Chartier, Madison

Macken, Megan

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Representation and data collection:The ethics of using Linked Open Data for Oklahoma Native artistsMegan Macken & Madison Chartier,Oklahoma State University LibraryMetadata Interest Group SessionALA Core Virtual Interest Group WeekJuly 28, 2021Land AcknowledgmentWe'd like to recognize the original inhabitants of present-day Stillwater, Oklahoma. They were speakers of the Caddoan, Kiowa-Tanoan, and Siouan language families. The US government policy of forcible removal--plus broken treaties through which the US government acquired original tribal homelands--resulted in tribal nations from across North America being located in present-day Oklahoma. As a land-grant institution, Oklahoma State serves the descendants of these original inhabitants, as well as citizens of the 39 tribal governments with whom we share Oklahoma.We encourage you to learn more about both the sovereign tribal nations and the history of the land where you are located.For more information, visit Native-Land.ca.Context• 12th highest enrollment (894) of Native American undergrads on campus• Degree completion programs with Oklahoma Native Serving Institutions• The Cherokee Nation and OSU Medicine established the nation’s first tribally affiliated medical school in Tahlequah, OklahomaView American Indian Studies at OSUUnsuccessful petition to rename Stillwater restaurantview petitionRead the interview at Tulsa WorldOklahoma Native Artists (ONA) ProjectDeveloped by the Oklahoma Oral History Research Program at OSU• 140 interviews with Native American artists, art gallery owners, festival organizers, & collectors• View the CollectionDocuments:• Complex history of Oklahoma• Passage of the 1990 Indian Arts and Crafts Act• State legislation regulating who may market their work as a Native American artistONA LOD Project PartnersJulie Pearson-Little ThunderLead Researcher, Oklahoma Native Artists ProjectSarah MilliganHead, Oklahoma Oral History Research ProgramMetadataExisting MetadataWikidata Properties for ArtistsDates• date of birth• date of death• work period• work period (start)• work period (end)• floruit (flourished)Geography• place of birth• place of death• country of citizenship• work locationExternal IDs• LCNAF• VIAF• ULAN• etc, etcCareer• Occupation• Genre• Field of work• Movement• Part ofPersonal Identity• sex or gender• ethnic group: VERY high standard of proof is needed for this field to be used. In general this means 1) the subject claims it themself, or 2) it is widely agreed on by scholars, or 3) is fictional and portrayed as such)• sexual orientationInstitutional Affiliations• has works in the collection• educated at• employer• artist files at• archives at• oral history atRelationships• Student of• Partner in business or sport• Spouse• Unmarried partner• Mother• Father• Sibling• Child• Relative• FamilyCompiled by Karly Wildenhaus, Will Kent. ARLIS-NA Wikidata Workshop 2021Data QuestionsOccupation:• General (artist) or specific (fashion designer, potter, painter, or beadworker)?• Artists may work in more than one mediumWhat values do we choose & why?Data QuestionsReferences:• Many links to subscription databases that are not publicly available or verifiable. Are citations without links effective enough?Data QuestionsTribal affiliation:• Can the Nation’s name be represented in the native language or only in English?• Citizenry and/or ethnicity• Official and cultural affiliations• Out of date vocabulariesIs data discovery respectful?Data QuestionsGender• Many options in Homosaurus• Five options in Wikidata:• Male, female, non-binary, intersex, transgender female, transgender male, agender• Empty properties in Wikidatamay be autopopulated or manually populatedHow is data transformed once public?Why This Project?“Ethical design and engineering isn’t just about identifying risks and avoiding disaster; it’s about a positive outcome: human flourishing, including that of future generations, and the promotion of healthy and sustainable life on this planet. Too often, other goals obscure this focus. To counter this, it helps to implement a workflow tool that makes the ethical benefits of our work explicit, and reinforces the sincere motivation to create them.”An Ethical Toolkit for Engineering/Design PracticeTool 6 in Vallor, Shannon, Brian Green, and Irina Raicu (2018). Ethics in Technology Practice. The Markkula Center for Applied Ethics at Santa Clara University. https://www.scu.edu/ethics-in-technology-practice/ethical-toolkit/“Ethical design and engineering isn’t just about identifying risks and avoiding disaster; it’s about a positive outcome: human flourishing, including that of future generations, and the promotion of healthy and sustainable life on this planet. Too often, other goals obscure this focus. To counter this, it helps to implement a workflow tool that makes the ethical benefits of our work explicit, and reinforces the sincere motivation to create them.”An Ethical Toolkit for Engineering/Design PracticeTool 6 in Vallor, Shannon, Brian Green, and Irina Raicu (2018). Ethics in Technology Practice. The Markkula Center for Applied Ethics at Santa Clara University. https://www.scu.edu/ethics-in-technology-practice/ethical-toolkit/Linked Data!1. Why are we doing this?  For what good ends?2. Will society/the world/our customers really be better off with this tech than without it? Or are we trying to generate inauthentic needs or manufactured desires, simply to justify a new thing to sell?3. Has the ethical benefit of this technology remained at the center of our work and thinking?4. What are we willing to sacrifice to do this right?Remembering the Ethical Benefits of Creative WorkTool 6 in Vallor, Shannon, Brian Green, and Irina Raicu (2018). Ethics in Technology Practice. The Markkula Center for Applied Ethics at Santa Clara University. https://www.scu.edu/ethics-in-technology-practice/ethical-toolkit/1. Why are we doing this?  For what good ends?2. Will society/the world/our customers really be better off with this tech than without it? Or are we trying to generate inauthentic needs or manufactured desires, simply to justify a new thing to sell?3. Has the ethical benefit of this technology remained at the center of our work and thinking?4. What are we willing to sacrifice to do this right?Remembering the Ethical Benefits of Creative WorkTool 6 in Vallor, Shannon, Brian Green, and Irina Raicu (2018). Ethics in Technology Practice. The Markkula Center for Applied Ethics at Santa Clara University. https://www.scu.edu/ethics-in-technology-practice/ethical-toolkit/1. Why are we doing this?  For what good ends?2. Will society/the world/our customers really be better off with this tech than without it? Or are we trying to generate inauthentic needs or manufactured desires, simply to justify a new thing to sell?3. Has the ethical benefit of this technology remained at the center of our work and thinking?4. What are we willing to sacrifice to do this right?Remembering the Ethical Benefits of Creative WorkTool 6 in Vallor, Shannon, Brian Green, and Irina Raicu (2018). Ethics in Technology Practice. The Markkula Center for Applied Ethics at Santa Clara University. https://www.scu.edu/ethics-in-technology-practice/ethical-toolkit/1. Why are we doing this?  For what good ends?2. Will society/the world/our customers really be better off with this tech than without it? Or are we trying to generate inauthentic needs or manufactured desires, simply to justify a new thing to sell?3. Has the ethical benefit of this technology remained at the center of our work and thinking?4. What are we willing to sacrifice to do this right?Remembering the Ethical Benefits of Creative WorkTool 6 in Vallor, Shannon, Brian Green, and Irina Raicu (2018). Ethics in Technology Practice. The Markkula Center for Applied Ethics at Santa Clara University. https://www.scu.edu/ethics-in-technology-practice/ethical-toolkit/1. Why are we doing this?  For what good ends?2. Will society/the world/our customers really be better off with this tech than without it? Or are we trying to generate inauthentic needs or manufactured desires, simply to justify a new thing to sell?3. Has the ethical benefit of this technology remained at the center of our work and thinking?4. What are we willing to sacrifice to do this right?Remembering the Ethical Benefits of Creative WorkTool 6 in Vallor, Shannon, Brian Green, and Irina Raicu (2018). Ethics in Technology Practice. The Markkula Center for Applied Ethics at Santa Clara University. https://www.scu.edu/ethics-in-technology-practice/ethical-toolkit/• Less important: the quantity and speed of linked data production• More important: to understand artists’ positioning and nuanced self-representation both within their own communities and toward the public• Our best intentions, even with a lot of research, are not enough. Dialogue with the artists is essential. Take AwaysNext StepsContacting ArtistsAs we contact Native American artists, for practical purposes, we’ll approach the data creation/permission process in this order:1. Artists already in Wikidata2. Artists with ULAN/VIAF IDs3. Artists with artwork in permanent collections4. Artists with Wikipedia articles5. Artists with websites on the ONA site6. Artists without Wikipedia articles or websitesGroup by feasibility & existing web presenceRefining, augmenting data1. Wikidata entries for exhibitions and art works2. Reconciling source and reference data3. Data verification and cleanup4. Site links to Wikipedia, Wikimedia, and Wikibooks5. Suggesting edits to authority resourcesUseful LinksOklahoma Native Artists Project• Listen to the Oral HistoriesOSU Libraries Oral History Podcast• Amplified Oklahoma: Norma Howard on Native ArtOnline Resources• Impact of Words and Tips for Using Appropriate Terminology: Am I Using the Right Word (NMAI)• Reporting & Indigenous Terminology (NAJA)• Terms & Issues in Native American Art (Khan Academy)• Essential Understandings (NMAI)• Diversity Style Guide: Native American (Cal State)• CARE Principles for Indigenous Data Governance• Local Contexts• LD4 Ethics in Linked Data Affinity GroupVideo Lectures• Sovereignty Speaks (Center for Sovereign Nations)• 4: Art | DG Smalling• Kim TallBear: Standing With and Speaking as Faith (IRDL Scholars' Speaker Series) and related resourcesBooks• ONA Bibliography• Hearts of Our People: Native Women Artists• Elements of Indigenous Style (Gregory Younging)• So you want to write about American Indians? (Devon Abbott Mihesuah)O | 405.744.9536E | madison.chartier@okstate.edu215A Edmon Low Libraryhttps://info.library.okstate.edu/c.php?g=916329Megan MackenDigital Scholarship Librarian,Research & Learning ServicesO | 405.744.9773E | megan.macken@okstate.edu306 Edmon Low Libraryhttps://info.library.okstate.edu/megan-mackenMadison ChartierMetadata Librarian,Digital Resources & Discovery ServicesThank you!

Representation and data collection: The ethics of using Linked Open Data for Oklahoma Native artists

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Representation and data collection: The ethics of using Linked Open Data for Oklahoma Native artists

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