OCLC Systems & Services
Emerald Article: Creating a digital library of three-dimensional objects 
in CONTENTdm
Maura Valentino, Brian Shults

Article information:

To cite this document: Maura Valentino, Brian Shults, (2012),"Creating a digital library of three-dimensional objects in 
CONTENTdm", OCLC Systems & Services, Vol. 28 Iss: 4 pp. 208 - 220

Permanent link to this document: 
http://dx.doi.org/10.1108/10650751211279148

Downloaded on: 30-10-2012

References: This document contains references to 7 other documents

To copy this document: permissions@emeraldinsight.com

Access to this document was granted through an Emerald subscription provided by Emerald Author Access

For Authors: 
If you would like to write for this, or any other Emerald publication, then please use our Emerald for Authors service. 
Information about how to choose which publication to write for and submission guidelines are available for all. Please visit 
www.emeraldinsight.com/authors for more information.

About Emerald  www.emeraldinsight.com
With over forty years' experience, Emerald Group Publishing is a leading independent publisher of global research with impact in 
business, society, public policy and education. In total, Emerald publishes over 275 journals and more than 130 book series, as 
well as an extensive range of online products and services. Emerald is both COUNTER 3 and TRANSFER compliant. The organization is 
a partner of the Committee on Publication Ethics (COPE) and also works with Portico and the LOCKSS initiative for digital archive 
preservation.

*Related content and download information correct at time of download.



Creating a digital library of
three-dimensional objects in

CONTENTdm
Maura Valentino

Center for Digital Scholarship and Services, Oregon State University,
Corvallis, Oregon, USA

Brian Shults
Digitizing and Copying Center, University of Oklahoma,

Norman, Oklahoma, USA

Abstract

Purpose – This paper aims to describe a project conducted by the University of Oklahoma Libraries
to create a digital collection consisting of three-dimensional scientific objects.

Design/methodology/approach – The University of Oklahoma Libraries developed the following
methodology for creating a digital collection of three-dimensional objects. Digital still photographs of
six sides of each object where created. These photographs were then used to create videos that
emphasized the most interesting feature on each side of the object. These videos were then imported
into CONTENTdm using the picture cube feature to create the digital representation of the
three-dimensional object.

Findings – This method was found to be a good method for representing three-dimensional objects
in a two-dimensional format for inclusion in a digital collection. However, some limitations were
encountered. For example, only one interesting feature could be emphasized on each side of the object
and the software used to create the digital videos, while easy to use, offered only limited features for
enhancing the resulting videos.

Practical implications – This paper demonstrates a cost effective and resource efficient method of
implementing a digital collection of three-dimensional objects that could be further improved through
the use of more advanced video creation software.

Originality/value – This paper offers insight into a new way of representing three-dimensional
objects in a digital library. This information will be useful to digital librarians faced with resource and
cost constraints who have collections of three-dimensional physical objects that would be of interest to
their user community.

Keywords Digital collections, Three dimensional objects, CONTENTdm, Art collections,
Digital libraries, Digital images

Paper type Case study

Introduction
The University of Oklahoma Libraries History of Science Collections houses a
collection of unusual scientific instruments and historical artifacts. This collection is
stored in various physical locations and most library users are unaware of its
existence. Therefore this collection presented an ideal candidate for digitization.
Digitization would enable users to locate and preview the collection online. Once the

The current issue and full text archive of this journal is available at

www.emeraldinsight.com/1065-075X.htm

Images are courtesy of the History of Science Collections, University of Oklahoma Libraries.

OCLC
28,4

208

Received July 2012
Revised July 2012
Accepted July 2012

OCLC Systems & Services:
International digital library
perspectives
Vol. 28 No. 4, 2012
pp. 208-220
q Emerald Group Publishing Limited
1065-075X
DOI 10.1108/10650751211279148



user had perused the objects in the collection online, they could then visit the objects in
person if required. The digital collection would also enable users to obtain pictures of
the objects for their own use.

However, this project presented several unique challenges related to the
three-dimensional nature of the objects comprising the collection to be digitized. A
traditional digital library inherently consists of two-dimensional objects. For example,
many digital collections consist of digital photographs or digital representations of
two-dimensional documents. Technologies and file formats for creating and storing
two-dimensional objects, such as Joint Photographic Experts Group ( JPEG) or Portable
Document Format (PDF), are widely available, fairly easy to master and reasonably
inexpensive. In contrast, while software exists that is able to render accurate digital
representations of three-dimensional objects such software is costly and requires
specific technical expertise not often found in library organizations. At the present time
there is a lack of easy to use, cost effective technologies for creating digital
representations of three-dimensional objects. This project was designed to attempt to
find solutions to these problems. And while HTML5 offers rendering of simple,
symmetrical three-dimensional objects with minimal coding, it is not yet the solution
for more complex objects such as are contained in this collection.

Literature review
Librarians and museum curators have been considering the utility and form of
three-dimensional digital collections for some time and yet a review of the existing
academic literature reveals less than might be expected. The majority of scholarship on
the topic can be divided into three occasionally overlapping categories:

(1) pedagogical – how archived and accessible three-dimensional objects will
improve teaching and education;

(2) research – the ways three-dimensional objects will improve research about the
physical objects and the fields of study the objects belong to; and

(3) how to – similar to this article, this category focuses on how and with what
software the digital collection of three-dimensional objects was assembled.

The pedagogical utility of a two-dimensional digital object is sufficient provided the
object itself, for example a book page or a photograph, is itself two-dimensional. The
additional pedagogical utility of three-dimensional digital object depends on the nature
of the object or artifact being digitally captured. If the object has three dimensions, then
its digital presentation as a three-dimensional object offers more information for the
user. Rowe and Razdan (2003, p. 3) created a prototype digital library for
three-dimensional collections, summarizing the state of digital libraries, thusly, “Today
digital museum collections and digital libraries include text, graphics, images, and
increasingly, video, sound, animation, and sophisticated visual displays. Some now
display three-dimensional objects and permit the user to rotate and view an image of
the original object in their browser window using QuickTime, plug-ins, or custom
applications. Examples range from presentation of objects for research or public access
to time-lapse movies of exhibit construction and panoramas of exhibitions.”
Surprisingly, nearly a decade later this is still largely the technological milieu of
three-dimensional digital libraries, though with the advent of HTML5 and web

Creating a
digital library

209



browsers featuring improved support of 3D rendering technological advances are
likely to usher in a wave of efficient and affordable capabilities to our digital shores.

Borgman et al. (2000, p. 228) studied the pedagogical utility of digital libraries and
their role in developing students’ scientific thinking stating, “Digital libraries offer a
wealth of opportunities to improve access to information resources in support of both
‘traditional’ on-campus instruction and distance-independent learning.” Therefore it is
important that librarians become adept at representing three-dimensional objects
digitally in order to best serve user communities. Borgman et al. (2000, p. 232) notes,
“By understanding how students will use a digital library in the context of scientific
thinking, it is possible to construct the digital library in a way that will support the
underlying processes. In short, digital libraries are more than storehouses of
information; they should be aids to the question-asking, information-gathering,
information-organizing, information-analyzing, and question-answering processes of
users.” The more information provided by a digital object the greater the utility of that
object for the digital library patron.

Not to be overlooked is the novelty of three-dimensional digital objects. The
researchers Liesaputra and Witten (2009, pp. 116-117) found that adding a feature as
simple as three-dimensional page turning increased user retention of information. The
researchers discovered users were more engaged and “answered questions faster using
the page-turning model than the other two formats.[. . .] The difference between the
page-turning model and its closest competitor [were] statistically significant[.]”
Qualitatively, the subjects studied commented that they preferred the page-turning
model, particularly for longer digital books, “because the pagination breaks up the flow
of information and helps them remember where things are in terms of their physical
position on the page, allowing them to concentrate on searching rather than navigation.
All subjects judged the page-turning book to be the format that is most engaging,
natural and intuitive.” In this case, mere novelty increased the pedagogical value of the
digital object.

The increasing sophistication and affordability of the necessary technology to
support digital libraries will soon present libraries and archives with a wealth of
opportunity to make resources available online. As Eden (2007, p. 247) argued, “The
appearance of the Internet in human culture [. . .] has produced the capacity to
graphically and visually represent ideas, problems, challenges, solutions, and results,
not as one-dimensional paradigms or presentations as in previous centuries, but in two
or more dimensions, allowing the human mind to radically and instantly perceive new
ways of solving and representing information.” Three-dimensional objects contain the
capacity to reshape research, in addition to providing new avenues for research
partnerships across locales. It is imperative that information professionals, such as
librarians, begin to shape the methods in which these three-dimensional objects are
archived, accessed, and made discoverable for present and future generations. As Eden
(2007, p. 247) emphasizes, “[T]he next generation has been preparing itself for a future
in which virtual collaboration with others globally will be the norm instead of the
exception, and the fields of secondary and higher education are well behind the curve
in addressing the learning needs of the future.” Not only do digital objects,
three-dimensional or otherwise, serve as a pedagogical tool with which to increase
instruction but also as a practical mode of collaboration.

Moreover, the three-dimensional physical objects that libraries, special collections,
and museums choose to digitize are often rare, antique, or fragile. Enabling access to

OCLC
28,4

210



digital representations of these types of objects helps to reduce the hazards presented
by repeated physical access of the objects by numerous individuals. Seulin et al. (2004,
p. 120) generated three-dimensional digital objects of ancient wooden stamps that were
engraved to illustrate manuscripts. The digital objects permitted the user “interactive,
realistic and non-photorealistic visualization of engraved stamps via local or remote
access [. . .]” thus preventing wear and tear on the original physical object. Not only
was damage averted but researchers from distant locations were able to inspect the
stamps in detail, with some researchers using the depictions and metadata obtained
from the digital library to create facsimiles for their own study.

Similarly, in 2004, IBM partnered with the Egyptian government to render
three-dimensional digital animations of ancient Egyptian artifacts such as the throne of
King Tutankhamen. The project, titled Eternal Egypt, “produced multimedia
animations, 360-degree image sequences, panoramas of important locations, virtual
environments, three-dimensional scans, real-time photos from web cameras and
thousands of high-resolution images of ancient artifacts that weave together seven
millennia of Egyptian culture and civilization” (www.eternalegypt.org). Again, this
illustrates the growing and diverse ways in which three-dimensional digital objects
may aid scholars in their endeavors.

For librarians tasked with implementing a digital library containing
three-dimensional objects, explicit explanations of protocols, processes, and
procedures that have been used successfully to create such collections is vital to an
effective implementation and an efficient use of resources. The previously mentioned
articles by Rowe and Razdan, Liesaputra and Witten, and Seulin et al. also describe the
specific methods they developed to create their digital collections. Their techniques
varied widely and were contingent upon their specific resources and desired outcomes.
As Politus et al. (2005, p. 1) note there are two necessary elements of any
three-dimensional digital object collection: “a database where all information about the
exhibits, models, etc. is kept and a renderer which is responsible for graphically
representing all this information on the computers screen.” Librarians are familiar with
the need to couple data and metadata, be it a book and catalog card or a digital object
and its related digital metadata. Librarians must ensure the data and metadata
continues to be functional as the tides of technology transform and new methods of
retrieval and presentation become available. Doyle et al. (2009, p. 46) studied the issue
of digital preservation of three-dimensional data stating, “Two of our primary
preservation requirements were to ensure that the preserved object remains authentic
and usable through time for our future users, allowing them to access, view and
interact with the object in the same way as users in the past could.” They accomplished
this by taking care to preserve the software used as well as the digital object itself, and
by applying a metadata framework that was thorough and interpretable to the user.

Existing collections
In additional to the academic literature on the topic, existing digital libraries can be
studied to determine how institutions have represented three-dimensional objects. The
following projects provide a representative sample of such collections.

. The Digital Library of South Dakota maintains a collection entitled “The Altered
Books Collection”. This collection is comprised of books. However, these are not
typical books. Rather they are works of art made from books. This digital library

Creating a
digital library

211



presents one picture of each object, arranged in the best view for each
three-dimensional object.

. Claremont College houses a collection of ceramic objects; again with one picture
each, with each object adjusted for optimal view. These objects could benefit
from more than one photo each.

. University at Buffalo’s Edgar R. McGuire Historical Medical Instrument
Collection has from one to several photographs of each object. Simpler objects
have one. They do the same for their Universal Design Product Collection. A
model of the human brain, for example, has four.

. Virginia Commonwealth University’s Medical Artifact Collection provides one
picture for each three dimensional object. Some are very complex and could use
more views.

. Texas Woman’s University Libraries University Archives contains some
three-dimensional objects but provides only one picture for each.

. The Oregon Health & Science University Digital Resources Library Historical
Collections and Archives holds some three dimensional objects, but offers only
one picture in most cases and occasionally two.

. The MOMA in New York City has some sculpture and other three-dimensional
objects in its online collections but only has one picture of each.

. The Metropolitan Museum of Art also offers only one picture of
three-dimensional works of art.

. The Perseus project, from Tufts University, offers anywhere from one to
thirty-one pictures of sculptures to focus in on various details. This is the
collection that shows the most views and takes into account that a
three-dimensional object must be shown from several angles for the user to
understand the object completely.

. The Digital Library of Appalachia has a picture of each three-dimensional art
object and also has videos of the object spinning. The videos cannot be paused or
slowed down. On a fast computer they spin very fast. While this digital library is
recognizing that three-dimensional objects need to be viewed from every angle, it
is not user friendly as the object is spinning so fast.

. The University of Oklahoma Health Sciences Library is also working on a
collection of scientific instruments. They are using three-dimensional
photography using a two-lens system that attaches to a one-lens camera. This
system takes two simultaneous pictures that can be displayed side by side. When
one looks at these pictures through three-dimensional glasses a
three-dimensional image appears. However, this system has limitations in
terms of display, as the user needs three-dimensional glasses.

The project
Software exists to enable a detailed rendering of a three-dimensional model of a
physical object that can be manipulated in three-dimensions on a computer screen.
This software is typically used for scientific, architectural or medical projects where
each detail and measurement must be precise and where the object must be able to be
viewed in detail from any angle. While this type of software was considered for use in

OCLC
28,4

212



developing the scientific instrument digital collection it was rejected for three reasons.
First, such software is prohibitively expensive. Second, such software is difficult to use
and would require significant and time consuming training before it could be
effectively used by library staff or the retention of an expensive consultant with the
required knowledge and skills. Third, extreme detail and accuracy in
three-dimensional digital representation and manipulation were not required for this
project.

Nevertheless, the project did require realistic digital photographs and videos that
even the most sophisticated, expensive, and labor-intensive photorealistic graphical
rendering – be it two-dimensional vector graphics simulating three-dimensions or
JavaScript animations and data visualization tools – would fall short of the demands
of the project. While HTML5 seems perched to permit better rendering of simple and
sophisticated three-dimensional digital objects, the constant considerations of time and
cost can quickly become prohibitive. Unlike the data that populates the graphs and
computer models of an engineer, the data contained within this collection consists of
the components and composition of the physical object itself. Data such as the
authentication page of the an early twentieth century milliammeter that notes where
the object was manufactured and, if fortune were to favor, where and to whom it was
sent or the method by which one component connects glass or steel thereby revealing
the tools used in the construction of the instrument, those characteristics are types of
data contained within the collection of scientific instruments. As such unaltered digital
imagery is essential. The improvements in the multimedia functionality in
CONTENTdm version 6 and soon to be available in HTML5 made examination and
analysis of the collection timely and worthwhile.

The Scientific Instruments and Historical Artifacts digital collection presently
features historical scientific instruments from the nineteenth and twentieth centuries,
as well as a cuneiform tablet from the thirteenth century. These particular instruments
were selected for the initial trial phase of the collection for their physical accessibility,
scope, and novelty. The collection currently contains a McGraw-Edison Edisette
Cassette Tape Recorder with a microphone for audio note taking, a Thomas Scientific
gas sampling bottle used in gas chromatography to separate chemical mixtures, a
Hoppler Viscosimeter to measure the viscosity of fluids (Plate 1), a Bausch & Lomb
abbe type refractometer used to measure the refractive index, or the passing of light,
through an item (Plate 2), a late nineteenth century Bausch & Lomb optical microscope,
a slide box for glass microscope slides, and early twentieth century Weston Electrical
milliammeter and voltmeter. Additionally included are stills of an ancient
Mesopotamian cuneiform tablet from a ziggurat located in southwestern Iran in the
Khuzestan province (Plate 3). Each of these items required functional and realistic
digital photographs and videos in order to capture the important facets of the
instruments.

As the use of advanced rendering software was rejected other approaches were
designed and tested to determine how best to meet the needs of the project. Initially,
experiments were conducted using a digital video camera to record the object. At first
the camera was moved around the object in an attempt to film all sides of the object.
However, the resulting video suffered from excessive camera vibration and it was
difficult to maintain a consistent distance from the object for the entire length of the
video. To attempt to address these issues the object was placed on a rotating platform
and the camera was mounted in a stationary position. This solution addressed the

Creating a
digital library

213



problems of camera shake and uneven distance, but such a methodology only captured
four sides of the object and did not allow for the filming of the top or bottom of the
object. There was also the fact that a video of a spinning object is not good for
researchers wanting to focus on a certain feature of the object.

As a result of these unsuccessful video tests the use of multiple still photographs to
represent the object was considered. Photographs were taken of each object from six
viewpoints – all four sides and the top and bottom of each object. While these
photographs provided a good overall representation of the object from a fixed distance,
many of the objects contained interesting details that were not visible due to the scale
of photograph. Consideration was given to providing close up photographs of these
areas, however, as such photographs would not be directly associated with their
location on the larger object, and as many of the objects contained multiple detailed
areas of interest, this idea was rejected as potentially confusing to the viewer.

Based on these experiments a final methodology was developed. It was determined
that the best solution would be to take still photographs of the object and then create
videos based on these photographs (Plate 4). These videos would zoom in on the

Plate 1.

OCLC
28,4

214



Plate 2.

Plate 3.

Creating a
digital library

215



important areas of interest on the object to enable the user to view those areas close up
and in detail (Plates 5 and 6). In addition, it was decided that a single still photographic
image that best represented the entire object would also be included for the use of
patrons who wanted a single image that represented the object for use in presentations,
scholarly papers and for whatever purpose they desired.

The specific methodology used was as follows. Photographs were taken of each
object from six viewpoints – all four sides and the top and bottom of each object.
Adobe Photoshop was used to crop each photograph. Each picture was cropped twice.

Plate 4.

Plate 5.

OCLC
28,4

216



In the first instance, the photographs were cropped in such a way that the image best
filled the frame. In the second instance, the pictures were cropped to the dimensions
needed for use in iMovie. This photograph was then imported into iMovie. The slow
zoom technique known as the Ken Burns Effect was utilized to focus on the most
interesting detail presented by that view of the object.

The University of Oklahoma Libraries uses CONTENTdm to host its digital
collections. CONTENTdm includes a picture cube feature, which allows six views of a
single digital object. This cube may contain still photographs or digital videos. For
each object two picture cubes were created. One contained the six still photos of the
object and the other contained the six videos of the object’s detail sections. The use of
two cubes allowed the user to access the still photograph or the video representation of
the objects as required.

A final challenging aspect of the project relates to the development of effective and
accurate metadata for the objects. While some of the objects and their uses were easily
identified by History of Science faculty or by associated documentation others were of
unknown origin and function. For the unknown objects various methods were used to
obtain the data needed. For example, in one case a professor in the chemistry
department used a chemistry listserv to contact experts in the subject worldwide.

Plate 6.

Creating a
digital library

217



Working together they determined that the object was a gas sampling bottle (Plate 7).
In other cases manufacturer information could be obtained from markings on the
instrument. In such cases the manufacturers’ websites and representatives were
consulted and the required information was obtained.

Results
This process resulted in a usable collection of three-dimensional objects. The user can
see all six sides of each object in full view by using the picture cube containing the still
images. The user can download any still picture desired for use in their projects. The
user can also see interesting features on each side of the object in detail by accessing
the picture cube, which contains the videos. By referencing the associated metadata the
user could also find a similar item for sale and add it to his collection.

Lessons learned
There were many lessons learned during the implementation of this project. One of the
primary lessons was that although the digitization methodology was developed in
advance numerous unforeseen and time consuming issues remained to be solved

Plate 7.

OCLC
28,4

218



throughout the actual process of digital photographic capture. For example, the initial
round of photographs was rejected due to problems with the appearance of the
background placed behind the objects during the photographic process. Black velvet
was initially used but it was impossible to keep this material from wrinkling, creating a
background that distracted from the object itself. An iron could not be used on scene to
remove the wrinkles as there are sensitive heat sensors in the History of Science
Collections area and use of an iron would have risked setting off the chemical fire
prevention system. For the next attempt to film the objects a large roll of green paper
was used. This paper could not be folded without wrinkling so it was draped over a
support structure and this provided a good non-wrinkled background. However, when
the resulting photographs were examined the paper had shifted in many photographs
causing parts of the object to be obscured. Based on these experiences it was decided to
purchase a professional photographic background for use on the project. A MyStudio
Seamless Tabletop Background Sweep Cyclorama was obtained and used successfully.
The time saved by not having to reshoot numerous photographs justified this
purchase.

Another lesson learned related to the use of iMovie to create the required videos.
While iMovie is an easy to use product, it sacrifices features for ease of use. The
limitations of the pan and zoom effect were of particular interest on this project. To
enable easy use of this feature, known as the Ken Burns Effect, iMovie only allows the
user basic control over how the pan and zoom will occur. The user simply sets a
starting rectangle and an ending rectangle and then iMovie creates the pan and zoom
effect. However, the user cannot control the size or shape of the rectangles or the speed
and precise direction of the transition. However, this limitation is also why iMovie is so
easy to use. More advanced and expensive software, such as Adobe Premiere, offers
control over the entire video editing process and numerous advanced video editing
features. However, it has a steep learning curve that must be considered relative to
available staff time and expertise. If the video was to be created for more advanced
research or if greater video editing control was needed for a particular project such
software should be considered.

Another learning opportunity presented itself when CONTENTdm version 5
displayed administrative metadata in the title bar of the video window. CONTENTdm
created its own naming system and presented that information in the title bar of each
video as it played. Administrative metadata cannot be changed or deleted in
CONTENTdm and this could be confusing for users. Therefore, a request for the
ability to edit this metadata was submitted to the producers of CONTENTdm and such
a revision is in process. CONTENTdm version 6 incorporates a more coherent and
user-friendly metadata display, dispensing with the issue.

A final lesson learned was that the creation of three-dimensional digital collections
is the process that is still in its infancy. Librarians interested in these types of
collections will benefit by sharing their experiences with others and by learning from
the experiences of other librarians. Advanced imaging software is in constant
development and the technologies used to create three-dimensional digital
representations of physical objects will continue to advance and improve. Digital
librarians need to remain in the forefront of these developments so that they may
provide the most effective digital resources for their user community.

Creating a
digital library

219



Future projects
Based on the lessons learned and the success of this project future projects using this
same technology have been added to the digital initiatives queue. The knowledge
attained through the trials, errors, and successes of the initial creation of the Scientific
Instruments and Historical Artifacts collection will serve as a blueprint to begin
incorporating additional instruments, artifacts, and artwork with the primary purpose
being the facilitation of further research.

References

Borgman, C.L., Gilliland-Swetland, A.J., Leazer, G.L., Mayer, R., Gwynn, D., Gazan, R. and
Mautone, P. (2000), “Evaluating digital libraries for teaching and learning in
undergraduate education: a case study of the Alexandria Digital Earth Prototype
(ADEPT)”, Library Trends, Vol. 49 Nos 2, Special Issue, pp. 228-50.

Doyle, J., Viktor, H.L. and Paquet, E. (2009), “Long term digital preservation – preserving
authenticity and usability of 3D data”, International Journal on Digital Libraries, Vol. 10,
pp. 33-48.

Eden, B. (2007), “2D and 3D information visualization: the next big Internet revolution”, College
& Research Libraries News, Vol. 68 No. 4, pp. 247-51.

Liesaputra, V. and Witten, I.H. (2007), “Computer graphics techniques for modeling page
turning”, working paper, Department of Computer Science, The University of Waikato,
Hamilton, October.

Politis, D., Vaiou, G., Ioannis, M., Athanasios, P. and Charalampos, L. (2005), “Dynamically
creating virtual museums”, ICS’05@ Proceedings of the 9th WSEAS International
Conference on Systems, Article No. 66, World Scientific and Engineering Academy and
Society (WSEAS), Stevens Point, WI.

Rowe, J. and Razdan, A. (2003), “A prototype digital library for 3D collections: tools to capture,
model, analyze, and query complex 3D data”, paper presented at Museums and the Web
2003.

Seulin, R., Nicolier, F.D., Fofi, D., Millon, G. and Stolz, C. (2004), “3D imaging applications for
ancient wooden stamps analysis”, available at: http://le2i.cnrs.fr/IMG/publications/seulin_
OSAV04.pdf

About the authors
Maura Valentino began her career as a Microsoft Certified Trainer, teaching programming and
database administration. She then returned to school and received a BA in Art History from the
University of South Florida and an MSLIS from Syracuse University. Beginning in 2009, she
served as the Coordinator of Digital Initiatives at the University of Oklahoma and currently is the
Metadata Librarian at Oregon State University. Her research interests focus on the re-use of data
and the many ways users find to do that. Maura Valentino is the corresponding author and can
be contacted at: maura.valentino@oregonstate.edu

Brian Shults is currently serving as the Interim Coordinator of Digital Initiatives in Bizzell
Library at the University of Oklahoma Libraries. He has worked at the University of Oklahoma
Libraries for over five years in various capacities and in digital initiatives for four years. His
research focuses on digital libraries.

OCLC
28,4

220

To purchase reprints of this article please e-mail: reprints@emeraldinsight.com
Or visit our web site for further details: www.emeraldinsight.com/reprints