Journal articles on the topic 'Painting – Private collections – United States'

On April 21, 2022, the Supreme Court came to an unanimous decision in Cassirer v. Thyssen-Bornemisza Collection Foundation, a case concerning the legal ownership of a valuable painting by Camille Pissarro that was appropriated by the Nazi regime during the 1930s when its Jewish owners fled to the United States. After World War II, the painting changed ownership several times, ultimately to be acquired by Baron Hans Heinrich who sold it to the Thyssen-Bornemisza Collection Foundation in the Kingdom of Spain. After sixteen years of litigation and four appeals to the Ninth Circuit, the Supreme Court vacated and remanded the case back to the Ninth Circuit. The opinion, written by Justice Kagan, contended that in a suit raising non-federal claims against a foreign state or instrumentality under the FSIA, a court should determine the substantive law by using the same voice of law rule applicable in a similar suit against a private party. This paper will introduce the facts of Cassirer, present its procedural history, and dissect its treatment before the United States Supreme Court. This analysis will conclude with a discussion of the potential implications of the Cassirer decision on future Nazi-looted art claims.

The paper discusses the works of Moscow artist Boris Smotrov. It provides a general analysis of the tools of his artistic style as well as the data on his main vectors of creative activity (painting, poster graphics). The author dwells on the master’s works in the field of painting, focusing on national themes. The study distinguishes dominant blocks of the painter's works (landscape, thematic painting), detects specifics of the artistic language, methods of working with color, his mastering of the line and pays attention to the interaction of painting and graphics in B. Smotrov’s creative baggage and his decorative manner. The paper addressees the main archetypes in the works of Smotrov (firebird, cow, apple, spring, Maslenitsa, etc.). The propensity for allegorical language is explained by his competent use of artistic means of creating a poster. The author analyzes individual features of B. Smotrov’s work with color, the creation of his own author's “patchwork” style as a result of creative transformation and rethinking of the influence of various styles and manners of individual artists, from A. Matisse to K. Petrov-Vodkin. The art of the master acts as an effective tool for debunking myths about the cheap popular character of Russian national motifs, and for combating superficial perceptions of them. The paper highlights worldview universals in culture as well as main problems of the art of the turning periods, one of which includes the creative path of B. Smotrov. The author pays special attention to the works of B. Smotrov as a tool for national self-identification of a creative person in conditions of cultural chaos at the turn of the century since they are on display at personal and collective exhibitions not only in Russia, but also in Austria, China, Korea, the United States and stored not only in Russian museums (Moscow, Perm, Tula), but also in private collections in China, USA, Switzerland. The study comes to the conclusion that “patchwork style” by Boris Smotrov is a quintessence of the Russian in his works.

During the 20th century a range of museums in the United States were engaged in acquiring Chinese art objects, developing major collections of painting and calligraphy, ancient bronze, Buddhist sculpture, ceramics and other decorative arts. Research materials on Chinese art have been collected by art libraries in major museums and the East Asian libraries of the main research universities. The author surveys significant Chinese art collections in museums and research libraries in the United States today.

Contrary to Europe, where museums were created from transformed collections, in America the first museums were founded on the basis of scientific institutions. Only in the second half of the nineteenth century, museums are formed based on private collections. Objects were erected to house the collections, which for a long time, almost until the middle of the 20th century, stylistically referred to the architecture of ancient Greece. From the mid-nineteenth century, museums began to be built, for which architects looked for inspiration in later styles. And although neo-gothic, neorenaissance and neo-baroque objects appeared, the Greek Revival dominated museum architecture in the United States, created by graduates of the Parisian École des Beaux-Arts.

AbstractThis article is dedicated to the collection from the Bremen Kunsthalle, comprising 1715 drawings, 50 paintings, and about 3000 prints found by Soviet troops in castle of Karnzow near Berlin in May 1945. The collection was not seized by Soviet trophy brigades but was looted by soldiers and officers of the 38th Field Engineers' Brigade of the Red Army.After their return to the USSR and demobilization, some of the officers donated their loot to different museums around the Soviet Union. One of the most important parts of the collection, with 362 drawings and two paintings—among them works of Dürer, Rembrandt, Goya, and Van Gogh, was appropriated by Captain Viktor Baldin. In 1948 Baldin deposited his loot in the A. V. Shchusev State Research Museum of Architecture in Moscow. Later Baldin became the director of the museum and advocated return of the art to its rightful owners.Since the days of Gorbachev's perestroika, these art works have frequently attracted public attention and provoked fierce debates. The Federal Law on Cultural Valuables adopted in 1998 did not cover art works looted by private individuals. Rather, such conflicts have to be solved within the framework of Russian criminal law.In contrast, other works of art from the same Bremen Kunsthalle collection were restituted from the United States, Ukraine, and Estonia. Another 101 drawings and prints of the collection, seized by another member of Baldin's brigade, were returned from Russia to Bremen in 2000, but that was in “exchange” for an original mosaic from the legendary Amber Chamber. However, despite more than 20 years of efforts by German officials and endless negotiations, the Baldin Collection remains in the Russian Federation. The return of those stolen drawings any time soon now looks highly improbable. The case of the Baldin Collection became the most striking example of the Russian nonrestitution of cultural property looted during World War II.

Apples (Malus Mill.) have been economically and socially important throughout the centuries in North America. Apple cultivar (Malus ×domestica Borkh.) collections that include historic cultivars are valued for their unique diversity, historical significance, and also as a resource to identify unknown trees; however, not all of the historically significant apple cultivars are currently included in these collections. We used historic books, publications, and nursery catalogs to develop an inventory of apple cultivars that were propagated and grown in the United States before 1908. We collected synonym, introduction date, and original source country information for 891 historic apple cultivars. Most of the historic American cultivars originated as seedlings first planted in the United States. Some cultivars were brought to the United States from the United Kingdom, France, Russia, Germany, and other European countries. We classified historic apple cultivars based on their availability over time and popularity in nursery catalogs. Ninety percent of the most popular historic apple cultivars in the United States were available in 2015 in the U.S. and U.K. national collections and within several commercial and private collections. This work identified high priority historic cultivars that are not currently protected within genebanks that could be added to genebank collections in the future.

В статье обосновывается необходимость создания виртуального каталога слобожанских икон и ставится цель разработки основных характеристик проектируемой электронной коллекции. Проведен анализ документальных источников, использованы результаты исследований российских и украинских ученых. Исследована история музеев Слободской Украины, собиравших произведения иконописи, изучено влияние событий ХХ в. на иконописное наследие Слобожанщины, которое вследствие атеистической кампании 1930-х гг. и действий оккупантов в период Великой Отечественной войны утратило единство и оказалось раздробленным между многочисленными музейными и частными коллекциями. Данный фактор, а также несомненная уникальность региональной иконописной традиции стали предпосылками к разработке концепции электронного каталога, который призван объединить все сохранившиеся на сегодняшний день произведения слобожанской иконописи. The article substantiates the need to create a virtual catalogue of Slobozhanshchina (Sloboda Ukraine) icons and sets the aim of developing the main characteristics of the projected electronic collection. Based on the use of systemic-historical and historical-genetic methods, documentary sources were analysed, the results of research of Russian and Ukrainian historians and culture scientists were studied. The history of museums in Sloboda Ukraine, which collected works of icon painting, is considered; special attention is paid to the Historical and Church Museum. Until the revolutionary events of 1917, this museum’s collections were constantly replenished with new exhibits. The history of the creation of the Museum of Ukrainian Art and the Central Art and History Museum named after Gregory Skovoroda (Museum of Sloboda Ukraine) is analysed. The influence of the events of the twentieth century on the icon-painting heritage of Sloboda Ukraine is considered. This heritage, as a result of the atheistic campaign of the 1930s and the actions of the occupiers during the Great Patriotic War, lost unity and was fragmented between numerous museum and private collections. The consequences of the German fascist invaders’ plunder of the museums of Sloboda Ukraine were especially grave: hundreds of thousands of exhibits were destroyed or taken out of the country. The fact of huge and often irreparable losses in the cultural heritage of Sloboda Ukraine by the middle of the twentieth century is stated. At present, the museums of Sloboda Ukraine have already collected a significant part of icon-painting works (about 500), but this number is not comparable with the richest heritage of Sloboda Ukraine of the beginning of the twentieth century. The author emphasises that a certain number of Slobozhanshchina icons continue to remain in churches and private collections in both Ukraine and Russia. Information about icons received from individuals is insufficient for attribution and museum documentation compilation, so many of the icons have not yet been fully introduced into museum circulation. The way out of this situation, according to the author, is to create an electronic catalogue of Slobozhanshchina icons, which will be a database of icon-painting works from museum and private collections with texts and images. The concept of the electronic catalogue has been developed. The catalogue is designed to unite all the works of Slobozhanshchina icon painting that have survived to date.

AbstractRegional archival organizations across the United States have been bringing out the archives in free events designed to showcase collections in public spaces, and connect communities to local history resources. Called archives bazaars or crawls, these outreach events showcase the vibrant spectrum of archives from private collections, community organizations, municipal archives, and public and academic libraries. This short paper explores the history of these community archives events, and describes the creation, challenges and outcomes of hosting the inaugural 2017 Houston Archives Bazaar.

Using evidence drawn from S. de Ricci and W. J. Wilson’s Census of Medieval and Renaissance Manuscripts in the United States and Canada, American auction records, private library catalogues, public exhibition catalogues, and manuscript fragments surviving in American institutional libraries, this article documents nineteenth-century collections of medieval and Renaissance manuscript fragments in North America before ca. 1900. Surprisingly few fragments can be identified, and most of the private collections have disappeared. The manuscript constituents are found in multiple private libraries, two universities (New York University and Cornell University), and one Learned Society (Massachusetts Historical Society). The fragment collections reflect the collecting genres documented in England in the same period, including albums of discrete fragments, grangerized books, and individual miniatures or “cuttings” (sometimes framed). A distinction is drawn between undecorated text fragments and illuminated ones, explained by aesthetic and scholarly collecting motivations. An interest in text fragments, often from binding waste, can be documented from the 1880s.

Describing library collections by location is nothing new. In the mid-nineteenth century, Luther Farnham published A Glance at Private Libraries, about libraries in the Boston area of the United States. Reginald Arthur Rye produced his highly praised Students’ Guide to the Libraries of London in England just over fifty years later. That we, no less than our forebears, value such discovery tools collocating collections is evident from their continued publication, whether in print or, more recently, electronic form. National, annual library directories still produced include The American Library Directory. In Britain, the Chartered Institute of Library and Information Professionals (CILIP)’s Libraries and Information Services in the United Kingdom and the Republic of Ireland, a list of libraries by sector with contact details, remains available.

This study evaluates the conservation status of all of the United States species and subspecies of tiger beetles on the basis of the published literature, unpublished reports, museum and private collections, our personal field work and contact with collectors. We provide a brief summary of the status of the four species already listed and the two candidates for listing by the U. S. Fish and Wildlife Service. We indicate three taxa believed to be extinct and evaluate 62 others that we deem sufficiently rare to be considered for listing as endangered or threatened. We used a 1, 2, 3 grading system that is generally comparable to the terminology of critically imperiled, imperiled, and vulnerable designations, respectively, used in NatureServe Explorer. Fifty-two of these taxa are from the western states and Texas and most of them are named subspecies with extremely limited distributions and habitats. We assigned seven taxa a 1+ grade, our highest level of rarity and/or threats; of these there is presently sufficient information available to consider two of them-- Cicindelidia floridana Cartwright and Cicindela tranquebarica joaquinensis Knisley and Haines-- as the U. S. forms most in danger of extinction. Future prospects for conservation and listing of tiger beetles seem bleak because of the limited budget and personnel available for Endangered Species in the U. S. Fish and Wildlife Service and the current economic and political climate in the United States.

This article aims at studying transnational families dispersed among Greece and the United States in the first half of the twentieth century. It examines the ways in which transnationalism was a common way of being, acting and feeling strongly associated with the available “technologies” of those times, namely photographs, letters and private financial and judicial records. The focus is purposefully micro-historical, analyzing the private collections of two families in a small mountainous village community of the Greek south. Its purpose is to manifest the ways in which transnational families communicated, exchanged items, thoughts and emotions, fulfilled economic obligations and marital aspirations and, overall, created “proxy” transnational spaces. At the same time, shifting the focus to individuals, it aims at presenting the diversities of transnationalism as a lived experience, as unfolded in the personal records of migrants and their kin. Further, it explores transnationalism as a holistic, multi-faceted and all-encompassing ground, with its dynamics influencing not only migrants, but also their families and societies back in the homeland.

This project explores the importance of the preservation of diverse private collections of crafted artefacts, and specifically improving digital access. The focus is on the transformation of an assemblage of 100 Syrian garments held in the United States into a museum-quality, publicly accessible archive. Private collections that are not financially endowed face various challenges, including their culturally valuable content being inaccessible and underseen. The goal of archiving and exhibiting this collection of garments is to share Syria’s dress and craft history as a form of identity, community, economy, artistic expression and technological development. Each item is unique, representing an everyday life that no longer exists. As people moved to new geographical locations, craft traditions were not always carried with them. Consequently, the garments and accessories in this collection feature dyeing techniques, metalwork and symbolic representations of different generations of Syrian people from this ancient to present civilization. Throughout the research process, we learned to synthesize the core issues of contemporary craft heritage management, with an initial goal to build a new digital archiving method and template to benefit small or private collections outside of institutions. First, we determined how to do so using affordable and accessible tools, in line with manageable industry standards. Digital photography, metadata development, object labelling, and anecdotal interviews complement the existing collection information. The long-term goal is the dissemination of the collection through exhibitions, interactive websites, symposiums and publications. Museums are working harder to diversify their collections, and many private collections represent marginalized cultures or do not fit within the established parameters of public institutions. This study touches upon the disparate and specific needs of private versus public collecting, and how to bridge some of the gaps using standardized digitization techniques towards similar preservation and outreach goals.

From its beginnings in the private library of Pierre S. du Pont, the Hagley Museum and Library has grown into a leading resource for business historians, particularly for those interested in the development of the mid-Atlantic region of the United States. In this thorough description of the Hagley's collections, Dr. Nash demonstrates the breadth and depth of its holdings, from the papers of the eighteenth-century Physiocrats to those of New Deal and post-World War II companies and business leaders.

The history of Prajnaparamita, Goddess of Wisdom, a twelfth-century Indian Buddhist sculpture in the National Gallery of Australia collection, has been researched and evaluated through a dedicated Asian Art Provenance Project. This article describes how the sculpture was traced from twelfth-century Odisha, India, to museums in Depression-era Brooklyn and Philadelphia, through dealers and private collectors Earl and Irene Morse, to Canberra, Australia, where it has been since 1990. Frieda Hauswirth Das (1886–1974), previously obscured from art-collecting records, is revealed as the private collector who purchased the sculpture in India in around 1930. Incidental discoveries are then documented, extending the published provenance of objects in museum collections in the United States and Europe. Finally, consideration is given to the sculpture’s changing legal and ethical position, and the collecting rationales of its various collectors. The case study illustrates the contributions provenance research can make to archeological, art-historical, and collections knowledge, and elucidates aspects of the heterodox twentieth-century Asian art trade, as well as concomitant shifts in collecting ethics.

The relevance of the study of icons and the activities of icon-painting workshops of the 19th–20th centuries is due to a significant number of scientific works published on this topic. Dated icons with captions are of special interest for research, being a reference point in the time space of art history. Due to this, it is possible to attribute a number of works that don’t have captions. The most capacious texts give grounds to determine the exact origin of the monument. The purpose of this work is to identify and introduce into scientific circulation dated works of iconography in the territory of the Altai Krai and the Altai Republic, belonging to the workshops of women's Orthodox monasteries of the turn of the 20th century. This aspect reveals one of the parts of the activity of Orthodox monasteries at the turn of the century, which is reflected in archival documents and preserved monuments. The location of such centers in different regions determines the presence of stylistic differences in the works of iconography. The identified icons have a significant difference in the implementation of technical techniques. The issue of continuity of traditions, preservation of the iconography of the original production and their technological features of execution is presented ambiguously. However, these works are united by an internal mood, a certain rhythm and regularity. The work on identifying the inscriptions confirmed the presence of several monastic images in Orthodox churches, private collections, and Museum collections in Altai krai and the Altai Republic. The presented icons were painted in different monasteries of the country, which are located at a considerable distance from each other, but are identified on the same territory, as a result of their active movement throughout the 20th century. It is important for the region to identify the monuments created in the icon-painting workshops of local monasteries, as the restoration of these monasteries confirms a keen interest in the study of local icon-painting traditions.

This is the final installment of a four-part bibliography that covers North Carolina and United States archives and manuscript collections; personal papers of notable N.C. librarians and library educators; and sources on N.C. and U.S. librarians and library benefactors, public documents, and special collections and private libraries. Part I, which was published in the Spring 2004 issue of North Carolina Libraries, included sources of library history of N.C. public libraries in general, and histories of public libraries in Alamance through Guilford counties. Part II, which was published in the Summer 2004 issue, included the histories of public libraries in Halifax through Yadkin counties. Part III, which was published in the Fall 2004 issue, included sources of library history of N.C. colleges, universities, and community colleges, as well as general sources on N.C. and U.S. library history.

AbstractCotton bollworm, Helicoverpa armigera (Hübner) (Lepidoptera: Noctuidae), is a serious pest of several crops throughout the world, representing millions of United States of America dollars worth of damage. This pest can adapt to various cropping systems in a wide geographical range and has high migratory potential. It features high fecundity and can develop resistance to almost all insecticides used for its management. Several investigations to develop microsatellite markers for H. armigera have not been successful because of the paucity of microsatellites in the lepidopteran genome. As well, collections of H. armigera from cotton fields of southern and western India were not yet studied for molecular genetic diversity. The current study aimed to screen publicly available expressed sequence tag resources for simple sequence repeats and assess their potential as DNA markers for assessment of gene flow between collections of southern and western India. We identified 30 polymorphic microsatellites for potential use in diversity analysis of H. armigera collections. Genetic diversity analysis revealed that the collections were widely diverse with population differentiation index (Fst) of 0.17. Furthermore, gene flow analysis revealed a mean frequency of private alleles of 11% within the collections. The microsatellite resources we developed could be widely used for molecular diversity or population genetic research involving this important pest of cotton and food crops.

Through the cooperation with the Evergreen Education Foundation in the United States, the Tongwei rural library network has been set up and a cooperation service alliance between a public library and school libraries has been built; using project funding by Evergreen, it reached out to the local communities, and meanwhile, it carried out small projects to enhance its service capacity. Through participation in the Evergreen-sponsored international conferences, training, and projects, librarians have improved their service capabilities and sharpened their awareness of library services. Based on the local cultural characteristics and user needs, and funded by a grant from Hangzhou Library Foundation, Tongwei County Library has established a reading room as a space where people can read calligraphy and painting materials. In addition, it carried out special collections services, shot the documentary film “Autumn Story,” and held “Tongwei impression.” It is the first county library to achieve management automation, and the national-level library in the fifth national public library assessment.

Curated by Stephen Gilchrist, Everywhen: The Eternal Present in Indigenous Art from Australia was held at Harvard Art Museums from February 5, 2016–September 18, 2016. The exhibition was a survey of contemporary Indigenous art from Australia, exploring the ways in which time is embedded within Indigenous artistic, social, historical, and philosophical life. The exhibition included more than seventy works drawn from public and private collections in Australia and the United States, and featured many works that have never been seen outside Australia. Everywhen is Gilchrist’s second major exhibition in the United States, following Crossing Cultures: The Owen and Wagner Collection of Contemporary Aboriginal Australian Art at the Hood Museum of Art in 2012. Conducted on April 22, 2016, this conversation considers the position of Indigenous art in the museum, and the active ways in which curators and institutions can work to “indigenize” their institutions. Gilchrist discusses the evolution of Everywhen, along with the curatorial strategies employed to change the status of object-viewer relations in the exhibition. The transcription has been edited for clarity.

ABSTRACT The rattlesnake (Crotalus adamanteus) is a venomous viper inhabiting the southeastern parts of the United States. It is not found in the Balkans and Europe habitats. Subjects of the species are grown and seen in museums, exhibitions and terrariums, and sometimes in private collections. This may generate potentially toxic exposures to the venom in accidental contact. Acute poisoning with rattlesnake poison in Bulgaria is exotic, rare and even casuistic. The venom of the rattlesnake exhibits neuropathic, proteolytic and hemolytic activities. Antivenom is not currently easily available in Bulgaria - it is not usually stored in hospitals because it is very rarely used and therefore rather expensive. We present a case of multiple envenomation (two different occasions) of one and the same person who kept rattlesnakes in a private terrarium. Local toxic syndrome was observed with burning and stinging pain at bite site combined with limited hemorrhage and necrosis. The hemolytic reaction and the local toxic results were successfully managed without resorting to any specific antidotal therapy.

WRITERS ON CORPORATISM AGREE ABOUT LITTLE BUT ARE nevertheless strikingly united in one belief, that America has failed to develop strong corporatist institutions. The two most important collections published in recent years, for instance, both contain papers explaining this supposed American uniqueness. Yet the notion that corporatism is conspicious by its absence is odd. It is indeed true that the United States has failed to develop one particularly ambitious form of corporatism — the organization of capital and labour into central institutions designed to achieve agreed national aims. The essence of corporatism consists, however, of something less than this grand social scheme. It resides in what Offe calls ‘the attribution of public status to interest groups’. Endowing private bodies with public duties and public powers involves crossing a constitutional Rubicon. Behind fie the landscapes of liberal polities, with their open political struggle and comparatively clear separation of government from civil society. Beyond the Rubicon lie the features in Schmitter's famous description of corporatism — compulsion, hierarchy, monopoly. But these are contingent, not necessary, features. The quintessence of corporatism consists in the effort to endow private interests with sovereign authority. In so doing it challenges the great aim of a liberal polity — the separation of economic from political power — imposing in its place the ‘devolution of public policy making and enforcement on organised private interest’.

Writers on Corporatism Agree about Little but are nevertheless strikingly united in one belief, that America has failed to develop strong corporatist institutions. The two most important collections published in recent years, for instance, both contain papers explaining this supposed American uniqueness. Yet the notion that corporatism is conspicious by its absence is odd. It is indeed true that the United States has failed to develop one particularly ambitious form of corporatism — the organization of capital and labour into central institutions designed to achieve agreed national aims. The essence of corporatism consists, however, of something less than this grand social scheme. It resides in what Offe calls ‘the attribution of public status to interest groups’. Endowing private bodies with public duties and public powers involves crossing a constitutional Rubicon. Behind lie the landscapes of liberal polities, with their open political struggle and comparatively clear separation of government from civil society. Beyond the Rubicon lie the features in Schmitter’s famous description of corporatism — compulsion, hierarchy, monopoly. But these are contingent, not necessary, features. The quintessence of corporatism consists in the effort to endow private interests with sovereign authority. In so doing it challenges the great aim of a liberal polity — the separation of economic from political power — imposing in its place the ‘devolution of public policymaking and enforcement on organised private interests’.

University fashion and textiles collections add value and opportunities for teaching, research and community outreach. Collections within the United States are housed within private and public, large and small colleges and universities, with foci reflecting the greater institutional and departmental mission, history and geographic setting. Professionals often wear multiple hats within their collection and serve in additional roles in the larger units they represent. This conceptual article aims to present a fashion and textiles collection matrix (FTCM) as a means of self-study, particularly in areas where collection professionals are typically not trained. It is a tool for self-assessment within the domains of organizational structure, resource allocation and outreach and impact. Using the FTCM, faculty, staff and administrators can identify areas within their structure that they are optimal, proficient or under development, in order to celebrate accomplishments and recognize growth opportunities. We present a sample FCTM, highlighting how collection personnel might take the next steps to prioritize goals and create action steps appropriate for their local context.

The Bergendal Collection of mediaeval manuscripts took its inspiration and inception in the nineteen-seventies at the Pontifical Institute of Mediaeval Studies in Toronto. Its guiding light from the beginning was the late Father Leonard E. Boyle, O.P., who taught at the Institute from 1961 to 1984. The author was a student of Father Boyle, and profited from his love for and extraordinary expertise in all things mediaeval, especially in the manuscript sciences of palaeography and diplomatics. In 1984 the present Holy Father Pope John Paul II appointed Father Boyle as Prefect of the Vatican Library. The catalogue of the Bergendal Collection was published just before Father Boyle’s death in Rome in 1999. The Collection that he inspired and that grew under his direction is the largest to be found in private hands in the Americas. That many of its manuscripts originated in the mediaeval Order of Friars Preachers is no coincidence, since Father Boyle was himself a priest of the Dominican Order. There is no similar private collection in Canada nor in the United States of America. There are three or possibly four larger private collections in Europe.

Sir, is there to be no limit to our benevolence for these People? There is a point, beyond which, even parental bounty and natural affection cease to impose an obligation. That point has been attained with the States of Spanish America.1Of course there was sympathy for the Spanish American rebels in the United States. How could it have been otherwise? The rebels were fighting Spain, long an object of hatred and contempt. This alone justified goodwill, as did the hope for increased trade and the prospect of a significant loss of European influence in the hemisphere.2 But how deep did this sympathy run?In the Congressional debates of the period there was much more enthusiasm for the cause of the Greeks than that of the Spanish Americans.3 Similarly, the press referred frequently to private collections of funds (‘liberal donations’) for the Greek fighters – not for the Spanish Americans. This is not surprising. The US public could feel a bond with the Greeks – ‘it will become even quite fashionable to assist the descendants of those who were the bulwark of light and knowledge in old times, in rescuing themselves from the dominion of a barbarian race'.4 Unlike the Greeks, however, the Spanish Americans were of dubious whiteness. Unlike the Greeks, they hailed not from a race of giants, but – when they were white – from degraded Spanish stock.5 Some US citizens felt for them the kinship of a common struggle against European colonial rule; others agreed with John Quincy Adams: ‘So far as they were contending for independence, I wished well to their cause; but I had seen and yet see no prospect that they would establish free or liberal institutions of government.

A total of 1557 species belonging to 56 families of the order Lepidoptera is listed from Cuba, along with the source ofeach record. Additional literature references treating Cuban Lepidoptera are also provided. The list is based primarily onliterature records, although some collections were examined: the Instituto de Ecología y Sistemática collection, Havana,Cuba; the Museo Felipe Poey collection, University of Havana; the Fernando de Zayas private collection, Havana; andthe United States National Museum collection, Smithsonian Institution, Washington DC. One family, Schreckensteinidae,and 113 species constitute new records to the Cuban fauna. The following nomenclatural changes are proposed: Paucivenahoffmanni (Koehler 1939) (Psychidae), new comb., and Gonodontodes chionosticta Hampson 1913 (Erebidae), syn. nov.,is a synonym of Gonodontodes dispar Hampson 1913. Burca cubensis (Skinner 1913) (Hesperiidae), and Eulepidotis reflexa (Herrich-Schäffer 1869) (Erebidae) are revised and revalidated.

AbstractMetal artifacts constitute the main component of the cultural material known from the ancient state of Urartu. The great majority of these artifacts available to archaeologists for cultural analysis derives from plundered sites, which proveniences, whether from sites in modern Turkey, Armenia, or northwestern Iran, are unknown. In fact, only a minority was obtained from excavations at known sites and tombs. At the same time there is a large quantity of publications on Urartian metal artifacts, most of which are in museums and private collections in Europe, the United States, and Japan. Most of the publications, many by museum personnel, ignore the reality of the lack of provenience and present subjective conclusions regarding provenience and interpretation. This paper discusses the consequences of the non-archaeological methodology of these publications, the nature of which many archaeologists remain unaware, and how this behavior has interfered with achieving an accurate knowledge of Urartian culture.

Amateur palaeontologists Edward Butts, a civil engineer, and Sidney J. Hare, a landscape architect are responsible for bringing to the attention of professional palaeontologists the discovery in 1889 of a bed of exceptionally well-preserved Upper Carboniferous crinoids in the excavation for the basement of a large building in downtown Kansas City. Over 450 crinoid specimens, many of them embedded in slabs of shale were prepared by Butts, Hare and, assisted by several additional amateur fossil enthusiasts. The specimens they collected and prepared are housed in museum, departmental and private collections throughout the United States and Europe. The discovery led to 8 new species of crinoids. Three of these were named in honour of Butts and Hare and include the inadunate dicyclic crinoids Aesiocrinus harii Miller and Gurley, Ethelocrinus harii (Miller) and Ulocrinus buttsi Miller and Gurley. Ed Butts and Sid Hare emphasize the important contributions that amateur fossil enthusiasts can make to the advancement of palaeontology.

General surgery residency involves a mixture of 1) education of residents and 2) service by residents. The service that residents provide is not directly reimbursed in our current healthcare system by private healthcare insurance companies. This investigation characterizes the amount of reimbursement a typical resident would be able to collect if residents were allowed to collect for their services as a first assistant. The case logs of residents who graduated over 2 years from our general surgery residency program were reviewed. Data from each resident's last 2 years (postgraduate years 4 and 5) were included in this study. Relative value units (RVUs) for each Current Procedural Terminology code were reviewed. Collections were calculated by multiplying the Medicare conversion factor of $36.7856/RVU, the corresponding RVU, and a “standard” collection rate of 16 per cent for first assistants. There were 13 general surgery residents. These residents provided first assistant help with 91,473 RVUs over 2 years. A total amount of $535,380 could have been collected on first assistant fees for the last 2 years of their residency. Each resident would have been able to collect an average at least $41,414 just for first assistant operative fees. Resident assistance in the operating room provides significant savings for private healthcare insurance companies each year by reducing the need for first assistants. The data demonstrate that private insurance companies receive a considerable amount of pro bono service from residents. Changes in the financing of the current healthcare system in the United States will require educators to examine other sources ( i.e., private insurance companies) for support of graduate medication education.

Between January and June 1904, Handel T. Martin (1862-1931), University of Kansas (KU), collected fossil vertebrates from the Early Miocene Santa Cruz Formation along the Río Gallegos and the Atlantic Coast of Patagonia, as Martin’s private initiative. In the account of the expedition, Martin stated that when he and his companion, arrived in Buenos Aires, they visited Florentino Ameghino at the Museo Nacional. His album of photographs shows that he also visited the Museo de La Plata and Ameghino’s home in La Plata. Before heading to Patagonia, Martin assembled his equipment in Bahía Blanca, where his brother had settled. It is not clear if Martin collected a total of 235 or 395 specimens. Clearly, his main goal was to collect fossils to sell, as many specimens were later sold to different institutions in the United States and Europe by Martin by himself and through Robert Ferris Damon, a well-known fossil and mineral trader of the time. To date, we have identified only about 170 specimens in formal collections. A large part of the collection – at least 130 of the choicest specimens – remained at KU, which constitutes one of the largest collections of santacrucian vertebrates outside Argentina (in addition to the ones in the Yale Peabody Museum in New Haven, the Field Museum in Chicago, and the American Museum in New York). Although the collection at KU is largely neglected by paleontologists and has seldom been studied, it contains a good representation of the Santacrucian fauna, with many fine specimens.

Ground-ivy or gill-over-the-ground (Glechoma hederacea) is a perennial and a member of the mint family (Lamiaceae). It is characterized by creeping stems that root at the nodes, blue to violet blossoms, and rotund leaves. The plant is native to Eurasia but was introduced to and has become widespread in North America. It is found predominantly in nutrient-rich, shady meadows but also occurs in forests and disturbed habitats. There are several rusts known on G. hederacea in Eurasia. One of them, Puccinia glechomatis, has been introduced to North America. The only two collections of this fungus were made in the United States in August 1998 (near Syracuse University, NY) and in October 1999 (west of West Lafayette, IN) in shady, continuously mowed lawns in private gardens. The specimens were identified by reference to Gaeumann (2) and deposited in the Arthur Herbarium, Purdue University, West Lafayette. P. glechomatis is a microcyclic rust fungus that forms only telia (spore stage III). The sori are up to 1 mm in diameter, forming round cushion-like galls on abaxial leaf surfaces and depressions on adaxial leaf surfaces, opposite galls. The colorless to pale brown teliospore is characterized by its acute apex. Most teliospores germinate immediately and do not function as overwintering spores. It seems likely that the rust species has been in North America for a long time given that the two collections are from widely separated areas. The fungus may have been overlooked. So far, P. glechomatis has been found only on species of the genus Glechoma (including G. urticifolia, which is often placed in the genus Meehania) and seems to be restricted to this genus. The only inoculation experiments made with P. glechomatis proved that the rust does not infect Salvia spp. (sage) (1). There is no evidence that this rust can infect plants indigenous to North America. References: (1) L. Corazza and L. Luongo. Plant Dis. 83:487, 1999. (2) E. G. Simmons. Mycotaxon 37:79, 1990.

ResumenPeruko Ccopacatty es un escultor egresado de la Escuela Nacional Superior Autónoma de Bellas Artes del Perú (Ensabap) a principios de la década de 1980 emigró a los Estados Unidos, donde ha realizado una incansable labor de producción escultórica y mural especialmente en espacios públicos. Reconocida por instituciones públicas y privadas de su país de residencia, e incluso por la misma Organización de las Naciones Unidas, su obra ha pasado injustamente inadvertida en el Perú. Este artículo describe su proceso a la luz de las escasas fuentes disponibles y a partir de la exposición homenaje, realizada en mayo y junio del 2019 en el Centro Cultural de Bellas Artes como parte de las actividades de conmemoración del Centenario de la Ensabap. Se revisan su estilo, su simbolismo y su trayectoria, y se proponen líneas de investigación hacia el rescate de un corpus disperso y el reconocimiento de su sorprendente trayectoria.Palabras clave: tradición aymara, arte en espacios públicos, Ensabap, escultura en metal, multiculturalidad, muralismo, Pedro Peruko Ccopacatty. AbstractPeruko Ccopacatty is a sculptor who graduated from the Ensabap, who emigrated to the United States in the early '80s, where he has carried out a tireless work of sculptural and mural production, especially in public spaces. Recognized by public and private institutions in his country of residence, and even by the United Nations itself, his work has gone unjustly unnoticed in Peru. This article describes his process in light of the scarce sources available and the homage exhibition held in May and June 2019 at the Centro Cultural de Bellas Artes as part of the activities to commemorate the Centennial of Ensabap. Its style, symbolism, and trajectory are reviewed, and lines of investigation are proposed towards the rescue of a dispersed corpus and the recognition of its amazing trajectory.Keywords: art in public spaces, aymara tradition, Ensabap, metal sculpture, monumental art, multiculturality, mural painting, Pedro Peruko Ccopacatty.

Professor Zdzisław Żygulski Jr. (1921–2015) was one of the most prominent Polish art historians of the second half of the 20th century. He treated the history of art as a broadly understood science of mankind and his artistic achievements. His name was recognised in global research on antique weapons, and among experts on Rembrandt and Leonardo da Vinci. He studied museums and Oriental art. He wrote 35 books, about 200 articles, and numerous essays on art; he wrote for the daily press about his artistic journeys through Europe, Japan and the United States. He illustrated his publications with his own photographs, and had a large set of slides. Żygulski created many exhibitions both at home and abroad presenting Polish art in which armour and oriental elements played an important role. He spent his youth in Lvov, and was expatriated to Cracow in 1945 together with his wife, the pottery artist and painter Eva Voelpel. He studied English philology and history of art at the Jagiellonian University (UJ), and was a student under Adam Bochnak and Vojeslav Molè. He was linked to the Czartoryski Museum in Cracow for his whole life; he worked there from 1949 until 2010, for the great majority of time as curator of the Arms and Armour Section. He devoted his whole life to the world of this museum, and wrote about its history and collections. Together with Prof. Zbigniew Bocheński, he set up the Association of Lovers of Old Armour and Flags, over which he presided from 1972 to 1998. He set up the Polish school of the study of militaria. He was a renowned and charismatic member of the circle of international researchers and lovers of militaria. He wrote the key texts in this field: Broń w dawnej Polsce na tle uzbrojenia Europy i Bliskiego Wschodu [Weapons in old Poland compared to armaments in Europe and the Near East], Stara broń w polskich zbiorach [Old weapons in Polish armouries], Polski mundur wojskowy [Polish military uniforms] (together with H. Wielecki). He was an outstanding researcher on Oriental art to which he dedicated several books: Sztuka turecka [Turkish art], Sztuka perska [Persian art], Sztuka mauretańska i jej echa w Polsce [Moorish art and its echoes in Poland]. Prof. Zdzisław Żygulski Jr. was a prominent educator who enjoyed great respect. He taught costume design and the history of art and interiors at the Academy of Fine Arts in Cracow, as well as Mediterranean culture at the Mediterranean Studies Department and at the Postgraduate Museum Studies at the UJ. His lectures attracted crowds of students, for whose needs he wrote a book Muzea na świecie. Wstęp do muzealnictwa [Museums in the world. Introduction to museum studies]. He also lectured at the Florence Academy of Art and at the New York University. He was active in numerous Polish scientific organisations such as PAU, PAN and SHS, and in international associations such as ICOMAM and ICOM. He represented Polish art history at general ICOM congresses many times. He was also active on diverse museum councils all over Poland.

The histerid fauna of the Arabian Peninsula is evaluated. As a result of the study of specimens recently collected in Oman by the scientific expeditions of the Museum of Natural History and Territory of Calci (University of Pisa, Italy), and compiling new data from 15 public and private collections, and literature records, the total number of Histeridae known from the Arabian Peninsula now stands at 67 species, without taking into account dubious species and undetermined taxa (9).Of these 67 species, in total 18 are reported for the first time: 4 for the Arabian Peninsula [Teretrius (Neotepetrius) parasita Marseul, Saprinus (Saprinus) flexuosofasciatus Motschulsky, Chalcionellus hauseri (Schmidt), Hypocacculus (Nessus) hosseinius (Théry)], 9 for Oman [Pachylister luctuosus (Marseul), Hister castus Lewis, Atholus bimaculatus Linnaeus, Atholus scutellaris (Erichson), Saprinus (Saprinus) splendens (Paykull), Hypocacculus (Colpellus) praecox (Erichson), Hypocacculus (Hypocacculus) harmonicus (Marseul), Hypocacculus (Hypocacculus) metallescens (Erichson), Hypocaccus (Hypocaccus) fochi (Auzat)], 2 for Yemen [Saprinus (Saprinus) tenuistrius tenuistrius Marseul, Chalcionellus tunisius (Marseul)] and 3 for Kuwait [Saprinus (Saprinus) moyses Marseul, Pholioxenus mesopotamicus Olexa, Paravolvulus syphax (Reitter)].Histeridae are now known for four national states (Saudi Arabia, Yemen, Oman and Kuwait), while there are no records for Qatar or United Arab Emirates. An updated comprehensive catalogue of the histerid fauna of the Arabian Peninsula is provided.Analysis of faunal affinities shows that it mostly consists of Palearctic species (24 species, equal to 35.9%), followed by Afrotropical and Afrotropico-Mediterranean species (22 species, 32.8%), and cosmopolitan/subcosmopolitan species (7 species, 10.4%); endemics stand at 5 species (7.5%), while species of undefined chorology at 9 (13.4%). On the whole these numbers fit well the largely accepted biogeographical assumption that indicates the Arabian Peninsula as a transitional zone between the Regions Palearctic, Afrotropic and, to a lesser degree, Indo-Malay (e.g., Büttiker 1979). Moreover, a distinctive distributional pattern has been recognised: “Afrotropical” Histeridae are almost exclusively present in the southern and south-western parts of the peninsula, while “Palearctic” Histeridae are mostly present in the inner central and south-eastern parts of the peninsula.Finally, the synonymy Saprinus (Saprinus) osiris Marseul, 1862 = Saprinus (Saprinus) ornatus Erichson, 1834 stated by Müller (1933), but neglected by Mazur (1976, 1984, 1994, 1997), is considered valid.

More than 5 million people are bitten by venomous snakes annually and more than 100 000 of them die. In Europe, one person dies due to envenomation every 3 years. There is only one venomous snake species in Lithuania – the common adder (Vipera berus) – which belongs to the Viperidae family; however, there are some exotic poisonous snakes in the zoos and private collections, such as those belonging to the Elapidae family (cobras, mambas, coral snakes, etc.) and the Crotalidae subfamily of the Viperidae family (pit vipers, such as rattlesnakes). Snake venom can be classified into hemotoxic, neurotoxic, necrotoxic, cardiotoxic, and nephrotoxic according to the different predominant effects depending on the family (i.e., venom of Crotalidae and Viperidae snakes is more hemotoxic and necrotoxic, whereas venom of Elapidae family is mainly neurotoxic). The intoxication degree is estimated according to the appearance of these symptoms: 1) no intoxication (“dry” bite); 2) mild intoxication (local edema and pain); 3) moderate intoxication (pain, edema spreading out of the bite zone, and systemic signs); 4) severe intoxication (shock, severe coagulopathy, and massive edemas). This topic is relevant because people tend to make major mistakes providing first aid (e.g., mouth suction, wound incision, and application of ice or heat). Therefore, this article presents the essential tips on how first aid should be performed properly according to the “Guidelines for the Management of Snake-Bites” by the World Health Organization (2010). Firstly, the victim should be reassured. Rings or other things must be removed preventing constriction of the swelling limb. Airway/breathing must be maintained. The bitten limb should be immobilized and kept below heart level to prevent venom absorption and systemic spread. Usage of pressure bandage is controversial since people usually apply it improperly. Incision, mouth suction, or excision should not be performed; neither a tourniquet nor ice or heat should be applied. A doctor must monitor respiratory rate, blood pressure, heart rate, renal function, fluid balance, and coagulation status. The only specific treatment method is antivenin – serum with antibodies against antigens of snake venom. Antivenins against pit vipers used in the United States are Antivenin Crotalidae Polyvalent (ACP) and a more purified and hence causing less adverse reactions – Crotalidae Polyvalent Immune Fab (CroFab). In Europe, a polyvalent antiserum against Viperidae family snakes (including the common adder) can be used. Antivenins often may cause severe hypersensitivity reactions because of their protein nature. The bite of the common adder (the only poisonous snake in such countries as Lithuania and Great Britain) relatively rarely results in death; thus, considering the risk of dangerous reactions the antivenin causes itself, the usage of it is recommended to be limited only to life-threatening conditions.

Phoenix roebelenii (Arecaceae), known as dwarf date (tamareira-anã in Brazil), is a palm native to Southeast Asia and widely cultivated worldwide because of its ornamental value and ease of adaptation to a broad range of climates and soil types (4). In June 2012, some individuals were observed in a private garden in the municipality of Viçosa (state of Minas Gerais, Brazil) bearing numerous necrotic lesions on its leaves. Representative samples were taken, dried in a plant press, and brought to the laboratory for examination. A fungus was regularly associated with the leaf spots. Fungal structures were mounted in lactophenol and slides were examined under a microscope (Olympus BX 51). Spores were taken from sporulating colonies with a sterile fine needle and plated on PDA for isolation. A pure culture was deposited in the culture collection of the Universidade Federal de Viçosa (accession COAD1338). A dried herbarium sample was deposited in the local herbarium (VIC39741). The fungus had the following morphology: conidiophores grouped on sporodochia, cylindrical, 12 to 29 × 5 to 6 μm, dark brown; conidiogenous cells, terminal, proliferating percurrently (annellidic), 8 to 20 × 5 to 6 μm, pale to dark brown; conidia obclavate to subcylindrical, straight, 58 to 147 × 5 to 6 μm, 6 to 16 septate, hila thickened and darkened with a thin-walled projecting papilla, dark brown, and verrucose. The morphology of the Brazilian collections agrees well with the description of Stigmina palmivora (2), a species known to cause leaf spots on P. roebelenii in the United States (Florida) and Japan (3). Pathogenicity was demonstrated through inoculation of leaves of healthy plants by placing 6 mm diameter cuture disks of COAD1338 on the leaf surface followed by incubation in a moist chamber for 48 h and then transferred to a greenhouse bench at 21 ± 3°C. Typical leaf spots were observed 15 days after inoculation. DNA was extracted from the isolate growing in pure culture and ITS and LSU sequences were generated and deposited in GenBank under the accession numbers KF656785 and KF656786, respectively. These were compared by BLASTn with other entries in GenBank, and the closest match for each region were Mycosphaerella colombiensis strain X215 and M. irregulariamosa strain CPC 1362 (EU514231, GU2114441) with 93% of nucleotide homology (over 100% query coverage) for ITS and 98% of nucleotide homology (over 100% query coverage) for LSU. There are no sequences for S. palmivora deposited in public databases for comparison, but for Stigmina platani, the type species in this genus, 86% and 96% nucleotide homology for ITS and LSU with S. palmivora were found. The genus Stigmina is regarded as being polyphyletic (1) and this is probably reflected by these low homology levels found in the BLASTn search. To our knowledge, this is the first report of Stigmina palmivora in Brazil. References: (1) P. W. Crous et al. Stud. Mycol. 75:37, 2012. (2) M. B. Ellis. Dematiaceous Hyphomycetes. Commonwealth Mycological Institute, Kew, UK, 1971. (3) D. F. Farr and A. Y. Rossman. Fungal Databases. Syst. Mycol. Microbiol. Lab. ARS, USDA. Retrieved from http://nt.ars-grin.gov/fungaldatabases/ , 2013. (4) H. Lorenzi et al. Palmeira no Brasil: Exóticas e Nativas, 2nd ed. Editora Plantarum, Nova Odessa, Brazil, 2005.

Abstract Context.—Market-driven changes in the timing of elective surgeries and admissions have introduced barriers to completing pretransfusion testing in a timely manner. Consequently, blood bank personnel may not have adequate time to identify appropriate blood products for scheduled surgeries. Incomplete pretransfusion testing can delay surgery and significantly compromise patient safety. Objectives.—To identify the incidence of avoidable problems associated with obtaining timely samples for adequate pretransfusion type and screen (T&S) testing, to identify the practices and characteristics associated with improved rates of pretransfusion testing completed prior to surgery, and to determine the likelihood of antibody identification problems that affect the availability of blood. Design.—Participants in the College of American Pathologists (CAP) Q-Probes laboratory quality improvement program were asked to collect data on when a T&S was collected in anticipation of elective scheduled surgery, when the T&S was completed, when the surgery started, and the results of those T&S tests. Participants also completed questionnaires describing their facilities, procedures, and practices. Setting and Participants.—One hundred eight public and private institutions participated in this Q-Probes Study, 97% of which were located in the United States. Main Outcome Measures.—Type and screen collection and completion relative to the start of surgery, and the results of those tests. Results.—Of the 8941 T&Ss, 64.6% were collected prior to the day of surgery. The median laboratory completed approximately 69% of their T&S testing for scheduled surgeries at least 1 day prior to the surgery. Of those T&S tests that were collected on the day of surgery, the median laboratory completed almost 23% after the start of surgery. For 10% of participants, more than 75% of all T&Ss collected on the same day as surgery were not complete until after the start of surgery. When red blood cell–directed antibodies were identified, 78.7% were considered clinically significant, and 95.2% were alloantibodies. Positive antibody screens were significantly associated with delayed surgery and special efforts needed to obtain blood. Of those institutions with a specific protocol in place to collect T&S samples prior to hospital admission, the median laboratory completed the T&S at least 1 day prior to surgery 74% of the time. When the institution coupled the T&S collection protocol with T&S collection earlier than 3 days prior to surgery, the median laboratory completed the T&S at least 1 day prior to surgery almost 87% of the time. Type and screen collection less than 3 days prior to surgery resulted in special efforts needed to obtain blood more than 1% of the time. Type and screen collected on the same day as surgery directly resulted in a surgery delay 0.8% of the time. Conclusions.—Patients are unnecessarily being placed at risk by inadequate mechanisms to ensure available blood for surgery. All T&Ss were collected for scheduled surgeries with adequate opportunity for a T&S to be completed in advance of the surgery. Specific protocols helped improve the performance in terms of completing the T&S prior to surgery, as did mechanisms that permitted T&S collections in advance of the admission. Type and screen collection time relative to surgery was significantly associated with the incidence of surgery delay due to unavailable blood; the less time between collection and surgery, the less likely blood was available.

AbstractThe nucleus of the collection of paintings in the Mauritshuis around 130 pictures - came from the hereditary stadholder Prince William v. It is widely believed to have become, the property of the State at the beginning of the 19th century, but how this happened is still. unclear. A hand-written notebook on this subject, compiled in 1876 by - the director Jonkheer J. K. L. de Jonge is in the archives of the Mauritshuis Note 4). On this basis a clnsor systematic and chronological investigation has been carried out into the stadholder's. property rights in respect of his collectcons and the changes these underwent between 1795 and 1816. Royal decrees and other documents of the period 1814- 16 in particular giae a clearer picture of whal look place. 0n 18 January 1795 William V (Fig. 2) left the Netherlands and fled to England. On 22 January the Dutch Republic was occupied by French armies. Since France had declared war on the stadholder, the ownership of all his propergy in the Netherlands, passed to France, in accordance with the laws of war of the time. His famous art collections on the Builerth of in. The Hague were taken to Paris, but the remaining art objects, distributed over his various houses, remained in the Netherlands. On 16 May 1795 the French concluded a treaty with the Batavian Republic, recognizing it as an independent power. All the properties of William v in the Netehrlands but not those taken to France, were made over to the Republic (Note 14), which proceeded to sell objects from the collections, at least seven sales taking place until 1798 (Note 15). A plan was then evolved to bring the remaining treasures together in a museum in emulation of the French. On the initiative of J. A. Gogel, the Nationale Konst-Galerij', the first national museum in the .Netherlands, was estahlished in The Hague and opened to the public on ,31 May 1800. Nothing was ever sold from lhe former stadholder's library and in 1798 a Nationale Bibliotheek was founded as well. In 1796, quite soon after the French had carried off the Stadholder, possessions to Paris or made them over to the Batavian Republic, indemnification was already mentioned (Note 19). However, only in the Trealy of Amiens of 180 and a subaequent agreement, between France ararl Prussia of 1 802, in which the Prince of Orarage renounced his and his heirs' rights in the Netherlands, did Prussia provide a certain compensation in the form of l.artds in Weslphalia and Swabia (Note 24) - William v left the management of these areas to the hereditary prince , who had already been involved in the problems oncerning his father's former possessions. In 1804 the Balavian Republic offered a sum of five million guilders 10 plenipotentiaries of the prince as compensation for the sequestrated titles and goods, including furniture, paintings, books and rarities'. This was accepted (Notes 27, 28), but the agreement was never carried out as the Batavian Republic failed to ratify the payment. In the meantime the Nationale Bibliolkeek and the Nationale Konst-Galerij had begun to develop, albeit at first on a small scale. The advent of Louis Napoleon as King of Hollarad in 1806 brought great changes. He made a start on a structured art policy. In 1806 the library, now called `Royal', was moved to the Mauritshuis and in 1808 the collectiorts in The Hague were transferred to Amsterdam, where a Koninklijk Museum was founded, which was housed in the former town hall. This collection was subsequertly to remain in Amsterdam, forming the nucleus of the later Rijksmuseum. The library too was intended to be transferred to Amsterdam, but this never happened and it remained in the Mauritshuis until 1819. Both institutions underwent a great expansion in the period 1806-10, the library's holdings increasing from around 10,000 to over 45,000 books and objects, while the museum acquired a number of paintings, the most important being Rembrandt's Night Watch and Syndics, which were placed in the new museum by the City of Amsterdam in 1808 (Note 44). In 1810 the Netherlands was incorporated into France. In the art field there was now a complete standstill and in 1812 books and in particular prints (around 11,000 of them) were again taken from The Hague to Paris. In November 1813 the French dominion was ended and on 2 December the hereditary prince, William Frederick, was declared sovereign ruler. He was inaugurated as constitutional monarch on 30 March 1814. On January 3rd the provisional council of The Hague had already declared that the city was in (unlawful' possession of a library, a collection of paintings, prints and other objects of art and science and requested the king tot take them back. The war was over and what had been confiscated from William under the laws of war could now be given back, but this never happened. By Royal Decree of 14 January 1814 Mr. ( later Baron) A. J. C. Lampsins (Fig. I ) was commissioned to come to an understanding with the burgomaster of The Hague over this transfer, to bring out a report on the condition of the objects and to formulate a proposal on the measures to be taken (Note 48). On 17 January Lampsins submitted a memorandum on the taking over of the Library as the private property of His Royal Highness the Sovereign of the United Netherlartds'. Although Lampsins was granted the right to bear the title 'Interim Director of the Royal Library' by a Royal Decree of 9 February 1814, William I did not propose to pay The costs himself ; they were to be carried by the Home Office (Note 52). Thus he left the question of ownership undecided. On 18 April Lampsins brought out a detailed report on all the measures to be taken (Appendix IIa ) . His suggestion was that the objects, formerly belonging to the stadholder should be removed from the former royal museum, now the Rijksmuseum, in Amsterdam and to return the 'Library', as the collectiort of books, paintings and prints in The Hague was called, to the place where they had been in 1795. Once again the king's reaction was not very clear. Among other things, he said that he wanted to wait until it was known how extensive the restitution of objects from Paris would be and to consider in zvhich scholarly context the collections would best, fit (Note 54) . While the ownership of the former collections of Prince William I was thus left undecided, a ruling had already been enacted in respect of the immovable property. By the Constitution of 1814, which came into effect on 30 March, the king was granted a high income, partly to make up for the losses he had sulfered. A Royal Decree of 22 January 1815 does, however, imply that William had renounced the right to his, father's collections, for he let it be known that he had not only accepted the situation that had developed in the Netherlands since 1795, but also wished it to be continued (Note 62). The restitution of the collections carried off to France could only be considered in its entirety after the defeat of Napoleon at the Battle of Waterloo on 18 June 1815- This was no simple matter, but in the end most, though not all, of the former possessions of William V were returned to the Netherlands. What was not or could not be recovered then (inc.uding 66 paintings, for example) is still in France today (Note 71)- On 20 November 1815 127 paintings, including Paulus Potter's Young Bull (Fig. 15), made a ceremonial entry into The Hague. But on 6 October, before anything had actually been returned, it had already been stipulated by Royal Decree that the control of the objects would hence forlh be in the hands of the State (Note 72). Thus William I no longer regarded his father's collections as the private property of the House of Orange, but he did retain the right to decide on the fulure destiny of the... painting.s and objects of art and science'. For the time being the paintings were replaced in the Gallery on the Buitenhof, from which they had been removed in 1795 (Note 73). In November 1815 the natural history collection was made the property of Leiden University (Note 74), becoming the basis for the Rijksmuseum voor Natuurlijke Historie, The print collection, part of the Royal Library in The Hague, was exchanged in May 1816 for the national collectiort of coins and medals, part of the Rijksmuseum. As of 1 Jufy 1816 directors were appointed for four different institutions in The Hague, the Koninklijke Bibliotheek (with the Koninklijk Penningkabinet ) , the Koninklijk Kabinet van Schilderijen and the Yoninklijk Kabinet van Zeldzaamheden (Note 80) . From that time these institutions led independenl lives. The king continued to lake a keen interest in them and not merely in respect of collecting Their accommodation in The Hague was already too cramped in 1816. By a Royal Decree of 18 May 1819 the Hotel Huguetan, the former palace of the. crown prince on Lange Voorhout, was earmarked for the Koninklijke Bibliotheek and the Koninklijk Penningkabinet (Note 87) . while at the king's behest the Mauritshuis, which had been rented up to then, was bought by the State on 27 March 1820 and on IO July allotted to the Koninklijk Kabinet van Schilderijen and the Koninklijk Kabinet van Zeldzaamheden (Note 88). Only the Koninklijk Kabinet van Schilderijen is still in the place assigned to it by William and the collection has meanwhile become so identified with its home that it is generally known as the Mauritshui.s'. William i's most important gift was made in July 1816,just after the foundation of the four royal institutions, when he had deposited most of the objects that his father had taken first to England and later to Oranienstein in the Koninklijk Kabinet van Zeldzaamheden. The rarities (Fig. 17), curios (Fig. 18) and paintings (Fig. 19), remained there (Note 84), while the other art objects were sorted and divided between the Koninklijke Bibliotheek (the manuscripts and books) and the koninklijk Penningkabinet (the cameos and gems) (Note 85). In 1819 and 182 the king also gave the Koninklijke Bibliotheek an important part of the Nassau Library from the castle at Dillenburg. Clearly he is one of the European monarchs who in the second half of the 18th and the 19th century made their collectiorts accessible to the public, and thus laid the foundatinns of many of today's museums. But William 1 also made purchases on behalf of the institutions he had created. For the Koninklijke Bibliotheek, for example, he had the 'Tweede Historiebijbel', made in Utrecht around 1430, bought in Louvain in 1829 for 1, 134 guilders (Pigs.30,3 I, Note 92). For the Koninkijk Penningkabinet he bought a collection of 62 gems and four cameos , for ,50,000 guilders in 1819. This had belonged to the philosopher Frans Hemsterhuis, the keeper of his father's cabinet of antiquities (Note 95) . The most spectacular acquisition. for the Penninukabinet., however, was a cameo carved in onyx, a late Roman work with the Triumph of Claudius, which the king bought in 1823 for 50,000 guilders, an enormous sum in those days. The Koninklijk Kabinet van Zeldzaamhedert also received princely gifts. In 1821- the so-called doll's house of Tzar Peter was bought out of the king's special funds for 2.800 guilders (Figs.33, 34, ,Note 97) , while even in 1838, when no more money was available for art, unnecessary expenditure on luxury' the Von Siebold ethnographical collection was bought at the king's behest for over 55,000 guilders (Note 98). The Koninklijk Kabinel van Schilderyen must have been close to the hearl of the king, who regarded it as an extension of the palace (Notes 99, 100) . The old master paintings he acquzred for it are among the most important in the collection (the modern pictures, not dealt with here, were transferred to the Paviljoen Welgelegen in Haarlem in 1838, Note 104). For instance, in 1820 he bought a portrait of Johan Maurice of Nassau (Fig.35)., while in 1822, against the advice of the then director, he bought Vermeer' s View of Delft for 2,900 guilders (Fig.36, Note 105) and in 1827 it was made known, from Brussels that His Majesty had recommended the purchase of Rogier van der Weyden's Lamentation (Fig.37) . The most spectacular example of the king's love for 'his' museum, however, is the purchase in 1828 of Rembrandt's Anatomy Lesson of Dr. Nicolaes Tulp for 32,000 guilders. The director of the Rijksmuseum, C. Apostool, cortsidered this Rembrandt'sfinest painting and had already drawn attention to it in 1817, At the king'.s behest the picture, the purchase of which had been financed in part by the sale of a number of painlings from. the Rijksmuseum, was placed in the Koninklijk Kabinet van Schilderijen in The Hague. On his accession King William I had left the art objects which had become state propery after being ceded by the French to the Batavian Republic in 1795 as they were. He reclaimed the collections carried off to France as his own property, but it can be deduced from the Royal Decrees of 1815 and 1816 that it Was his wish that they should be made over to the State, including those paintings that form the nucleus of the collection in the Mauritshuis. In addition, in 1816 he handed over many art objects which his father had taken with him into exile. His son, William II, later accepted this, after having the matter investigated (Note 107 and Appendix IV). Thus William I'S munificence proves to have been much more extensive than has ever been realized.

Objective – To explore how public services librarians in academic libraries perceive their duties and experience job satisfaction especially in relation to faculty status (tenure track or non-tenure). Design – A multi-site study. Setting – Academic libraries in the United States. Subjects – Academic public service librarians. Methods – In March 2004, an online survey containing 25 questions was sent out to 1,510 academic librarians across the United States. The survey included demographic and professional work-related questions, but mainly focused on retrieving information about librarian feelings, thoughts, and perceptions in relation to six aspects of the role of the public service librarian, namely: reference, collections, publishing, teaching, committee, and management activities. The survey data was stored in an SQL database and analyzed in various ways to try to see if there were correlations in the replies. In some cases, Chi-square was used to test for statistical significance. Main results – 328 (22%) out of 1,510 potential replies were received. 74% came from public universities and 26% from private institutions. 23% of the respondent librarians had received their MLA before 1980, 34% between 1980 and 1994, and 43% 1995 or later. About 50% had worked as an academic librarian fewer than 10 years and 50% for 10 or more years. About 50% had worked at their current institution five years or fewer and the other 50% for six years or more. 49% had job descriptions which clearly indicated the relative emphasis of each of the main areas of their job. 50% came from tenure-track and non-tenure-track institutions alike. The librarians were asked to reply to “most” and “least” questions. The following lists show the most chosen responses (in %) to the questions. “Most” questions: 80% felt that they were most prepared for reference activities by their library school training. 50% felt most satisfied with doing reference activities. 25% felt that administrators viewed reference activities as being most important. 41% thought that reference activities had most service impact on users. 24% found teaching activities the most challenging aspect of their job. 49% had attended most training in the area of reference activities. 31% thought that reference activities would be most important for them 5 years later on (that is, at the date of publication of this review, 2009). For those with a position description, 49% had descriptions that most emphasized reference activity. For those in tenure-track positions, 78 % replied that publishing activities were most important for tenure. “Least” questions: 28% felt that they were least prepared for teaching activities by their library school training. 44% felt that committee activities were the least satisfactory part of their job. 33% felt that administrators regarded publishing as the least important aspect of the job. 49% thought that publishing activities would have the least service impact on users. 46% thought that committee activities were the least challenging. 31% had attended least training in publishing activities. 35% thought that publishing activities would be least important to them 5 years later. For those with a position description, 33% had descriptions that least emphasized publishing activities. For those in tenure-track positions, 31 % replied that management activities were least important for tenure. There was a correlation at an individual level between reference activities considered as having the most service impact on users and giving the most job satisfaction; and what the librarian thought was the most important to administrators. There was an overall correlation between what librarians found most challenging and the type of in-service training they had attended, with the notable exception of publishing. The area of scholarly publishing was perceived generally as the second most challenging area (18%) after teaching. However, very few (2%) replied that they had (recently) attended in-service training in this area. Librarians with publishing as a clear component of their job description were more likely to find publishing challenging and to say that it was an important component for their administrators. Publishing was clearly considered important for tenure. There were some statistically significant differences between more- and less-experienced librarians and more- and less-recently qualified librarians. In general (according to the authors), less experienced librarians tended to place more emphasis on teaching and committee activities, whereas more experienced librarians tended to emphasize collection development and management. Conclusions – Generally, the authors conclude that “librarians feel that they are in tune with their library administrators” (360). The authors found a clear link between in-service training opportunities chosen by librarians and the areas that the librarians thought that the administration regarded as important. However, there seems to be discord between the requirements for tenure (the majority ranked publishing as most important for tenure) and the service needs of users, librarian job satisfaction, and the perceived demands of administrators. The authors conclude that academic librarianship is at a “crossroads” where “librarians need to decide how and if publishing activities can be successfully balanced with other job components that are arguably more central to the library’s mission” (363).

A Review of: Sukovic, S. (2009). References to e-texts in academic publications. Journal of Documentation, 65(6), 997-1015. Objective – To explore the role of electronic texts (e-texts) in the research and citation practices of scholars in the humanities. Design – A mixed-methods approach, employing a combination of quantitative and qualitative methods extended by semi-structured interviews. Setting – Six universities in Australia and one university in the United States. Subjects – Sixteen humanities scholars participated in the study, including nine historians and seven literary scholars. Methods – The study had two stages. The first stage included in-depth, semi-structured interviews, examination of participants’ manuscripts and published works, and evaluation of some e-texts mentioned during interviews. The second stage involved detailed data gathering from a group of four participants selected from the participants in stage one, followed by a final interview. Data were collected throughout 2005 and 2006. In total, the study investigated thirty research projects. In stage one, participants were asked to discuss one finished and one current research project in which e-texts were used as primary sources. Participants in the second stage were asked to record data about their interactions with e-texts during the current research project on forms and audiotapes. Researchers who completed forms and recorded comments were asked to discuss their view of e-texts in the research process. The interviews and tapes with comments were transcribed and coded to protect participants’ anonymity and strengthen the interpretive validity of the study. Data were analyzed by adopting a hermeneutical approach. The study results do not have any statistical significance and the findings cannot be generalized beyond the study data. Main Results – Participants in this study used a wide variety of e-texts for their research, but seldom included citations to these electronic sources in their published work. E-texts included digitized materials from libraries, archives, and private collections as well as ‘electronically born’ documents, works of art and popular culture artifacts. Of the 22 works resulting from the research projects examined during the study period, half did not cite e-texts as primary materials. The 11 works that made at least one reference to an e-text included 4 works in which the only reference was to e-texts created by the actual author. In total, only 7 works referred to e-texts created by outside authors. These 7 final works were written by 5 participants, representing 31 percent of the total number of study participants. Analysis of the participants’ citation practices revealed that decisions to cite an electronic source or omit it from publication were based on two important factors: (1) the perceived trustworthiness of an e-text and (2) a sense of what was acceptable practice. Participants established trustworthiness through a process of verification. To confirm the authenticity and reliability of an e-text, most participants compared electronic documents against a print version to verify provenance, context, and details. Even when digitized materials were established as trustworthy sources, however, hard copies were often cited because they were considered more authoritative or accurate. Traditions of a particular discipline also had a strong influence on a participant’s willingness to cite e-texts. Participants working on traditional historical topics were more reluctant to cite electronic resources, while researchers who worked on topics that explored relatively new fields were more willing to acknowledge the use of e-texts in published works. Traditional practices also influenced participants’ decisions about how to cite materials. Some participants always cited original works in hard copy, regardless of electronic access because it was accepted scholarly practice. Conclusions – The results of this study suggest that the small number of citations to electronic sources in publications in the humanities is directly related to researchers’ doubts about the reliability and authenticity of e-texts. Electronic resources provide a large body of primary data for research in literary and historical studies; however, the uncertain trustworthiness of many primary materials in electronic form makes these texts less acceptable for academic publications. The study provides suggestions for further research into the social dynamics that underpin and determine academic research practices and contemporary processes of knowledge production.

<p><strong>Abstract.</strong> Social media has made it possible for maps to reach massive audiences outside of traditional media sources. In some cases, social media maps are original designs crafted by users, in other cases they are modified or replicated from previous sources. It is now relatively easy for novice Internet users to create new maps or manipulate existing images, and social media provides a vehicle for these maps to become visible in ways that were simply not possible even a decade ago. In addition, traditional media sources now harvest content from social streams, and in some cases may amplify what was originally a socially-shared map.</p><p>Maps that rapidly reach popularity via social media can be considered viral maps. A key element of virality in social media is the structure of how content becomes viral. The concept of structural virality suggests that the nature of how media are shared is more important than the raw population that might see something (Goel, Anderson et al. 2016). For example, a social media user with millions of followers can broadcast their content to a large audience, but structurally viral content is media that does not require a major broadcaster in order to reach a large audience.</p><p>Previous work on viral cartography has shown how viral maps may develop conditions in which their audiences begin creating and repurposing maps in response, resulting in large collections of social media maps. For example, Robinson (Robinson 2018) showed how a viral election map resulted in hundreds of maps shared by social media users in response to the original work.</p><p>Viral maps and the maps that emerge in subsequent responses from social media users pose interesting challenges for cartographers to address. Understanding their design dimensions and the ways in which these maps are disseminated (often outside of the social media stream where they may have originated) are two key areas of potential research inquiry. Knowledge of design and dissemination in social mapping is necessary as well if we wish to understand the capability of social media maps to inform or actively disinform the public. We argue that the latter topic is of utmost importance given the relative ease of making maps today versus their clear rhetorical power in public discussion and debate.</p><p>New methods are emerging to characterize the design elements of social media maps and their context on the internet. For example, proprietary machine learning services such as Google Cloud Vison and Amazon Rekognition are used for real-time detection of faces, text, sentiment, image structure, and relevant web results. While the primary use case for these services is to support image moderation on social media, to improve search results, and to support marketing activities, these methods can also be applied to the study of social media maps in support of cartographic research.</p><p>For example, we have used Google Cloud Vision to characterize the design and dissemination of a viral map created and shared by Kenneth Field, a cartographer at Esri. In March of 2018, Field tweeted an image of a dot-density map showing the 2016 United States Presidential Election results. A unique aspect of this map was its ability to show one dot for each of the more than 60 million votes cast in the 2016 election. Field’s tweet was liked more than 10,000 times and retweeted over 4000 times, reaching millions of potential viewers.</p><p>Google Cloud Vision analysis of Field’s map highlights a range of election and cartographic entities that it finds relevant to the original posting (Figure 1). Field’s map generated website content that focused on both its meaning in terms of interpreting the 2016 election, as well as its technical execution in terms of cartography. It could be argued that these are not terribly surprising results, but this demonstrates nevertheless that an automated routine has the power to deliver sensible contextual information about map images. Extrapolating from one map to the millions that appear each year on social media, it becomes plausible then to apply machine learning methods to characterize their design and web context, even from streaming sources, as these methods are already built to support real-time analysis of streaming data.</p><p>The dissemination of a viral map can be characterized by the number of engagements via social means in both direct and indirect forms. Direct forms of engagement may include user actions to like, share, or reply directly to a social media post. Indirect types of engagement can include the number of people who saw an item in their social media feed, and the potential audience who may have the opportunity to see an item in their social media feeds. In addition, viral maps can become the focus of media attention from traditional news sources, and amplified further to their respective audiences. Finally, users may blog about a viral map or share them in private messages or group chats.</p><p>One way to understand the dissemination of a viral map is to take advantage of image analysis service capabilities to produce URLs that show full and partially matching versions of an image. Google Cloud Vision provides this capability along with its other image analysis functions. In the case of the Field dot density map of the 2016 election, webpages that reference the exact image from Field’s original tweet include media stories about his map, blog postings, e-commerce sites that sell printed versions of the map, and message forum discussions that reference the map. Partial image matching results reveal only a few sites that have derived versions of Field’s original maps, and all of those we reviewed were simply resampled versions of the original. Other partial image matching results included other types of dasymetric and thematic maps located on the web. For example, multiple cellular phone coverage maps are highlighted as partial matches to Field’s original work (Figure 2).</p><p>We hypothesize that there is considerable potential for social media maps to be sources of disinformation. Map remain a powerful means of communication, and it is easier than ever to create a new map or modify an existing map to convey misleading information. Future research may be able to leverage the attributes and links derived from machine learning image analysis services such as Google Cloud Vision to assess the potential for a viral map to be an agent of disinformation. For example, being able to quickly identify the original source for a map image and to characterize the constellation of websites on which it has been shared may aid users in evaluating the credibility of what they are seeing.</p><p>In November 2018, climate scientist Brian Brettschneider shared a map on Twitter that purported to show regions of the United States and their preferred Thanksgiving pie. This map went viral, drawing attention from traditional media sources as well as Twitter users with large audiences of their own, including one U.S. Senator. Many who saw this absurd map argued about its content because they incorrectly assumed it was based on real data. Brettschneider reflected on the power of creating and sharing fake viral maps in a subsequent article for Forbes (Brettschneider 2018), stating, “We cannot let maps, as a medium for communicating information, be co-opted by people with nefarious intentions. I pledge to do my part by clearly noting if a map is a parody in the future.”</p>

A Review of: Ryan, Susan M. “Reference Transactions Analysis: The Cost-effectiveness of Staffing a Traditional Academic Reference Desk.” Journal of Academic Librarianship 34.5 (2008): 389-99. Objective – To determine whether it is cost effective to staff an academic reference desk with librarians through an examination of the types of reference questions being asked and the qualifications required to answer them. Design – Content analysis of reference transaction logs and activity-based costing for reference services based on quantitative data derived from the logs. Setting – Stetson University, a private institution in the United States with an FTE of approximately 2500. Subjects – 6959 phone, email, and in-person reference transactions logged at the reference desk by four full-time and two part-time librarians. Methods – This study repurposes data originally collected to determine the frequency with which librarians turned to online versus print sources when responding to questions at the reference desk. Librarians working at the Stetson University library reference desk recorded all reference queries received in person, by phone, or by email for a total of eight months between 2002 and 2006. Data collection took place in two month intervals in fall 2002, spring 2003, spring 2006, and fall 2006. Each question and the sources used to address it were logged by the librarian. Directional questions that were not related to the library’s collections and technical questions dealing with printer or copier mechanical problems were counted, but the specifics of these questions were not recorded. It was felt that these queries would not yield data relevant to the original research question on sources used as they “did not directly relate to an information need” (391). A total of 6959 questions were logged by librarians during the four collection periods. Questions were recorded for only 4431 transactions; the remaining 2528 queries related to printer/copier problems or non-library specific directions and were described as “direction and machine: non-informational” (394). The 4431 recorded questions were then divided into four categories derived by the researcher: look-up (a search for a known item), directional (library-specific orientation to the space and collections), technology (assistance with using library technology and electronic resources), and reference. The category of reference was further subdivided into eight additional categories: catalogue search, citation help, database help, “guide to correct databases,” “personal knowledge or referral,” “quick internet search,” research, and Serials Solutions (392). “Guide to correct databases” referred to advice on the appropriate database to answer a question and serials solutions included questions that could be answered using the Serials Solutions product, such as the availability of a particular journal or article in the collection (392). Questions were assigned to the single most appropriate category by the researcher. Question categories were then mapped to “suggested staffing levels” (396). This determination was made by the researcher, and no details were given as to how the decision was made for each category. The three levels of staffing discussed were librarian, “trained student or staff,” and “well-trained staff/occasional librarian referral” (396). The cost of staffing the reference desk during the eight months captured in this study was calculated by multiplying the hours worked by each librarian by his/her individual average rate of pay across the four data collection periods. Indirect staff costs such as benefits were not included in this calculation. The average cost per reference transaction was determined by dividing the total salary costs by the total number of reference queries during the periods of study. Costs for those categories of questions best addressed by a librarian could then be determined. The actual number of librarians who participated in the study is unclear. The methodology refers to four full-time and two part-time librarians (391). However, later in the article there is reference to five full-time and three part-time librarians rather than the numbers initially stated (396). This may reflect staffing changes during the study period, with the first set of numbers referring to positions rather than individuals, but this cannot be verified with the evidence presented in the article. Main Results – It was determined that most questions asked at the reference desk during the study period could have been addressed by trained student and staff member rather than librarians. Only 11% (784) of questions logged were deemed sufficiently complex by the researcher to require the attention of a librarian. The remaining 6175 transactions (89% of all those logged) could most likely be handled by a different staffing complement. According to Ryan, approximately 74% of the reference transactions, including directional, technology, “quick internet,” and known item searching questions could have been answered by “trained student and staff” (396). Questions on catalogue searching, databases, citations, Serial Solutions, and personal knowledge/referrals, representing approximately 15% of all questions, could have been handled by experienced and knowledgeable staff with limited librarian intervention. The complexity of the question was in part judged by the number of sources required to answer it, with most (75%) answerable with just one source. The total cost of staffing the reference desk with librarians for the eight months studied was approximately US$49,328.00. A total of 6959 questions were logged during this period, resulting in an average cost of US$7.09 per reference transaction. This cost is approximate, as the exact time spent on each question was not recorded. The cost of answering “non-informational” directional and technical questions was the most significant (396). This category represented 36.3% of all questions received at the reference desk, with a total staffing cost of $17, 919.41 ($7.09 x 2528). “Information-orientated” directional and technology questions followed at 15.4% (US$7,620) and 12.4% (US$6,110.18) respectively (396). According to Ryan, questions in all three categories could be addressed by students and staff. The cost of addressing research questions, the only category requiring librarians, was US$5557.29. Research transactions were greatly outnumbered by directional and technology related questions. An average of 3.6 research questions were asked at the reference desk during the 12 hours it was open each day, compared to 20.8 directional/technical questions. Conclusion – The nature of questions logged at the Stetson University library reference desk suggests that it is inefficient to staff the desk with librarians, given the salary costs of such a staffing model and the fact that librarian’s skills may not be required to answer most of the questions posed. Since the number of questions that need a librarian is so low, Ryan suggests that alternative staffing and service models be considered, so the energies of librarians could be more effectively employed elsewhere in the organization in areas such as information literacy instruction and the development of enhanced web services. It is noted that any reorganization of reference services should be done in concert with user surveys, consultation with staff, and extensive training to prepare staff for new roles. Suggested areas for further research identified by the researcher include the quality of reference transactions in an increasingly online environment.

Problem statement. The main issues that exist in the management of strains of particularly dangerous microorganisms are primarily related to the weakening of state supervision and control. Surprisingly, nowadays, there is no single official register of owners of pathogenic microorganisms and strains of dangerous and especially dangerous infectious diseases. Some biological objects are found, even in private collections. There are no permitting procedures for handling such facilities and sanctions for violating them. That is why it is not surprising that the Prosecutor General’s Office has announced that the head of the State Research and Control Institute of Biotechnology and Microorganism Strains has identified dangerous virus strains that are known as infectious animal pathogens and can spread rapidly on a large scale across national borders. Dual-use studies should be supervised to address the risks arising from the development of biomedical sciences. Continuous monitoring and verification of scientific and technological advances sensitive from the point of view of security allow to minimize the possibility of the adoption of biological and toxic weapons and other risks. Analysis of recent sources and publications. Theoretical issues of legal regulation of activities in the field of circulation of certain groups of drugs containing strains of microorganisms, in particular in vaccination, attract the attention of many researchers. They were studied, in particular by: R.A. Maidanyk, I.Ya. Senyuta, etc. However, the peculiarities of activities in the field of particularly dangerous microorganisms’ strains treatment have been left without due attention of researchers, including specialists in medical law. Formulating Goals. The aim of the work is to study the state of relations in the field of especially dangerous microorganisms’ strains treatment legal regulation in Ukraine, analysis of the current legislation of Ukraine and the practice of its application in this area. There have been used scientific publications of leading experts and current Ukrainian legislation. The research is based on an organic combination of general scientific and special legal research methods. Presenting main material. The main sources of biological threats are: 1) epidemics and outbreaks of infectious human diseases; 2) epizootics (high incidence among animals); 3) epitophytia (spread of infectious plant disease in large areas); 4) accidents at biologically dangerous objects; 5) natural reservoirs of pathogenic microorganisms; 6) transboundary transfer of pathogenic microorganisms, representatives of flora and fauna, dangerous for ecological systems; 7) sabotage at biologically dangerous objects; 8) biological terrorism; 9) the use of biological weapons by the state. It should be noted that the regulatory framework in the field of particularly dangerous microorganisms’ strains treatment in the context of biosafety in Ukraine is fragmentary. Although the list of laws and other regulations governing biosafety and/or biosecurity in Ukraine is impressive. Nowadays, the use of strains of microorganisms is gaining popularity, in particular in agriculture, because they can be used for the needs of veterinary medicine and for the production of certain foods such as yogurt, kefir etc. Therefore, in addition to the basic law, regulation of the use of strains and protection of rights to them is regulated by other acts, in particular the Law of Ukraine “On protection of rights to inventions and utility models”. Namely, in accordance with Part 2 of Art. 6 strains of microorganisms that have been bred or would be bred shall be considered as the objects of the invention. It follows that the owner who invented the strain must certify the authorship and the right to obtain a patent or declaratory patent. However, this procedure, unlike others, is complicated. After all, to obtain a full patent, you need to conduct an appropriate qualification examination, which would establish whether the strain meets the conditions of patentability. Also, in addition to filing an application for the invention of a utility model and obtaining a patent, in accordance with the Law of Ukraine “On Veterinary Medicine” when registering a domestic veterinary immunobiological agent, the applicant must deposit strains of microorganisms in a special collection – depository. There are currently three national depositories in Ukraine, each of which specializes in a specific type: non-pathogenic strains; pathogenic to humans; pathogenic to animals. The procedure of depositing strains of microorganisms is carried out in accordance with the Instruction on the procedure of depositing strains of microorganisms in Ukraine for the purpose of patent procedure, approved by the order № 106/115 of the State Patent and the National Academy of Sciences of Ukraine of 26.06.1995. Moreover, in accordance with the Regulations on the National Center for Microorganism Strains and the procedure for depositing microorganism strains, approved by the Cabinet of Ministers of Ukraine regulation № 637 of 07.05.1998, deposit of microorganism strains in Ukraine is carried out by the National Center for Microorganism Strains. Its task is to preserve the production and control of strains of microorganisms, maintain biotechnological indicators, control the state of their population, as well as the preparation of new strains. It is necessary to pay attention to the decision of the National Security and Defense Council of Ukraine “On Biosafety of Ukraine”, which states that at the moment there is an increase in the negative impact of various biological factors on the population, which may lead to threats of biological origin. The reasons for such plural regulation are: 1) the lack of a program on biosafety and prevention of biological terrorism, no national system of counteraction to possible biothreats; 2) no automated and integrated data banks on possible threats of biological and chemical origin. Funding and logistics for laboratories also remain unsatisfactory. Also, the state supervision and control in the field of biosafety is weakened, namely when the owner of high-risk facilities changes or when there is a risk of unauthorized access to laboratories due to imperfect protection of pathogenic microorganisms and strains of dangerous and especially dangerous infectious diseases, which in turn can lead to the leakage of pathogenic microorganisms into the environment and cause mass infectious disease. In addition, there is a legal gap in the legislation of Ukraine regarding the location and control of viral and biological laboratories by foreign states. However, in almost all European countries, as well as in the United States, domestic law prohibits the placement of such laboratories in these countries, because they are potentially dangerous to the population. The danger behind viral and biological laboratories, even with the strictest observance of all necessary safety rules, is extremely great, because the pathogenic microorganisms of human and animal origin in them are considered potential agents of biological weapons. Although Ukraine ratified the Convention on the Prohibition of the Development, Production and Stockpiling of Bacteriological (Biological) and Toxin Weapons and on their Destruction of 10 April, 1972, an agreement was signed in 2005 between the US Department of Defense and the Ministry of Health of Ukraine (expired on 31.05.2013) regarding cooperation in the field of prevention of the spread of technologies, pathogens and knowledge that can be used in the development of biological weapons and the US Department of Defense has begun construction of its objects on the territory of our country. At the same time, microbiological laboratories and production facilities are considered to be areas of the highest biological risk. Infecting of persons while working with microorganisms in laboratories is noted throughout the existence of microbiology and is considered as an indisputable confirmation of occupational hazards. In general, there is a wide variety of ways of potential attacks involving bio-toxic weapons and there are several ways to assimilate biotechnologies with their transformation into weapons due to: 1) use of various agents (e.g., bacteria, viruses, fungi, toxins, bioregulators); 2) use against various aims (humans, animals and plants); 3) different scales of application (tactical, strategic); 4) use for various purposes (open or covert war, murder, terrorism or criminal activity). Probably because of this, in 2012 the WHO adopted the Framework Strategy for Laboratory Biorisk Management for 2012-2016, aimed at creating sustainable global, regional and national plans for biological risk management in laboratories. It recognizes that “In accordance with the International Health Regulations (IHR (2005), all participating countries have made a legal commitment to evaluate, develop and maintain their national key oversight, evaluation and response functions”. Conclusions. The current state of legal regulation of relations in the field of strain management requires, given the intersectoral nature of the issue, consideration of the creation of a single intersectoral body for the supervision of hazardous biological objects. Such a body may not only be a licensing body, but also responsible for the introduction of a register of owners of hazardous biological objects that are not economic entities (for example, individual owners of collections of such biological objects). In this paper, it is impractical to consider the circulation of products with GMOs, on the one hand, this issue is perfectly regulated in other special regulations, on the other hand, today there is an issue concerning the treatment of dangerous strains of pathogenic viruses, bacteria and other microorganisms and toxins, as well as poisons of animal and plant origin. For entities engaged in economic activities with pathogenic microorganisms and strains of dangerous infectious diseases, it is advisable to introduce licensing of this type of activity, which requires further development of a bylaw on licensing conditions. For other persons who are the owners of such biological objects and who are not engaged in economic activities, it is necessary to introduce other forms of permit, including special requirements for their handling and storage conditions. The next important bylaw should be the Regulations on the state register of pathogenic microorganisms and strains of dangerous and especially dangerous infectious diseases. Particular attention should be paid to the disposal of hazardous biological objects. Nowadays, for example, there is no effective system for the disposal of vaccines and other immunobiological drugs that have expired (for reference, the shelf life of the flu vaccine is 7-8 months). The cost of recycling is not always profitable for pharmaceutical operators. There are cases when such drugs are falsified by replacing the expiration date, which adversely affect the health of patients. In this context, it can also be mentioned the fact of importing humanitarian aid in Ukraine in the form of a vaccine against measles and rubella (from the Ukrainian diaspora in Canada). The storage temperature of this vaccine was up to minus 48 degrees. After importation into the customs territory of Ukraine, given the shortcomings of customs legislation and the lack of effective control, the temperature regime was not observed. However, the Ministry of Health still carried out compulsory vaccination of children (there were cases of deteriorating health), which is not only negative for the health of children, but also for the very idea of vaccination. In this case, the Ministry of Health, given the interest, was not able to make the right and lawful decision. This is why an independent intersectoral body of state control (supervision) is needed.

In the new issue, our scientific journal offers you nine scientific articles. As always, we try to offer a wide variety of topics and areas and follow current trends in the history of science and technology. The issue of the journal opens with an article dedicated to the formation and development of natural history museology in Europe in the 15th–19th centuries. The development of scientific knowledge at that time affects the idea of the world order and the place of man in it, and the combination of knowledge with practical experience leads to the birth of true science. It is shown that one of the most important components of the development of natural sciences, in particular biological sciences, was the collection of naturalia (i.e. objects of natural origin), the rapid surge of interest in which contributed to the Great Geographical Discoveries. In chronological order, the further historical development of museum work from private collections in Italy to the formation of a prototype of a genuine museum, which performs the main museum functions such as amassment, storage and demonstration of collections, is considered. The article by Leonid Griffen and co-authors considers the object and subject of the history of science and technology, its place in the system of sciences. Today, more and more people are turning to the factors that determine the interaction of the society with the environment (productive forces of the society), to study which in the historical aspect and called a special scientific discipline the history of science and technology. The composition and development of the technosphere and noosphere are considered in the article. It is shown that the functioning of the technosphere is based on its interaction with the noosphere, which provides information about the environment and controls the effectiveness of interaction with it. It is formed by combining the mental structures of individuals through sign systems. The production process that ensures the functioning of the society begins with the noosphere, which through individual consciousness controls the actions of each individual, who through the means of production (technosphere) interacts with the natural environment. However, the gradual development of productive forces leads at some point to the fact that the information needed by the individual to perform all necessary actions for the benefit of the society, ceases to fit in his individual consciousness. As a result, there is a new social phenomenon the social division of labor. The cardinal solution to the problem is the prospect of humanity entering infinite space. The article by Jun-Young Oh and Hyesook Han is devoted to the study of what Understanding mathematical abstraction in the formularization of Galileo's law. Galileo's revolution in science introduced an analytical method to science that typifies the overall modern thinking of extracting, abstracting, and grasping only critical aspects of the target phenomena and focusing on “how”, which is a quantitative relationship between variables, instead of “why”. For example, to him, the question of 'why does an object fall' is of no significance; instead, only the quantitative relationship between distance from the falling object and time is important. Yet, the most fundamental aspect of his idea is that he introduced a quantified time t. Because, according to atomic theory, vacuum exists between an atom and an object composed of atoms or between objects – ignoring factors that interfere with motion, such as friction – the space for absolute time, which is a mathematical time, can be geometrically defined. In order to justify this mathematical abstraction strategy, thought experiments were conducted rather than laboratory experiments, which at that time were difficult to perform. The article by Vasyl Andriiashko and co-authors provides a thorough overview of the evolutionary process of the emergence, establishment, and development of the Kyiv school of artistic textiles. It reveals the influence of various factors (ideological, political, economic, and aesthetic) on this process. The historical and factual method allowed us to study socio-economic, as well as historical and cultural factors that contributed to the emergence, establishment, and development of the Kyiv textile school in a chronological sequence. It is established that the very fact of emergence of the Kyiv school of artistic textile, as a community of style, unity of forms, preservation, and continuity of traditions, had unbiased backgrounds since Ukrainian decorative weaving, a part of which is Kyiv weaving, inherited the abundant artistic traditions that were created over the centuries and most vividly manifested through the art of Kyivan Rus. In the next article, the authors Artemii Bernatskyi and Mykola Sokolovskyi is devoted to the study history of military laser technology development in military applications. For better understanding and systematization of knowledge about development of historical applications in the military field, an analysis of publicly known knowledge about their historical applications in the leading world countries was conducted. The study focuses on development that was carried out by the superpowers of the Cold War and the present era, namely the United States, the Soviet Union and the Peoples Republic of China, and were built in metal. Multiple avenues of various applications of laser technology in military applications were studied, namely: military laser rangefinders; ground and aviation target designators; precision ammunition guidance systems; non-lethal anti-personnel systems; systems, designed to disable optoelectronics of military vehicles; as well as strategic and tactical anti-air and missile defense systems. The issues of ethical use of laser weapons and the risks of their use in armed conflicts, which led to an international consensus in the form of conventions of the United Nations and the International Committee of the Red Cross, were also considered. As a result of the analysis, a systematic approach to the classification of applications of laser technology in military products by three main areas of development was proposed: ancillary applications, non-lethal direct action on the human body and optical devices of military equipment, and anti-aircraft and anti-missile defensive systems. The author of the following article considered the front line transporter as the embodiment of the USSR military doctrine in the middle of the 20th century. The paper based on a source analysis of the history of creation, design, and production of LuAZ-967, LuAZ-967M, against the background of the processes of implementing projects of small tactical high mobility wheeled vehicles for the armies of European countries, shows that the developing, testing, and commissioning a front line transporter became a deepening of the process of motorization of the Soviet army. The designs of similar vehicles have been analyzed. An attempt to assess the degree of uniqueness of the front line transporter design and its place in the history of technology, as well as its potential as a reminder of science and technology has been made. An analysis of the front line transporter design, its systems, compared with its foreign counterparts, suggests that it is a Soviet refinement of the concept of a small army vehicle, a more specific means directly for the battlefield. At the same time, it was developed taking into account foreign developments and similar designs, imitating individual designs, adapting to the capabilities of the USSR automotive industry. The next article is devoted to the study, generalization and systematization of scientific knowledge about the history of the establishment, development and operation of the regional railway system in Bukovyna in the second half of XIX – early XX centuries. The authors attempted to analyze the process of creation and operation of railways in Bukovyna during the reign of the Austro-Hungarian Empire based on a wide range of previously unpublished archival documents, periodicals, statistical literature and memoirs. The article studies the development of organizational bases for the construction of railways, the activity of the communication network management, lists a whole range of requirements and tasks set for railway transport in Bukovyna, the progress of their implementation, considers successes and difficulties in this work. The purpose of the article by authors Sana Simou, Khadija Baba and Abderrahman Nounah is to reveal, recreate as accurately as possible the characteristics of an archaeological site or part of it. The restoration and conservation of monuments and archaeological sites is a delicate operation. It requires fidelity, delicacy, precision and archaeological authenticity. Research during the last two decades has proved that 3D modeling, or the digital documentation and visualization of archaeological objects in 3D, is valuable for archaeological research. The study has opted for the technique of terrestrial and aerial photogrammetry by 3D surveys of architectural elements, to develop an archetype of the deteriorated Islamic Marinid site (a dynasty between the 13th and 15th centuries), and the Roman site (25 BC), located at the Chellah archaeological site in Rabat and Salé cities. The data acquired build an architectural database to archive and retrieve the entire existing architecture of monuments. This study has been completed by photogrammetrists, architects, and restorers. The issue of the journal ends with an article devoted to the analyzing the prerequisites and conditions for the foundation of an aircraft engine enterprise in Ukraine. Based on the retrospective analysis, the prerequisites and conditions of the foundation of the aircraft engine enterprise in Aleksandrovsk, Ukraine, were considered. There was a severe gap between the Russian Empire and European countries in the development pace of the aviation industry during World War I. This prompted the Russian Empire to raise foreign capital, as well as attract technologies and specialists to develop aircraft engineering and other industries. By 1917, the plant had gained the status of Russia’s largest engine-building enterprise in terms of building area and one of the best in equipment. It is evident that the beginning of aircraft engine production in Aleksandrovsk relates to the establishment of a branch of Petrograd Joint Stock Company of Electromechanical Structures and the plant’s purchase from the Moznaim brothers. We hope that everyone will find interesting useful information in the new issue. And, of course, we welcome your new submissions.

Quilts and related textiles are a particularly capacious textile medium through which the intersection of materiality and narratives can be explored. There are thousands of extant historical examples to be found in public and private collections, and the "quilt world" of the early twenty-first century is robust and enormous. There are literally millions of individuals around the globe who are involved in some aspect of quilt production, preservation, and study. This article provides a brief overview of quiltmaking and quilt studies in the United States and in South Africa. It draws upon samples of work from both countries to illustrate how, through their needles and their stories, quilt artists provide unique windows into personal and public histories.

In February 2021, during the third COVID-19 lockdown in the state of Victoria, Australia, artist Shaun Wilson used the teleconferencing platforms Teams and Skype to create a slow cinema feature length artwork titled Fading Light to demonstrate how innovative creative practice can overcome barriers of distance experienced by creative practitioners from the limitations sustained during the COVID-19 pandemic. While these production techniques offer free access to develop new methodologies through practice, the wider scope of pandemic lockdowns mediated artists with teleconferencing as a tool to interrogate the nature of life during our various global lockdowns. It thus afforded a pioneering ability for artists to manufacture artwork about lockdowns whilst in lockdown, made from the tools commonly used for virtual communication. The significance of such opportunities, as this article will argue, demonstrates a novel approach to making artwork about COVID-19 in ways that were limited prior to the start of 2020 in terms of commonality, that now are “turning us all into broadcasters, streamers and filmmakers” (Sullivan). However, as we are only just becoming familiar with the cultural innovation pioneered from the limitations brought about by the pandemic, new aesthetics are emerging that challenge normative traditions of manufacturing and thinking about creative artefacts. Teleconferencing platforms were used differently prior to 2020 when compared to the current pandemic era. Throughout the 2000s and 2010s, there were no global gigascale movement restrictions or medical dangers to warrant a global shutdown that would ultimately determine how a person interacts with public places. In a pre-pandemic context, the daily use of teleconferencing was a luxury. Its subsequent use in the COVID-19 era became a necessity in many parts of day-to-day life. As artists have historically been able to comment through their work on global health crises, how has contemporary art responded since 2020 in using teleconferencing within critical studio practice? To explore such an idea, this article will probe examples of practice from artists making artworks with teleconferencing about pandemics during the COVID-19 pandemic. Discussion will purposely not consider a wider historical scope of teleconferencing in art and scholarship as the context in this article explicitly addresses art made in and commenting on the COVID-19 pandemic using the tools of lockdown readily available through teleconferencing platforms. It will instead concentrate on three artists addressing the pandemic during 2020 and 2021. The first example will be There Is No Such Thing as Internet from Polish artists Maria Magdalena Kozlowska and Maria Tobola, “performers who identify as one artist, Maria Małpecki” (“Pogo”). The second example is New York artist Michael Mandiberg’s Uncle Bob 85th Birthday via Zoom 3:00-4:00PM, August 16, 2020 (#24), from the series Zoom Paintings. The third example is Australian artist Shaun Wilson’s Fading Light. These works will be discussed as a means of considering teleconferencing as a contemporary art medium used in response to COVID-19 and art made as pandemic commentary through the technology that has defined its global social integration. Figure 1: Maria Małpecki, There Is No Such Thing as Internet, used with permission. There Is No Such Thing as Internet was presented as a live stream on 7 May 2020 and as an online video between 7-31 May 2020 in the “Online Cocktail Party with Maria Małpecki” at Pogo Bar, KW Institute for Contemporary Art, Berlin by Maria Małpecki and curator Tomek Pawlowski Jarmolajew (“Pogo”). The work represents a twenty-minute livestream essay created in part by a teleconferencing video call performance and appropriated video streams. This includes video chat examples from Chomsky and Žižek, compiled together through intertextual video collages which The Calvert Journal described as a work “that explore[s] identity and different modes of communication in times of isolation” (De La Torre). One of the key strengths of this work in terms of teleconferencing is how it embraces the medium as an integral part of the performative methodology. To such an extent, one might argue that if it was removed and replaced by traditional video camera shots, which do feature in the video but are not the main aesthetic driver, the Metamodernist troupe of Małpecki’s videos would not perform the same critique of the pandemic. So, for Małpecki to comment on isolation through the Internet requires video calls to be central in the artwork in order for it to hold the cultural value it embeds through the subject. The conceptual framework relies on short segments to create episodic moments reliant on philosophical laments relating to each part of the work. For example, the first act unfolds with a montage of short video clip collages reminiscent of the quick-clip YouTube browsing habit culture from the pandemic to expedite an argument that indeed, there really is no singular internet. Rather, from this, what we are experiencing is arguably something else entirely. From here we move to the second act titled “We wake up in a different room every morning. We wander in a labyrinth where most doors are already open” (Małpecki); but as Małpecki comments, “sometimes our job is to shut them”. The sequence evolves into a disorientating dual screen sequence of the artists panicking to what they are viewing on screen. What this is exactly remains unclear. It may be us as the audience or something else as Malpecki holds their webcam devices upside down to provide an unnerving menage amidst the screams and exacerbations that invites spatial disorientation as a point of engagement for the viewer. As we recognise that video call protocols during the pandemic are visually static and that normative ‘rules’ of video calls require stabilised video and clean sound, Małpecki subverts these protocols to that of an uncomfortable, anarchic performance. It's at odds with the gentility of video call aesthetics which, in the case of this artwork, is more like watching a continuous point of view shot from a participant on a roller coaster or an extreme fairground ride. As the audience moves through each of the eclectic acts, this randomness laments a continuity that, sometimes satirical and at other times sublime, infuses the silliness and obliqueness of habitual lockdown video viewing. Even the most mundane of videos we watch to pass the time have become anthems of the COVID-19 era as a mixture of boredom, stupidity, and collective grief. Małpecki’s work in this regard becomes a complex observation for a society in crisis. It eloquently uses video calls as a way to comment on what this article argues to be an important cultural artefact in contemporary art’s response to COVID-19. Just as Goya subverted the Venetian pandemic in the grim Plague Hospital, Małpecki reflects our era in the same disruptive way by using frailty as a mirror to reveal an uneasy reflection masked in satirical obscurity, layered with fragments of the Internet and its subjective “other”. Figure 2: Michael Mandiberg, Uncle Bob 85th Birthday via Zoom 3:00-4:00PM, August 16, 2020 (#24), used with permission. Conversely, the work of New York artist Michael Mandiberg uses teleconferencing in a different way by painting the background of video calls onto stretched canvases mostly over the duration of the actual call time. Yet in doing so, the removal of people from inside the frame highlights aspects of isolation and absence in lockdown. At the Denny Dinin Gallery exhibition in New York, The Zoom Paintings “presented in the digital sphere where they were born” (Defoe). Zoom provided both the frame and the exhibition space for these works, with “one painting … on view each day [on Zoom], for a total of ten paintings” (“Zoom”). Describing the works, Mandiberg states that they are “about the interchangeability of people and places. It’s not memorializing a particular event; it’s memorializing how unmemorable it is” (Mandiberg; Defoe). This defines an innovative approach to teleconferencing that engages with place in times when the same kinds of absence experienced in the images of peopleless Zoom video calls mirror the external absence of people in public places during lockdown. Uncle Bob 85th Birthday via Zoom 3:00-4:00PM, August 16, 2020 (#24) is time stamped with the diaristic nature of the Zoom Paintings series. These works are not just a set of painting subjects interlinked through a common theme of paintings ‘about Zoom backgrounds’. They, rather, operate as a complex depiction of absence located in the pandemic, evidently capturing a powerful social commentary about what the artist experienced during these times. In doing so, it immediately prompts the viewer into tensions that conceptually frame COVID-19, whether that be the isolation of waiting out the pandemic in lockdown, the removal of characters through illness from the virus, or even a sudden death from the virus itself. The camera’s point of view illustrates an empty space where we know something is missing. At the very least the artist suggests that someone nearby once inhabited these empty spaces but they are, at present, removed from the scene or have vanished altogether. On 16 August 2020, the day that the painting was made, the New York Times estimated that 514 people in the United States died from COVID-19 (“Coronavirus”). When measured against a further death rate peaking at 5,463 people in the United States who died on 11 February 2021, the catastrophic mortality data in the United States alone statistically supports Mandiberg’s lament as to the severity of the pandemic, which serves as the context of his work. Based on this data alone, the absence in Mandiberg’s paintings intensifies a sense of isolation and loss insofar as the subjectivity embedded within the video call frame speaks to a powerful way that contemporary art is providing commentary during the pandemic (“Coronavirus”). Art in this context becomes a silent observer using teleconferencing to address both what is taken away from us and what visually remains behind. This article acknowledges the absence in Mandiberg’s paintings as a timely reminder of the socio-devastation experienced in the pandemic’s wake. Therein lies a three-folded image within an image within an image, not unlike what we see in Blade Runner when Deckard’s Esper Machine investigates the reflection in a mirror of someone else, and no more vivid than in Van Eyck’s Arnolfini Portrait. From a structural point of view, we witness Mandiberg’s images during its exhibition on Zoom in much the same conceptual way. In this case though, it is a mirrored online image of an image painted from a video call interpreted online from a recorded image transmitted online through teleconferencing. Through similar transactions, Shaun Wilson’s utilisation of video calls is represented in Fading Light as a way to comment on COVID-19 through the lens of Teams and Skype. The similarities of Fading Light to There Is No Such Thing as Internet stem obviously from the study of figuration used as the driver of the works but at the same time, it also draws comparison with Mandiberg’s stillness as represented in the frozen poses of each figure. At a more complex level, there is, though, a polar opposite in the mechanics that, for Mandiberg, uses video to translate into painted subjects. Fading Light does the opposite, with paintings recontextualised into video subjects. Such an analysis of both works brings about a sense of trepidation. For Mandiberg, it is the unsettling stillness through absence. In Fading Light it is the oppressive state of the motionlessness in frame that offers the same sense of awkwardness found in Mandiberg’s distorted painted laptop angles, and that makes the same kind of uncomfortableness bearable. It is only as much as an audience affords the time to allow before the loneliness of the subject renders the Zoom paintings a memorial to what is lost. Of note in Fading Light are the characteristically uncomfortable traits of what we detect should be in the frame of the subject but isn’t, which lends a tension to the viewer who has involuntarily been deprived of what is to be expected. For a modern Internet audience, a video without movement invites a combination of tension, boredom, and annoyance, drawing parallels to Hitchcock’s premise that something has just happened but we’re not entirely sure exactly what it was or is. Likewise, Małpecki’s same juxtaposition of tension with glimpses of Chomsky and Žižek videos talking over each other is joined by the artists’ breaking the fourth wall of cinema theory. Observing the artists lose concentration while watching the other videos in the video call scenario enact the mundane activities we encounter in the same kinds of situations of watching someone else on Zoom. However, in this context, we are watching them watching someone else whom we are also watching, while watching ourselves at the same time. Figure 3: Shaun Wilson, Fading Light, used with permission. The poses in Fading Light are reconfigured from characters in German medieval paintings and low relief religious iconography created during the Black Death era. Such works hang in the Gothic St. Michael’s Church in Schwäbisch Hall in Germany originally used by Martin Luther as his Southern Germany outpost during the Reformation. Wilson documented these paintings in October 2006, which then became the ongoing source images used in the 51 Paintings Suite films. The church itself has a strong connection to pandemics where a large glass floor plate behind the altar reveals an open ossuary of people who died of plague during the Black Death. This association brings an empirical linkage to the agency in Fading Light that mediates the second handed nature of the image, initially painted during a medieval pandemic, and now juxtaposed into the video frame captured in a current pandemic. From a conceptual standpoint, the critical analysis reflected in such a framework allows the artwork to reveal itself at a multi-level perspective, operating within a Metamodernist methodology. Two separate elements oscillate in tandem with one another, yet completely independent, or in this case, impervious to each other’s affect. Fading Light’s key affordance from this oscillation consolidate Wilson’s methodology in the artwork in as much detail as what Małpecki and Mandiberg construct in their respective works, yet obviously for very different motivations. If the basis of making video art in the pandemic using teleconferencing changes the way we might think about using these platforms, which otherwise may not have previously been taken serious by the academy as a valid medium in art, then the quiet meaningfulness throughout the film transcends a structured method to ascertain a pictorial presence of the image in its facsimile state. This pays respect to the source images but also embraces and overlays the narrative of the current pandemic intertwined within the subject. Given that Fading Light allows a ubiquitous dialogue to grow from the framed image, a subjective commonality in these mentioned works provide insight into how artists have engaged innovation strategies with teleconferencing to develop artwork made and commenting about the current pandemic. Whether it be Małpecki’s subversive pandemic variety show, the loneliness of Mandiberg’s Zoom call paintings or Wilson’s refilming of Black Death era paintings, all three artists use video call platforms as a contemporary art medium capable of social commentary during histo-trauma. These works also raise the possibility of interdisciplinary Metamodernist approaches to consider the implications of non-traditional mediums in offering socio-commentary during profoundly impactful times. It remains to be seen if contemporary video call platforms will become a frequented tool in contemporary art long after the COVID-19 pandemic is over. However, by these works and indeed, from the others to follow and not yet revealed, the current ossuary provides an opportunity for artists to respond to their own immediate surroundings to redefine existing boundaries in art and look to innovation in the methods they use. We are in a new era of art making, only now beginning to reveal itself. It may take years or even decades to better understand the magnitude of the significance that artists have contributed towards their own practices since the beginnings of the pandemic. This time of profound change only strengthens the need for contemporary art to preserve and enlighten humanity through the journey from crisis to hope. References Blade Runner. Dir. by Ridley Scott, Warner Brothers, 1982. “Coronavirus US Cases.” New York Times, 27 Mar. 2021. 28 Mar. 2021 <http://www.nytimes.com/interactive/2020/us/coronavirus-us-cases.html>. Defoe, Taylor. “‘It's Memorializing How Unmemorable It Is’: Artist Michael Mandiberg on Painting Melancholy Portraits on Zoom.” Artnet News 10 Nov. 2020. 19 Mar. 2021 <http://news.artnet.com/exhibitions/mandiberg-zoom-paintings-1922159>. De La Torre, Lucia. “Art in the Age of Zoom: Explore the Video Art Collage Unraveling the Complexities of the Digital Age.” The Culvert Journal, 5 May 2020. 19 Mar. 2021 <https://www.calvertjournal.com/articles/show/11788/online-performance-art-polish-artist-maria-malpecki-digital-age>. Goya, Francisco. Plaga Hospital. Private Collection. 1800. Małpecki, Maria. There Is No Such Thing as Internet. Vimeo, 2020. <http://vimeo.com/415998383>. Mandiberg, Michael. Uncle Bob 85th Birthday via Zoom 3:00-4:00PM, August 16, 2020 (#24). New York: Denny Dinin Gallery, 2020. “Pogo Bar: Maria Małpecki & Tomek Pawłowski Jarmołajew.” KW Institute for Contemporary Art, 7 May 2020. 19 Mar. 2021 <http://www.kw-berlin.de/en/maria-malpecki-tomek-pawlowski-jarmolajew/>. Sullivan, Eve. “Video Art during and after the Pandemic: 2020 Limestone Coast Video Art Festival.” Artlink, 2020. 19 Mar. 2021 <http://www.artlink.com.au/articles/4885/video-art-during-and-after-the-pandemic-2020-limes/>. Van Eyck, Jan. Arnolfini Portrait. Canberra: National Gallery, 1434. Wilson, Shaun. Fading Light. Bakers Road Entertainment, 2021. “The Zoom Paintings.” Denny Dimin Gallery, 12 Nov. 2020. <http://dennydimingallery.com/news/virtual_exhibition/zoom-paintings/>.

Purpose This paper aims to contribute to an understanding of current accessibility efforts and practice in librarianship by providing a broad overview of the information about services, resources and facilities on academic library accessibility pages. By compiling and analyzing data from 85 libraries, this study seeks to facilitate comparisons between current and past accessibility practice and to provide perspective on how libraries communicate to users about accessibility efforts across libraries. Design/methodology/approach The authors conducted a content analysis of 85 library accessibility pages from a sample population of 98 institutions, consisting of all members institutions of four US academic library consortia. Pages were coded for content elements regarding services, facilities, collections, staffing, assistive technologies and general information. Webpage features, architecture and accessibility/functionality were also assessed. Findings Libraries have broadened and strengthened efforts to publicize/provide services and resources to functionally diverse users. Pages most commonly prioritize information about assistive technologies, services and facilities. Pages varied greatly in size, complexity and detail, but public institutions' pages were more prevalent and informative than their private counterparts. Libraries can work to foreground accessibility pages and increase transparency and evidence of currency to improve communication to their users. Originality/value This study provides a large-scale content analysis of library accessibility webpages. It allows for comparison of the features and information most commonly featured on these important online points of service.

Abstract On 10 May 1964, on his return trip to the United States from Mecca, Malcolm X landed in Accra for a weeklong visit to the capital of the ‘Black Star of Africa’. This high-profile visit, which took place only nine months before Malcolm X's assassination, has assumed an important place in biographical accounts of his life, as key to understanding his religious and political transformation or ‘conversion’. Yet we know surprisingly little about how Malcolm X's visit resonated locally, what kinds of meanings it generated, especially in the new nation's capital. Based on newspaper accounts, private paper collections, and written and oral reminiscences, this article explores Malcolm X's visit as a significant moment for accessing the conflicting interpretations of race and liberation politics that converged, cohered, and collided in Ghana during the first decade of independence.

Although Frederick May (1911–85) is seen as holding an important position in the history of twentieth-century composition in Ireland, writing about May has been sporadic. There exists no serious biographical study to date and most of the commentary on the music has been superficial and frequently misleading. Utilizing the recently re-catalogued collection of May’s manuscripts in the Manuscripts and Archives Research Library in Trinity College Dublin (TCD) and also libraries and public collections in Cork, the United States, London, the Czech Republic and Vienna as well as a number of private archives, this essay attempts to build a clearer picture of Frederick May. It also clarifies May’s position on a number of issues that have been misrepresented or omitted in the literature to date. This essay aims to provide a more reliable basis from which future studies of May’s music and the development of his style can draw.