health Sciences Center since 1990. For the first 23 years, she has been the IT support for researchers on campus. Lori brought REDCap to the University of New Mexico as one of the first 13 sites to pilot this software. She transitioned into a Data Manager position for the Health Sciences Library and Informatics Center seven years ago.
This webinar was presented to the RDAP community on December 2, 2019 at 12 pm EST.
The goal of the webinar was to hear from the RDAP community about their experiences with institutional research data policies that regulate the ownership, management, and transfer of research data in an institution.
The webinar organizing committee was Sophie Hou, Amy Schuler, and Clara Liebot
invited panelists were:
Kristin Briney, Biology & Biochemistry Librarian, Caltech University,
Heather Coates, Digital Scholarship & Data Management Librarian / Co-Director, Center for Digital Scholarship, Indiana University Purdue University Indianapolis,
Abigail Goben, Information Services and Data Management Librarian Associate Professor, University of Illinois-Chicago,
Jonathan Petters, University Libraries Data Management Consultant and Curation Services Coordinator, Virginia Polytechnic Institute and State University.
Background/Use Case (provided by Clara Llebot of Oregon State University):
I work in a research intensive university as the library data management specialist. I have worked occasionally on data policies during my time here, like when we wrote the policy that regulates dataset reviews in our institutional repository. These policies were usually flexible, informative, and a helpful tool for me. Earlier this year I was asked to be part of a committee that would create an institutional research data management policy in our institution.
I was thrilled that the library was being asked to participate, and at the same time terrified that I had no idea what I was getting into. I have been generally interested in concepts around data ownership, the interactions between copyright and data, decision making regarding research data, etc., but I felt unprepared.An institutional research data policy is, from my perspective, a policy that affects a lot of people, and that has the potential of changing behaviors and research practices in a way that I am definitely not used to. We are still beginning the process of creating the policy, so right now what I have is mostly questions, not answers, about what an institutional research data policy should say.
Main Discussion Questions:
1. Motivations for the policy
Is an institutional research data policy necessary in any institution?
What are the issues/gaps that we are trying to address through this policy?
What should be the goal of an institutional research data policy?
2. Roles and responsibilities
Who should be involved in creating this kind of policy?
How should the faculty be involved in the creation of this policy?
How should a research data policy be enforced?
How should students be affected by this policy?
3. Outcomes of existing data policies
What is the type of content addressed in an institutional research data policy? Should ownership be a part of it?
Are research data policies encouraging or deterring open data?
What can we do, when writing this type of policy, to make clear that the university supports open data? Or should this be in different policies?
What are some examples of situations that are easier/better because there is a research data policy at an institution?
This presentation focuses on data driven research from both a survey and in person interviews to articulate a roadmap for digital collection managers to navigate copyright challenges stemming from the adoption of standardized rights statements and licenses. Barriers to implementation of the RightsStatements.org statements and Creative Commons licenses will be described, including methods to remove such objections to using the standardized rights statements. Additionally, the research will outline the workflows of institutions that have been successful in the application of RightsStatements.org statements, what barriers they met, and the methods that were used to overcome the challenges they faced.
""Pulse Generator Pastry" is my first collaboration with my mother, the ceramic artist Betty Woodman. Betty created the shapes which contain the patterns in the video, based on the forms she uses in her work. I used those shapes as stencils into which both the positive and negative spaces were filled with textures, created using a piece of electronic test equipment called a pulse generator. The video was show in the storefont window at Salon 94 Gallery, during Betty’s show there in spring 2016. on Somehow the rapper ASAP Ferg ended up shooting part of his video for "Let It Bang" standing in front of the work.
The Global Library Services Discussion Group welcomes all interested colleagues to join us in a discussion about serving our library users in a global setting. This will be an opportunity for audience members to discuss challenges and opportunities they are facing, and give their perspectives on what the most important developments are in this field. From online instruction and reference services strategies, to access and inclusion challenges in serving our users across many time zones, all topics are welcome for discussion. Members of the Global Library Services DG will be on hand to lend their own perspectives in this very important discussion.
This webinar aired on January 12, 2016 for members of the DataCure listserv. The webinar covered issues around sensitive data and how to establish a educational program to help researchers protect sensitive data while sharing results of their research.
The presenters were Brett Harnett, Director of the UC Center for Health Informatics ( http://www.med.uc.edu/chi) and Jonathan Petters Ph.D. Data Management Consultant at Johns Hopkins University ( http://dmp.data.jhu.edu/).
- Brett Harnett- the process of de-identifying data especially data resulting from medical records, issues around de-identifying especially unstructured data, working with an IRB and future issues concerning data containing PHI.
- Jonathan Petters - training for de-identifying human subjects data for sharing and developing a viable library service.
A video series that walks the viewer through the process of conducting legal research using paper resources.
Video 1 -- Legal Research: Intro
Video 2 -- Legal Research: Define Problem
Video 3 -- Legal Research: Find a Starting Point
Video 4 -- Legal Research: Read Starting Point
Video 5 -- Legal Research: Additional Material
Video 6 -- Legal Research: Validation
Video 7 -- Legal Research: Summary
Produced almost entirely at Experimental Television Center (ETC), the video uses a simple animation of a rotating rectangle (produced in Deluxe Paint on the Amiga Computer) as a stencil into which are keyed various versions of a processed live image of the river outside the window at ETC. This was my second attempt at a multi channel piece. The four programs have been shown in grid’s of twelve and sixteen monitors. While relatively simple in structure and shown only three times, this remains a personal favorite.
A mostly formal exercise in composition and image processing, using footage of water. Probably the first in a ongoing series of works dealing with landscape, investigating the idea of video as a contemplative viewing experience akin to painting. Filmed in California and Mexico, Developed over the course of two visits to ETC, Final editing at PPG onto 1” open reel tape.
Live Audio Visual Improvisation on 11/03/10 at Herron School of Art, Indianapolis, IN. Eddy Kwon (violin), Lief Fairfield (violin), Margaret Schedel (midi cello), Valierie Opielski (guitar), Charles Woodman (images)
Contribution to the "Exquisite Video Corpse" project. The first 8 seconds are the video I was given as a departure point, the remainder is my contribution to the chain. The final 10 seconds were given to the next contributor.
Two channels or two versions of a video made with an early non-linear editing system "The Video Cube." Purchased by Matt Dibble, to which I made a contribution and got some time on the system. The tape attempts to form a series of wipes as if constantly changing channels. All footage is appropriated from cable tv.
Filmed on VHS, mastered on Betacam SP at Public Production Group, Washington DC. Ceramic artist Betty Woodman demonstrates her technique of ceramic art, discusses her background and talks with critic, curator and painter John Perreault about her work.
This first 16mm film made after graduate school, and also my last. Coyote Tracks culminates my interest in Semiotics and the exploration of cinema as a linguistic system. Each shot represents a single “pictograph” in a sentence describing a narrative journey. Shot in New Mexico and featuring a cast of old friends.
A meditation on the pleasures of observation. Image music and text weave in a multi-layer dance. Images built around a pre-recorded soundtrack.
Text: Jack Kerouac
Music: Michael Fiday
Image: Charles Woodman
Performers: Carla Kihlsteadt, Graeme Jennings (violins)
Narration: Matthias Bassi
The image was filmed off a decorative plate with a live camera which was being processed dimming, and then coming to brightness then back again. It looks like the hue was off too, giving Jesus a green tint. Produced during a residency at the Experimental TV Center.
An early experiment with time based correction and the ability to mix two tapes together, as well as one of the few projects in which I worked with an online editor who operated the controls at my direction. This tape features two versions of the same image (shot in Santa Fe) slightly staggered in time and then wiped over each other. Edited at Eve Muir studio by Trevor Long. I was paying for the studio time to edit a project for LANL and was able to squeeze extra time in to edit two videos, this one and San Mateo Drive.
A meditation/celebration of the Spaghetti Western and the pornography of violence. An homage to Sergio Leone and Ennio Morricone. Copies of scenes from the original films, rented on VHS, were edited into a compilation reel. That material was processed at ETC, where Scott Davenport also added the text layer. Several versions of that were edited at PPG in an additive process, A+B=1 C+D=2, then 1+2= X, to create a ‘’final” hour-long version. The shorter “ sit down version was then created from that material.
Collaboration with Poet/Performer Enrique Aviles. This video has its origins as a part of the “video set” for a performance by Aviles, directed by Davis Chung. In the theatrical piece Aviles played the roles of two immigrants to the US (one Mexican and one Korean) who live on opposite sides of a rooming house in the Adams Morgan neighborhood in DC. Subsequently, Aviles and I decided to create a stand alone video using one of his poems. The original footage of the neighborhood was supplemented with images of graffiti he produced and a shot of him reciting the poem in the backyard of his house in Arlington, VA.
My first multi channel work for synchronized video streams. The piece starts in Cape Cod and moves gradually across the North American continent, ending at the Pacific Ocean. There is no attempt to cover all this of ground in any compete way - the work is an assembly of the places I traveled to and landscapes I admired during the four-year period in which I collected the material. All the scenes were shot with a single camera, then staggered in editing to create the appearance of a continuous shot. During filming I would pan, pause, and then move again, resulting in a series of staggered movements in which the different screens appear to drift in and out of synchronization. Installed at El Camino Medical Center in Mountain View, California.
Performance organized in conjunction with Passages, my one-person show at the Weston Art Gallery in Cincinnati.
Suzanna Barnes (violin)
Regan Brown (winds & autoharp)
Zach Larabee (percussion)
David McDonnell (electronics & horns)
Loraine Wible (images)
Charles Woodman (images)
Performance by Carl Stewart. Carl wears a suit made of Camel packs, all of which he smoked. Filmed in the garden at his house in Rye, NY, wearing a pumpkin head which he grew. Inspired by Marlon Brando’s portrayal of the death of Vito Corleone. Dearly loved by me, this video exists somewhere outside of my other artworks and was never publicly exhibited.
I was commissioned by Andy Marko of Semantics Gallery in Cincinnati to create a live show as the concluding event for his annual Autumedia Festival. The space at Semantics was filled with other work in the show, so he approached Third Party, another artist run space down the street, to host the performance. I sent a general call out to friends at CCM looking for improvising musicians with the idea of forming a fairly large ensemble. I had a a number of responses and the musical group was ultimately made up of Regan Brown (Bass Clarinet), Dave McDonnell (Sax and Electronics), Carrie Magin (Percussion), Steve Weimer (Keyboard), and Zach Larabee (Drums). I also invited Loraine Wible, former student and previous collaborator, with Discerning Crane, to contribute a second stream of images. When we got to the space I decided to throw Loraine's images obliquely across the long wall with mine in the center.