On August 19, 1977, the Bronx Zoo’s Wild Asia exhibit opened to the public. A New York Times review on that date declared that
Wild Asia conveys a feeling of remoteness wrapped in a pervasive and palpable stillness, which is broken only by the occasional snort or shrill of one of its 200 animals and birds of Asian provenance, the delighted gasp of visitors seated in the monorail train that makes a circuit of the region or the muted roar of traffic on the nearby Bronx River Parkway.
For starters, we have been working on capturing the 46 miniDV tapes that were part of the Legacy Digital project’s media selection. You might remember miniDV as the small cassette tape widely used in the late 1990’s and early 2000’s. Depending on your age, you may have shot your first amateur horror film or skate video on one of these. DV (for Digital Video) is an international standard for consumer digital video created by a consortium of 10 companies, which included Sony, Hitachi, and, Panasonic, amongst others electronics giants. The DV standard uses digital technology to record picture and sound on a high density, metal evaporate tape that is enclosed in a plastic (mini!) cassette. Because miniDV is a tape-based format, it is subject to a similar sort of degradation commonly found on analog videotape, including binder deterioration and mold. In addition, since the tape width is so slim, it is particularly prone to drop-outs, head clog banding, and data loss. To make matters trickier, you’ll need a format-specific camcorder or video tape player/recorder to reformat these tapes.
The advantage of working with highly customizable, open-source tools is the ability to tailor your workflow to the specific needs of your institution or collection. The disadvantage is that you have to customize your workflow, and by that you may find yourself testing configurations in seemingly endless fashion. With so many manually entered steps along the way, a single mismatched configuration can throw pieces of your processing workflow into a tailspin and leave you, hoping, in bouts of desperation, for a one-size-fits-all magical turnkey solution to all digital archival objects for their forever-and-ever-nothing-will-ever-be-lost deep storage.
An interesting feature of the records of former New York Zoological Society (NYZS) President Fairfield Osborn Jr. is his creative output: the numerous speeches, articles, books, and other such works he produced during his tenure as President at the Society, from 1940 to the late 1960s.
Ugo Mochi is not a household name. But his artwork is known and admired by many. Mochi was best known for his animal silhouettes. Created from paper with details to scale, these silhouettes are Mochi’s greatest contribution to art as well as to the study of the natural world. [UgoMochi.com, history section, accessed 2/1/17]
The New York Zoological Society’s (now the Wildlife Conservation Society) Bronx Zoo was a favorite spot for Mochi. He used Zoo animals when creating his most famous book, Hoofed Mammals of the World (1953). A few years after his death in 1977, Mochi’s daughters donated to the Zoo the 40 original plates used in the Hoofed Mammals book. WCS adapted some of his silhouettes in logos and exhibit graphics.
In April 1939, the New York Zoological Society (NYZS) presented their Zoological Wonders pavilion to the public at the very first New York World’s Fair. The 1939-40 Fair brought highlights from the New York Zoological Park in the Bronx and the New York Aquarium in Manhattan to Flushing Meadows in Queens. In this month’s post from our NHPRC grant project, we are presenting a selection of materials unearthed from records from the NYZOs Corporation, a former NYZS subsidiary created to coordinate the Society’s participation in the 1939-1940 World’s Fair. Fairfield Osborn Jr., the Secretary of the Society’s Executive Committee at the time, managed that participation in his last task before becoming the Society’s President in 1940. As such, the World’s Fair materials illustrate the beginning of a new era at NYZS.
The new year and holidays brought with it gifts and offerings for our legacy digital project!
Upon returning from our holiday break, we were greeted with the arrival of our TEAC FD-55GFR 5.25″ floppy disk drive along with Device Side Data’s FC5025 USB 5.25″ floppy controller.
We decided on purchasing a 5.25″ floppy disk drive of off Amazon and a FC5025 controller. The FC5025 controller is essentially a circuit board that liaises between your legacy 5.25″ floppy drive and a modern computer running a contemporary operating system. These two components are the essential building blocks to getting data off of 5.25″ floppy through disk imaging because they interface between an older, circa-1981 floppy disk drive and a modern computer. Maryland Institute for Technology in the Humanities’ (MITH) Vintage Computer site does an excellent job of breaking down the FC5025’s connections and instructions for imaging floppies. The card comes with drivers to enable connections to Windows (98, 7, 8, XP), Mac (OS X), and Linux operating systems.
The vast majority of the documents in the WCS Archives are written by people speaking as themselves. They may be speaking as representatives for a larger collective, such as the Society, or a professional organization, or even–in the cases of some Congressional testimony transcripts–as representatives for the zoo profession as a whole. Every now and then, however, we come across examples of people speaking not in their own voices, but in those of animals.
At this time of year one may ask the question: “What do the New York Zoological Society (NYZS) and Rockefeller Center have in common?” As it turns out, the Society and this long-standing New York City gathering place and holiday beacon have a historical relationship–with a festive flavor. Continue reading