Articles de revues sur le sujet « Libraries, Sweden: Stockholm »

On March 10th, 2020 the Public Health Agency of Sweden raised the risk level for the spread of the coronavirus in Sweden to "very high". The capital Stockholm quickly emerged as the center for the spread and hospitals in the Stockholm Region switched to crisis management. This is the story of how the libraries at Stockholm’s three major hospitals handled their coronavirus journey during spring 2020: what actions were taken to uphold services and what lessons were learned.

ARLIS/Norden was founded in 1986 to bring together art libraries and art librarians of all kinds in the five Nordic countries: Denmark, Finland, Iceland, Norway and Sweden. The association has maintained close links with the IFLA Section of Art Libraries, and it hosted the Section’s meetings at Stockholm in 1989. ARLIS/Norden has received guests from other countries, while Nordic colleagues have participated in events in other countries. Its own annual meetings are the key events in ARLIS/Norden’s own programme.

Following the ARLIS/UK & Ireland study visit to libraries in Stockholm in June 2002, this article reports on the many fascinating aspects of the libraries visited, with particular emphasis on co-operation amongst them and especially the central role of the Royal Library/National Library of Sweden. Swedish colleagues have been most helpful in providing some of the details below, which are supplemented by data drawn from the web pages listed. Some information has also been adapted from reports by colleagues on this visit.

Drawing on Venkat Mani's concept of bibliomigrancy, and his suggestion to interconnect the study of libraries with the study of world literature, this article analyses two libraries with an explicit multilingual profile: The Nobel Library of the Swedish Academy and the International Library, both located in Stockholm. The primary aim is to examine the agency of these libraries in the construction of world literature, i.e. how foreign works are amassed and arranged with respect to nationality and language. The study begins with a comparison of the two libraries in terms of accessibility, users and acquisition policies. Special attention is then given to the arrangement of their online catalogues of literature from the perspective of nationality, translation and, in particular, language. The most frequent languages of each library's holdings are compared to their linguistic capital both in the global language hierarchy and specifically in Sweden, as well as to their literary capital. These comparisons reveal substantial differences between the libraries and call into question certain assumptions about the impact of location on the construction of world literature.

Vitterhetsakademiens Library (The Library of the Royal Swedish Academy of Letters, History and Antiquities) at the Swedish National Heritage Board is a partner in the development of new services in Sweden, both physically at the Library and digitally on the internet. An agreement signed by four partners in September 2007 aimed to strengthen and develop the Library’s services to the research community. In 2005 seven libraries in Stockholm formed a network with the specific aim of improving the quality of library services for research in the humanities. And in 2007 a new internet search service was launched which enables cross searching of major databases that cover various aspects of the Swedish cultural heritage; this includes two databases hosted by the Library. This process of cutting across institutional and sectoral borders has been facilitated by modern technology.

The 16th International Conference on Webometrics, Informetrics, and Scientometrics (WIS) and the 21st COLLNET Meeting, 2022 which was scheduled to be held from 10 to 12 November 2022 at Chulalongkorn University, Bangkok, Thailand was organized after a two-year break, due to the Corona restrictions, by COLLNET in association with the Society for Library Professionals (SLP) and Asian Chapter, Special Libraries Association (SLA) and Chulalongkorn University, Bangkok, Thailand for the professional growth of the library and Information Science professionals. The broad focus of the conference was on collaboration and communication in science and technology; scientometric research on Covid19; techniques for collaboration studies; informatics law and distributions; mathematical models of communication and collaboration; quantitative analysis of s&t innovations; evaluation indicators; collaboration in science and technology from both quantitative and qualitative points of view; bibliographic control bibliometric research data analysis and data mining; technology & innovations in libraries and their impact on measurement on learning, research and users technology transfer and innovation in library management through metrics. The aim of the conference was therefore to contribute to evidence-based knowledge on scientific research and practices, which in turn can contribute to institutional, regional, national and international policy-making in the field of research and innovation. This event was part of the successful COLLNET conference series (www.collnet.de). Previous COLLNET conferences were held in Berlin (Germany) in 2000, New Delhi (India) in 2001, Sydney (Australia) in 2001, Beijing (China) in 2003, Roorkee (India) in 2004, Stockholm (Sweden) in 2005, Nancy (France) in 2006, New Delhi (India) in 2007, Berlin (Germany) in 2008, Dalian (China) in 2009, Mysore (India) in 2010, Istanbul (Turkey) in 2011, Seoul (South Korea) in 2012, Tartu (Estonia) in 2013, Ilmenau (Germany) in 2014, Delhi (India) in 2015, Nancy (France) in 2016, Kent (UK) in 2017, Macau 2018 and Dalian (China) 2019.

The 16th International Conference on Webometrics, Informetrics, and Scientometrics (WIS) and the 21st COLLNET Meeting, 2022 which was scheduled to be held from 10 to 12 November 2022 at Chulalongkorn University, Bangkok, Thailand was organized after a two-year break, due to the Corona restrictions, by COLLNET in association with the Society for Library Professionals (SLP) and Asian Chapter, Special Libraries Association (SLA) and Chulalongkorn University, Bangkok, Thailand for the professional growth of the library and Information Science professionals. The broad focus of the conference was on collaboration and communication in science and technology; scientometric research on Covid19; techniques for collaboration studies; informatics law and distributions; mathematical models of communication and collaboration; quantitative analysis of s&t innovations; evaluation indicators; collaboration in science and technology from both quantitative and qualitative points of view; bibliographic control bibliometric research data analysis and data mining; technology & innovations in libraries and their impact on measurement on learning, research and users technology transfer and innovation in library management through metrics. The aim of the conference was therefore to contribute to evidence-based knowledge on scientific research and practices, which in turn can contribute to institutional, regional, national and international policy-making in the field of research and innovation. This event was part of the successful COLLNET conference series (www.collnet.de). Previous COLLNET conferences were held in Berlin (Germany) in 2000, New Delhi (India) in 2001, Sydney (Australia) in 2001, Beijing (China) in 2003, Roorkee (India) in 2004, Stockholm (Sweden) in 2005, Nancy (France) in 2006, New Delhi (India) in 2007, Berlin (Germany) in 2008, Dalian (China) in 2009, Mysore (India) in 2010, Istanbul (Turkey) in 2011, Seoul (South Korea) in 2012, Tartu (Estonia) in 2013, Ilmenau (Germany) in 2014, Delhi (India) in 2015, Nancy (France) in 2016, Kent (UK) in 2017, Macau 2018 and Dalian (China) 2019.

The International Programme Committee for the 5th International Evidence Based Library and Information Practice (EBLIP5) Conference invites you to submit oral presentations and posters for the conference, Bridging the Gap, to be held in Stockholm, Sweden from 29 June – 3 July 2009. We seek to build on the success of past conferences by including more disciplines, more sectors, more countries and more professional roles than ever before! The International Programme Committee for EBLIP5 invites research papers, reports of innovative practice and hot topic discussion papers. Key themes include, but are by no means limited to, the following: Bridging the gap…the Who? • ...between disciplines - communications and information studies; health and social care • ...between sectors - public and private sectors; health library sector/wider library information service sectors including academic, public, and special libraries; archivists and local libraries and collections • ...between cultures - developed and developing world; librarianship cultures; English speaking/other speaking countries Bridging the gap…the What? • ...the “implementation gap” - principles and practice; research/practice; research/policy; experiment/implementation; tradition/innovation; innovation and disinvestment; reflection and action, knowledge/action; personal learning to professional practice • ...the “expectation gap” - library services and user needs; the e-generation and the physical library • ...the “experimentation gap” – data and results; R&D and EBLIP; information seeking research/information literacy teaching; implementation and evaluation • ...the “skills gap” – practitioner knowledge and skills; librarians and research skills; leadership and implementation Bridging the gap…the How? • ...using marketing/advocacy • ...using data mining and management tools • ...through collaborative working (with teachers, with academics) • ...through communication (internal and external) • ...through management support and leadership • ...through international co-operation Abstract submission for oral presentations and posters is by e-mail to EBLIP5@kib.ki.se. Important dates: • Abstracts to be submitted by 31 October 2008. • Notification of acceptance will be received by 31 January 2009. • Confirmation of participation by mid-February 2009. • Registration opens in March 2009. • Deadline for submission of full papers - June 2009. See the conference video at .

As new Co-conveners for CLA’s interest group, EBLIG, we would like to take the opportunity to introduce ourselves. Sue Fahey is a public services librarian at the Health Sciences Library, Memorial University of Newfoundland, St. John's. Renée de Gannes-Marshall is the information specialist at the Canadian Dental Association in Ottawa. EBLIG's goals are: to represent the interests of librarians involved in evidence based librarianship and library related research; to organize continuing education opportunities for librarians in this area; to provide a means of communication between librarians involved in evidence based librarianship; to assist librarians with the dissemination of library research utilizing an evidence-based model; to support librarians' evidence based research with grants. We are pleased to announce the introduction of a new workshop grant which has been established to support and encourage the development of continuing education activities in evidence based librarianship in conjunction with local/regional/provincial associations or institutions. EBLIG Co-conveners and volunteers will evaluate applications and determine awards based on the established criteria, including relevance to the profession and to the advancement of evidence based librarianship, value to expected participants and regional/geographic location. We would like to award the first grant this year and have allotted a budget of $250 and set a deadline of October 15th, 2007. Please apply ASAP for funding for your fall course idea! For more information, go to http://eblibrarianship.pbwiki.com/EBLIG+Workshop+Incentive+Grants. An hour long Education Institute audio conference, Evidence-Based Librarianship: A Toolkit for Public Libraries, featuring presenters Virginia Wilson and Stephanie Hall, will be held on Tuesday, November 6th, at 12 pm. Virginia and Stephanie will present a toolkit tailored to public librarians and public library workers with tips on how to integrate EBL into the workflow. The toolkit will include key EBL articles, sources of evidence, and steps to take to put EBL into practice. Registration is $54 for members and $74 for non-members. For more information, go to http://www.thepartnership.ca/partnership/bins/calendar_page.asp. If you managed to make it to EBLIP4 or you missed out, but were wondering how you could get to the next conference, (especially after seeing conference abstracts posted on the website http://www.eblip4.unc.edu), we have been in touch with the main contact for EBLIP5 to be held in Stockholm, Sweden. Details on the conference, including event dates and venue, are forthcoming. As of July 31st, 2007, our interest group is 48 members strong from across Canada and the United States! For those who participate on the listserv and who live outside of Canada, did you know that you can join EBLIG without having to become a full member of CLA for a fee of only $30 CAD annually? For more details, go to http://www.cla.ca/about/igroups/evidence_based.htm. Also of note is the fact that non-members can participate on the listserv. We look forward to your comments and questions and invite you to participate in the activities set forth during 2007-2008. Participate on the listserv, contribute to the wiki, keep reading this journal, and get involved with EBL. Also, if you are a fellow "Facebooker", feel free to join the Evidence Based Librarians group (118 members strong at the time of writing!). We look forward to working with you.

545 Background: We have previously shown the prognostic value of PD-L1 protein and gene expression in early breast cancer (BC), however, the prognostic role of PD-1 expression remains unclear. Methods: The prognostic value of PD-1 in early BC was investigated using three different approaches: i) evaluation of PD-1 at the protein (IHC, immunohistochemistry in tissue microarrays) and mRNA levels in a retrospective patient cohort of 586 patients treated for early BC in Stockholm, Sweden between 1997-2005, ii) systematic review and trial-level meta-analysis of studies published in Medline, Embase, Cochrane Library and Web of Science Core Collection libraries on the prognostic value of PD-1 IHC expression, and iii) pooled analysis of transcriptomic data from 39 publicly available datasets for the prognostic capacity of PD-1 gene expression. Univariate and multivariable Cox regression models were used. Results: In the retrospective study cohort, PD-1 protein was significantly associated with biologically high-risk characteristics. PD-1 protein, but not gene expression, was correlated with improved overall survival (OS) (adjusted HR = 0.73, 95% CI 0.55 – 0.96, p = 0.023 and adjusted HR = 0.88, 95% CI 0.68 – 1.13, p = 0.307, respectively). In the trial-level meta-analysis, 4736 entries were initially identified and 15 studies, including our original cohort, fulfilled the predefined eligibility criteria. PD-1 IHC expression was not prognostic in unselected patients. However, a significant correlation to improved disease-free survival was seen within the triple-negative subtype (pooled multivariate HR = 0.57, 95% CI 0.29 – 0.90, p = 0.02). In the pooled gene expression analysis, PD-1 gene expression was associated with improved OS in the entire population (adjusted HR = 0.89, 95% CI 0.80 – 0.99, p = 0.025) and in basal-like (adjusted HR = 0.77, 95% CI 0.63 – 0.95, p = 0.014) tumors. Conclusions: PD-1 expression at the RNA and protein levels represent promising prognostic factors, especially in the triple-negative and basal-like subtypes. Standardization and further validation are needed prior to clinical implementation.

Hannes Olof Gosta Alfven was born in Norrkoping, Sweden, the son of Johannes Alfven (1878–1944) and Anna–Clara Romanus (1874–1947). Both his parents were practising physicians; they settled in the industrial town of Norrkoping because of their interest in social work. Hannes had one sister Anne–Marie (b. 1913), who became a librarian. His father, who grew up in Stockholm, had a strong interest in science and especially psychiatry. One of his father's many brothers was also a physician, Andrew Alfven; he was politically radical and devoted much of his time to giving evening lectures at worker's institutes. Another uncle, Gosta Alfven, was an agronomist with concern for environmental issues; he also took a private interest in astronomy, keeping a daily journal of luminosity of the stars. A third uncle, Hugo Alfven (1872–1960) was a musician, famous both as a conductor and composer.

The purpose of this article is to investigate how changes in the environment of a library affect the safety conditions of both visitors and staff. Using principles of Crime Prevention Through Environmental Design, crime and incidents of public disturbance from 2017 to 2020 from libraries in Stockholm, Sweden, are analyzed and later mapped using 3D models in CAD. These findings are inspected via fieldwork visits and then compared with answers from a safety survey with library visitors ( N = 112) and interviews with library personnel ( N = 6). Analysis of variance shows that crime and incidents of public disturbance decrease after these interventions, with clear impacts on their geography. A third of visitors indicate that there have been fewer problems after changes in the library are introduced while staff suggests that training prepares them to manage conflict situations more efficiently. The study concludes with a critical assessment of the methodology and makes suggestions to improve safety conditions in libraries.

AbstractPublic libraries are multifunctional places where visitors come to borrow books, use computers and socialise—all these activities impose a diverse set of safety demands on those responsible for these facilities. Drawing from environmental criminology and CPTED principles, this study proposes and tests a conceptual model to investigate the spatiotemporal nature of crime and other safety-related incidents in public libraries. Incidents recorded by personnel from 2017 to 2020 from two public libraries in Stockholm, Sweden are mapped using a three-dimensional model in CAD and compared with notes from fieldwork inspections and interviews with library personnel. Findings show that staff feel safe in the library, but mention unsafe situations that they avoid by taking precautionary measures. In addition, public disturbances, aggression, followed by crimes against property and vandalism vary both temporally and across different types of library environments. The design and layout of public libraries play a role in the libraries’ safety conditions (e.g. territoriality, surveillance opportunities), but some places are more challenging than others because of the activities they attract (e.g. entrances). The study concludes by critically assessing the proposed methodology and making suggestions to improve safety in public libraries and advance the role of place managers in multifunctional places.

PurposeThe aim of this research is to understand the relationship between cultural buildings, economic powers and social justice and equality in architecture and how this relationship has evolved over the last hundred years. This research seeks to identify architectural and urban elements that enhance social justice and equality to inform architectural and urban designs and public policies.Design/methodology/approachThe author explores the relationship between case studies of museums, cultural centers and libraries, and economic powers between 1920 and 2020 in Stockholm, Sweden. The author conducts a historical analysis and combines it with statistical and geographically referenced information in a Geographic Information System, archival data and in situ observations of selected buildings in the city. The author leverages the median income of household data from Statistics Sweden, with the geographical location of main public buildings and the headquarters of main companies operating in Sweden.FindingsThis analysis presents a gradual commercialization of cultural buildings in terms of location, inner layout and management, and the parallel filtering and transforming of the role of users. The author assesses how these cultural buildings gradually conformed to a system in the city and engaged with the market from a more local and national level to global networks. Findings show a cluster of large public buildings in the center of Stockholm, the largest global companies' headquarters and high-income median households. Results show that large shares of the low-income population now live far away from these buildings and the increasing commercialization of cultural space and inequalities.Originality/valueThis research provides a novel image of urban inequalities in Stockholm focusing on cultural buildings and their relationship with economic powers over the last hundred years. Cultural buildings could be a tool to support equality and stronger democracy beyond their primary use. Public cultural buildings offer a compromise between generating revenue for the private sector while catering to the needs and interests of large numbers of people. Therefore, policymakers should consider emphasizing the construction of more engaging public cultural buildings in more distributed locations.

AbstractUncertainty quantification (UQ) is an important benchmark to assess the performance of artificial intelligence (AI) and particularly deep learning ensembled-based models. However, the ability for UQ using current AI-based methods is not only limited in terms of computational resources but it also requires changes to topology and optimization processes, as well as multiple performances to monitor model instabilities. From both geo-engineering and societal perspectives, a predictive groundwater table (GWT) model presents an important challenge, where a lack of UQ limits the validity of findings and may undermine science-based decisions. To overcome and address these limitations, a novel ensemble, an automated random deactivating connective weights approach (ARDCW), is presented and applied to retrieved geographical locations of GWT data from a geo-engineering project in Stockholm, Sweden. In this approach, the UQ was achieved via a combination of several derived ensembles from a fixed optimum topology subjected to randomly switched off weights, which allow predictability with one forward pass. The process was developed and programmed to provide trackable performance in a specific task and access to a wide variety of different internal characteristics and libraries. A comparison of performance with Monte Carlo dropout and quantile regression using computer vision and control task metrics showed significant progress in the ARDCW. This approach does not require changes in the optimization process and can be applied to already trained topologies in a way that outperforms other models.

NB: Artiklen er på dansk, kun resuméet er på engelsk.In 1996, the newly-founded national conservative Dansk Folkeparti [Danish People’s Party] proposed in Parliament, for the first time, that the Danish state and government should demand that Sweden returns the spoils of war taken during the Dano-Swedish Wars in the 1600s. The demand has since been repeated six times in the Danish Parliament and at the Nordic Council in the last nearly 15 years. The demand included return of the Jyske Lov manuscript from 1241. The background was the notion that Sweden possessed what was called the “original edition”. This was the origin of the myth that the Swedes were in fact unaware that it was in their possession, and this was reinforced, in its moral expression of the demand for return, by the view that the manuscript constituted spoils of war from 1658-1659. The author of this thesis is of the opinion that the Dansk Folkeparti apparently had become aware of one of the most important recent discoveries in the history of the Danish Middle Ages, that is, historian Thomas Riis’ re-dating in 1977 (in his dissertation, Les institutions politiques centrales du Danemark 1100-1332. Odense, 1977.), of the oldest parts of the Codex holmiensis 37 (C 37) manuscript in the Kungliga Biblioteket, Sweden’s national library in Stockholm. This manuscript contains a transcript of Jyske Lov and had previously been thought to date from approximately 1350 but can now with certainty be dated to around 1276. It was also clear that the Dansk Folkeparti had misunderstood various aspects of the research results, leading it to put together its own particular version of the myth and, in doing so, politicised the results of historical research into the Danish Middle Ages to a degree never seen in recent times. At one point, the author of this thesis began to suspect that C 37 could not be spoils of war and therefore began a scholarly study of the issue that, in 2004, showed that, in fact, C 37 could not be spoils of war. The objective with this thesis has therefore been to trace the provenance of this myth and its political exploitation and to show the consequences of falsification of the spoils-of-war thesis, given the fact that research having shown that C 37 was not spoils of war but either purchased or bequeathed to the Kungliga Biblioteket in the 1720s, which made it possible, at the express political wish of the Danish government in 2009, for the author, as National Librarian and Head of the Royal Library, to undertake negotiations with Sweden on a voluntary, reciprocal, non-prejudicial exchange of C 37 with a corresponding Swedish law manuscript containing Swedish provincial law, Södermannalagen, New Royal Collection 2237, n. 4, that presumably arrived in Denmark in the second half of the 1700s. The thesis deals with the demonstration by recent research that Jyske Lov, proclaimed by King Valdemar the Conqueror in Vordingborg in March 1241, was considered as the first Danish national law (that it became “limited” to regional law for Jutland-Funen is a development from the end of the 14th or the beginning of the 15th century), with its survival and the re-dating of C 37 in 1977 (which thereby became the oldest extant manuscript containing a surviving version of the law, the contents of which are at least 25 and perhaps up to 50 years older than the later surviving version, which had previously been considered as the oldest). The thesis then traces the spoils-of-war notion in professional circles (it dates back to at least to 1976 in the non-professional context), considered to have appeared in 1991, its introduction to politics in 1996 and six subsequent questions raised in the Danish Parliament and at the Nordic Council up to 2009. Finally, the case is carried through to June 2010, when a draft exchange agreement was drawn up between the two Royal Libraries.

What is it like to work at a library where the largest journal subscription deal was terminated? How do the researchers really feel about it? And what solutions are recommended? In this episode, we explore what Swedish librarians and researchers experienced during the time period when they didn’t have a journal deal with Elsevier (from 2018-2020). Did they manage? Did they save money? And did the researchers from the institution really voice their concerns? Our guest is Cecilie Heyman Widmark, she is a librarian working with Open Access, Media and Publishing at KTH Royal Institute of Technology in Stockholm, Sweden. The host of this episode is Erik Lieungh.

Approximately 163 000 refugees came to Sweden in 2015, mainly from Afghanistan, Iraq, Syria and Somalia. Many of them were just children. These children have faced extreme dangers and endured extreme hardships but once in Sweden they receive a school education. A number of these children have been designated to schools in Spånga, in Stockholm, the capital of Sweden where I work. The absence of parents, language barriers, cultural differences, lack of earlier education along with other challenges must be acknowledged and addressed constructively in order for the school library to make a difference. A school library built for the digital age might give access to thousands of books, modern information technology, Internet and digital resources but it requires of its ́ users to be literate and to have digital literacy. Many of the children's language- and information and communication technology skills are poor and they are therefore not able to make good use of the school library without help. It requires of the professional school librarian to bridge over the gap.

Erik Gunnar Asplund’s Stockholm Public Library is considered an important building in the history of twentieth-century architecture, yet relatively few archival plans have been saved from the library’s extended design process from 1919–25 and its subsequent construction until opening in 1928. This work presents the first systematic review of the available, digitised archival plans from Sweden’s National Centre for Architecture and Design (ArkDes), and explains Asplund’s gradual design and development of the project. Subsequent alterations in the library are briefly summarised, followed by the results from an extensive 3D laser scanning process throughout and around the building as it undergoes a significant period of renovation and maintenance. The results from 3D laser scanning create the first comprehensive and detailed record of the building for supporting future research, teaching, and renovation work. This study emphasises the mutual benefits of combining historical and technological approaches, and conducting academic research in parallel with contemporary renovation projects of historical architecture.

Probably, you are enjoying the wonderful summer by reading books, books, and more books. We, too, are busy reading and enjoying summer so the news this time around is brief.In June, Barbro Lindgren was awarded the Astrid Lindgren Memorial award at the Stockholm Concert Hall. This award, founded in 2002 by the Swedish Arts Council, is the world’s largest award for children’s and young adult literature at 5 million SEK (about $700,000 CAD). If it sounds suspicious that a Swedish writer with the same surname as the Swedish award’s Swedish namesake has won, rest assured that it truly is open to the world. In fact, Barbro is the first Swede among the 14 recipients (12 other countries represented). The selection process begins 15 months before the award with nominations coming from very select nominating bodies in various countries.ALMA: http://www.alma.se/en/Nominating bodies: http://www.alma.se/en/Nominations/Nominating-bodies/Did you know about Ireland’s Laureate na nÓg (Children’s Literature Laureate)? Eoin Colfer, best known for his Artemis Fowl books, is the third laureate to hold the 2-year term. He will continue the project’s aims of introducing and raising the profile of high quality children’s literature in Ireland. According to Wikipedia, the only other Children’s Laureate equivalents are in the UK and the USA but it does look like Australia has one as well as Sweden in the non-English world (somebody should update wikipedia entry …).See: http://childrenslaureate.ie/Previous Laureate na nÓg: http://childrenslaureate.ie/laureate-na-nog/We are proud that our very own Coutts Education Library at the University of Alberta recently launched their newly renovated Canadian Children’s Book Centre (CCBC) collection. It is “one of 5 regional collections of Canadian children’s and young adult materials” with the others in Toronto, Vancouver (UBC), Winnipeg (UManitoba), and Halifax (Mt. Saint Vincent Univ.).Launch Photos and Blog post: http://blogs.library.ualberta.ca/ednews/index.php/2014/07/02/2765/CCBC collections: http://www.bookcentre.ca/library/regional_collections/Also in the Coutts education library’s CCBC, Deakin editor Robert Desmarais had an opportunity to interview Jill Bryant during the 2014 TD Canadian Children’s Book Week. See the interview here (6:53 duration): https://www.youtube.com/watch?v=NtdX4fj-CB4And yet one more CCBC-related note, the call for submissions for the Spring 2015 edition of “Best Books for Kids & Teens (BBKT) is out. The deadline is October 1, 2014. http://www.bookcentre.ca/news/call_for_submissions_best_books_kids_teens_spring_2015It struck me recently that a main source of summer reading for many Canadians is the biannual Cross Country Checkup Book List episode on CBC radio. So, I wondered if there were suggestions this summer for our readers. While most of the recommendations are for adults, there are a few that recall childhood reads (e.g. “Anne of Green Gables,” and “Who has seen the wind”) and a few suggestions:- "I think every high school student should be given a copy of Chester Brown's Louis Riel" (recommended by guest Craig Taylor)- “Anything by Charles De Lint ...pretty much the creator of Urban fantasy and intertwines stories of street kids with Gaelic and Aboriginal mythology” (from listener D. Price)http://www.cbc.ca/checkup/book-lists/2014/07/03/june-29-2014-summer-book-list/Have a great summer reading in the yard, on the couch, at the beach, in the family car, on a hammock, or wherever your summer reading finds you.David SulzDavid is a Public Services Librarian at University of Alberta and liaison librarian to Economics, Religious Studies, and Social Work. He has university studies in Library Studies, History, Elementary Education, Japanese, and Economics; he formerly taught in schools and museums. His interests include physical activity, music, home improvements, and above all, things Japanese.

Locating the Format What is format radio? At a glance, the answer might seem simple. In common parlance, the concept is often presented as a pejorative counterpart to non-commercial broadcasting. However, to render the concept synonymous with commercial broadcasting neglects its historical specificity. Previous research has demonstrated the nuanced factors at stake in the selection of music at specific broadcasting stations (Ahlkvist and Fisher 301-325). Beyond economic structures and conditions, however, remains the matter of whether we can posit an aesthetic expression that epitomises format radio. Previous research has focussed predominantly on semantic source materials and theoretical propositions to hone in on the question. However, my wager is that the signal content itself can help us reveal something about the nature of formats. To pursue such a task, the Swedish case offers a promising possibility. Swedish media archives provide the opportunity to study how, and if, formatting tendencies can be detected beyond the realm of commercial broadcasting. Unlike many of its global counterparts, Sweden maintained a public service radio monopoly until the late twentieth century. Throughout the 1980s, experiments were done with regional radio, and by 1993 full commercial licencing was permitted. The result is a rare situation where the entire flow of daily Public Service Broadcasting (PSB) can be studied from the 1980s onwards, which in turn allows for large-scale analysis of the relationship between organisation structure and content stylistics before and after the introduction of commercial broadcasting. Broadcasting in Sweden was during this time maintained by the company Sveriges Radio (SR), and had been in more or less the same form since the early 1920s. The organisation was not directly owned by the state, but financed through the so-called broadcasting licence, which in turn depended upon governmentally decided goals. The overall ambition was similar to the usual PSB objectives: the guiding documents for broadcasting would thus be inclined to emphasise values like objectivity and diversity – yet little is said about aesthetics (Banerjee and Seneviratne 10). This arrangement was the setting for regular conflicts throughout Swedish radio history, in which the demand of the audience squared off with the ideals of broadcasters. Yet in the last decade of the century, the media environment was about to change in a precedented way. During these years, conceptual and economic tension between commercial and public service radio reached new heights, in turn forcing the matter of formats on the agenda. Research by Stjernstedt and Forsman, while not exclusively focussed on radio formats, addresses the theme within the broader framework of commercial Swedish radio. Their findings, along with those of Hedman and Jauert, suggest the influence of commercial formats on Swedish radio prior to the formal introduction of commercial broadcasting. This allows for an interesting epistemic possibly: if their propositions are correct, it would allow us to study the character of radio formats, without being intermixed with the scope of commercial broadcasting. The following analysis thus attempts to track the actual changes in the content, which could reveal the influence of format radio on PSB. For critics like David Hendy and Wolfgang Hagen, the format comes down to a question of self-similarity, “Programmierung von Selbstverständlichkeit” as Hagen critically dubs it (333), supposedly induces a certain superficial uniqueness of music stations, despite a fundamental sameness in their content. For this reason, the analysis is focussed on repeated similarities in the musical content. Methodological Approach Given the significant role ascribed to music in the theorisation of radio formatting, this aspect appears to be a potentially apt focus for constructing an experimental analysis. This is also practical as it allows for the translation and application of established spectral analysis methods from the realm of music analysis. In the context of audio data, spectral analysis refers to a process where the frequency components of a sound signal are decomposed and examined as numerical values. This method is crucial in audio engineering to understand the underlying structure and composition of sound and can assist in identifying specific patterns or anomalies in audio data. The analysis uses a sampling approach, concentrating on full-day broadcasts from music channels P2 and P3 in order to capture the general channel characteristics. These were the two formal music channels of SR during the time, with P3, the popular music channel, being directed at a younger audience, and P2 offering a more diverse mixture of classic and world music. The data, selected randomly from five weekdays across each of the years 1988, 1991, 1994, and 1999, are examined for indicators of self-similarity and format structuring. The hypothesis guiding this study suggests that format radio, shaped by technical standards and theoretical principles, exhibits a degree of radiophonic self-similarity. This proposition is explored quantitatively, applying statistical methods to the spectral data to assess similarities. The analysis itself is executed in combining a set of Python libraries. Initially, a segmentation model from The National Audiovisual Institute of France is used to isolate the musical content from the broadcasts. Then, the audio analysis library librosa converts these segments into spectral data, providing insights into timbre, key, and tempo. The results are presented using Principal Component Analysis (PCA) visualisations. These visualisations employ dimension reduction to represent the relationships between audio segments in a Euclidean space, with the proximity of nodes indicating similarity between data points. Even though the PCA method has limitations, well-discussed in the methodological literature, it grants certain insight into the structure of the dataset (Jolliffe and Cadima). In essence the method uses two-dimensional space to plot the relationship between n-dimensional data objects. The implication is that the distance between each entry entails something about the general similarity between the features of these data points. Critical scholarship, like that of Johanna Drucker, has brought attention to the epistemological tendencies inherent in these standardised statistical methods. The PCA method was also at the centre of discussions concerning the general credibility of computational literary studies in 2019, and I here follow Andrew Piper’s conclusion that the limitations are less a reason to abandon ship, and more an encouragement to remain “skeptical” (11). Thus, it is a call for complementary and comparative approaches. In order to do this, my analysis also employs audio recognition tools to compare the feature elements of the data set. By comparing both these different levels of analysis, across yearly samples from the decade, the study traces the evolution of musical styles and formats, potentially relating them to wider technological, cultural, or sociopolitical shifts. Results Fig. 1: The distribution of observations from the years 1988, 1991, 1994, and 1999, arranged from the top right to the bottom left. For each year, around 1,000 songs from each channel were studied. Data from 1988 indicate that the popular music channel P3 had a somewhat broader distribution spectrum in its content than its more eclectic counterpart. Initially, this may seem counterintuitive, as one might expect the expanding range of classic and world music of P2 to exhibit greater sonic variety than a channel playing mainstream and popular music. A possible explanation for these results can be found in prior research. Musicologist Alf Björnberg has provided a detailed account of the musical content of Sveriges Radio. His narrative emphasises that P3 underwent a significant content shift during the 1980s. Throughout this decade, the channel began to accommodate artists and genres that had been marginalised in the expanding landscape of broadcast media for decades (320). While P2 was not without variation during this era, P3 experienced a more notable change, moving towards avant-garde rock and experimental electronic music. This shift reflects a broader trend in the radio landscape, where traditional boundaries of genre and style were increasingly blurred, allowing for more diverse and experimental sounds to emerge in mainstream channels. The visualisation of these data not only highlights these historical shifts but also provides a quantitative basis for understanding the evolution of musical trends and preferences within the radio broadcasting domain. Björnberg’s study, predominantly centred on playlists and textual documents, mainly focusses on the period up to the end of the 1980s. Shortly summarising the 1990s, Björnberg concludes that 'the effects of commercial competition were most noticeable for P3' (326), especially during the early years of this competition. The data reveal a surprising trend in this regard too. At first glance, it might appear that P3 is reducing its musical variety, which could be interpreted as a response to the new, more rigidly formatted radio landscape. However, this perception is an illusion created by the rescaling of graphs to accommodate P2's possibly drastic content expansion. When calculating the average distance between points in P3's data, it becomes evident that the variation remains within the same range, with a fluctuation of only 0.4. This figure contrasts with P2's distance, which increases from 34.2 to 46.7 between 1988 and 1994. Instead of P3 reducing its musical variety, it is P2 that broadens its musical offerings. This can be seen as a response to the identified issue. Sveriges Radio addressed the new competitive situation with two seemingly contradictory initiatives: seeking a unique sonic identity while emphasising "diversity with a quality signifier" (Björnberg). The developments in P2's data can be viewed as a concrete expression of this ambition to counter the entry of format radio with increased variation. These findings underscore the complexities and adaptive strategies in the broadcasting landscape, demonstrating how public broadcasters like Sveriges Radio navigated the challenges posed by commercial competition. By expanding and diversifying their musical content, channels like P2 showed a commitment to maintaining their relevance and appeal in a rapidly changing media environment. This study not only sheds light on the historical trajectory of Swedish radio but also offers broader insights into the dynamics of cultural adaptation and change within the media industry. However, it is crucial to understand what the analysis actually signifies – it is not an absolute statement about the variation in music, but rather an analysis based on a number of specific measures. The assessment of the musical content, as mentioned earlier, is based on the combined factors of tempo, key, and a simplified measure of timbre. These metrics are analytically recognised methods for categorising musical content and have been used in previous research to address genre variation (Bogdanov et al.). However, this does not necessarily mean that they provide a comprehensive understanding of how the music actually sounded. In the graphs above, the timbre data is represented by a median value. To more accurately capture the variation in the sound profile, it might be more appropriate to analyse a broader spectrum of frequency values. In the following graphs, values are compared over time across 13 different frequency bands, based on the first 30 seconds of each song. This refined approach allows for a more nuanced understanding of the sonic domain. By examining a wider range of frequency values, the analysis can potentially reveal subtler shifts in the musical characteristics of the radio channels over time. This method acknowledges that while tempo, key, and timbre are significant, they are only part of a more complex auditory picture. By broadening the scope of analysis to include more detailed frequency data, a richer and more textured picture of the evolution of musical content on these radio stations emerges. This approach offers deeper insights into the intricate ways in which radio programming responds to and reflects broader musical trends and listener preferences. Fig. 2: The distribution of observations from 1988, 1991, 1994, and 1999, from the top right to the bottom left. This approach to measuring audio content results in a less dramatic visualisation, with no longer a clear dominance in the pace of development; instead, both channels undergo a similar process of differentiation. What we observe here is a form of channel profiling, where both channels progressively establish a more distinct sound profile. According to the definition by Hendy and Hagen, this type of channel characterisation can be considered in terms of formatting. What is revealed is an increase in channel self-similarity. However, this empirical examination of audio material suggests a nuanced understanding of formatting. On one hand, both channels, particularly P2, expand certain aspects of their music. Simultaneously, the sound profile becomes more distinctly framed for each channel. Understanding this stylistic evolution compels us to reflect on what self-similarity means on a perceptual level. While self-similarity as a mathematical concept does not require comparative data points from another source, this value means little for the listener's perceptual experience. The content coherence of a channel, in terms of experience, depends on a contrasting example. This contrast is precisely what the two music channels within Sveriges Radio offered during this period. Their musical profiles became clearer by sonically contrasting with each other. Under this broader channel similarity, certain characteristics, such as tempo and key, appear to have been able to vary more freely. Nonetheless, this profiling represents a type of complexity reduction – an increased predictability within the format's constraints. These conclusions offer an indication on how radio channels adapt and refine their identities over time, responding to both internal objectives and external competitive pressures. It underscores the dynamic nature of radio broadcasting, where channels continually evolve their formats to maintain relevance and listener engagement. The nuanced understanding of formatting and self-similarity provides valuable insights into the strategic decisions made by broadcasters in shaping their auditory content. Björnberg echoes Hagen and Hendy’s tendency to primarily criticise the lack of creativity in radio formats. However, his focus is specifically on a certain format – the 'adult contemporary' (Björnberg). Against this backdrop, a comparative study of the audio content of commercial alternatives would indeed be interesting. Unfortunately, due to the scarcity of preserved material, compiling a proportionate dataset for such a study is challenging. However, we can still contemplate the general content of 'adult contemporary' music. One speculative approach to addressing this question is to examine the instruments used in the music to see if they align with specific format descriptions. Such an analysis could provide further insight into how the PSB style is changing under the stakes of commercial competition. Fig. 3: Percentage distribution of instruments in sub-segments from the music content of P2 and P3 in the sample data from 1988. The results offer a potential explanation for the questions raised by the initial graphs in this study. While P2 shows some variation, there remains a, perhaps expected, focus on string instruments and the piano. P3, on the other hand, displays a wide mix of content. Notably, there is a relatively high presence of the accordion – an instrument that is as lauded as it is loved within the Swedish context. The instrument belongs to a longer tradition of popular music, encapsulating both certain folk music traditions, as well as ‘dansband’ tunes. Already by the onset of broadcasting, the accordion split the audiences right down the middle (Hadenius 76), and by the late 1960s, it was proclaimed a “dead” instrument (Björnberg 257). Here, my results highlight a certain perseverance of the instrument, speaking to the resilience of this sound. While the accordion may seem peripheral to the 1990s debates about radio formats, this example serves both as a reminder of the persistence of stylistic questions and their emotional charge. Therefore, it is instructive to study the instrument distribution in the final year of the sample data. Fig. 4: Percentage distribution of instruments in sub-segments from the music content of P2 and P3 in the sample data from 1999. The historical development has several interesting tendencies. Whilst the general distribution of instruments on P2 remains similar, P3 has witnessed significant changes. The previous sample displayed a wide variety of sounds with high distribution, albeit with guitar at the top. The data from 1999 have developed in a more guitar-centred direction. While this provides certain analytical depth to the previous stages of analysis, it might also give a clue into the more general question of format radio. The results demonstrate a tendency towards a clearer channel identity, with a more unified sound. Extending the interpretation, we can also consider the results in a scope of international research. Eric Weisbard, alongside other researchers like Saesha Senger, has extensively mapped the content of the top charts during the final decades of the twentieth century, revealing a clear direction towards synth music and guitar-driven rock during the 80s and 90s. Since we cannot study the actual content of commercial broadcasting in Sweden during this time, such historical references remain a promising second-degree comparison. In this perspective, P3 partly mirrors global trends, illustrating the station's responsiveness to changing listener preferences and the dynamic nature of music consumption. We are here engaged in classical historical work, piecing together fragments of data from different types of sources. Nevertheless, the results indicate how old traditions and global trends intermingle in the construction of a national format: a soundscape where accordions and guitars reverberate in parallel. Summary The investigation into SR’s channels P2 and P3 during the 1980s and 1990s reveals a nuanced understanding of radio formatting and its implications. Both channels exhibit idiosyncratic approaches that blend various musical styles to develop distinct channel identities within the context of format radio. While the channels have moved towards more predictable and structured formats, reminiscent of commercial radio, this has not led to an overall homogenisation of content. Instead, each channel has developed a unique version of formatting, and maintained its distinct identity while incorporating elements of structure and predictability. Finally, this matter runs up against an epistemological question which has fascinated sound scholars for some time. To create format radio is to create a sound in time that feels uniform. Philosophers and psychologists have long debated whether sounds can at all be understood as continuous perceptual phenomena, and what it means for a sound to be 'the same' over time (for example, Moles). If sonic uniformity is a scientific challenge already on the time scale of the second, then radiophonic flows introduce whole new complications and questions. Here it is no longer the similarity between two tones in flow, but day-long broadcast products to be understood under the same channel identity. This requires a shaping of sound at completely different scale. The empirical study of such challenges has only begun. References Ahlkvist, Jarl A., and Gene Fisher. "And the Hits Just Keep on Coming: Music Programming Standardization in Commercial Radio." Poetics 27.5-6 (2000): 301–325. Banerjee, Indrajit, and Kalinga Seneviratne. Public Service Broadcasting: A Best Practices Sourcebook. Asian Media Information and Communication Centre, 2005. Björnberg, Alf. Skval och harmoni: musik i radio och TV 1925-1995. Stockholm: Etermedierna i Sverige, 1998. Bogdanov, D., J. Serr, N. Wack, and P. Herrera. "From Low-Level to High-Level: Comparative Study of Music Similarity Measures." Proceedings of the IEEE International Symposium on Multimedia (ISM'09), International Workshop on Advances in Music Information Research (AdMIRe'09). 2009. 453-458. Doukhan, David, et al. "An Open-Source Speaker Gender Detection Framework for Monitoring Gender Equality." 2018 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2018. Drucker, Johanna. Visualization and Interpretation: Humanistic Approaches to Display, Cambridge: MIT P, 2020. Forsman, Michael. Lokalradio och kommersiell radio 1975-2010: en mediehistorisk studie av produktion och konkurrens. Diss. Stockholms Universitet, 2011. Hadenius, Stig. Kampen om monopolet: Sveriges radio och TV under 1900-talet. Stockholm: Prisma 1998. Hagen, Wolfgang. Das Radio: Zur Geschichte und Theorie des Hörfunks – Deutschland/USA. Das Radio. Paderborn: Brill Fink, 2005. Hedman, L. "Radio." In Mediesverige 2003, ed. U. Carlsson. Gothenburg: Nordicom, 2002. Hendy, David. Radio in the Global Age. Cambridge: Polity, 2003. Jolliffe, Ian T., and Jorge Cadima. "Principal Component Analysis: A Review and Recent Developments." Philosophical Transactions of the Royal Society A 374 (2016). Juaert, Per. "Policy Development in Danish Radio Broadcasting 1980-2002: Layers, Scenarios and the Public Service Remit." In New Articulations of the Public Service Remit, eds. Gregory Ferrell Lowe and Taisto Hujanen. Gothenburg: Nordicom, 2003. McFee, B. et al. “Librosa: Audio and Music Signal Analysis in Python.” Proceedings of the 14th Python in Science Conference. 2015. 18-25. Moles, Abraham. Information Theory and Esthetic Perception. Trans. Joel E. Cohen. Urbana: U of Illinois P, 1966. Piper, Andrew. “Do We Know What We Are Doing?” Journal of Cultural Analytics 5.1 (2019). <https://doi.org/10.22148/001c.11826>. Stjernstedt, Fredrik. Från radiofabrik till mediehus: medieförändring och medieproduktion på MTG-radio. Örebro Universitet, 2013. Weisbard, Eric. Top 40 Democracy: The Rival Mainstreams of American music. Chicago: U of Chicago P, 2014.

The aspiration for truth that was a feature of the Age of Enlightenment was also a driving force for studying Baltic history, and for describing and drawing old buildings and ruins. This activity became more systematic in the next century, when the Baltic educated literati established learned societies. However, when the University of Tartu was reopened in 1802, the professor of aesthetics and related subjects focused on classical antiquity and neglected local art history. It was only in 1919, when the University was reorganised as a national institution of the independent Republic of Estonia, that a separate chair was established for art history. The competition for the first professor of art history resulted in the invitation of a Swedish art historian Tor Helge Kjellin (1885–1984), who launched the systematic study of local mediaeval heritage, especially churches. His arrival in Tartu in 1922 can be considered the starting point of the professionalisation of the research of Estonian art history. Estonian art historiography has been studied sporadically since the 1960s, with only a few articles published before the 2010s on the beginnings of professional art history education at the University of Tartu. The Soviet occupation of Estonia made it impossible to travel abroad to study Helge Kjellin’s written legacy in Swedish archives. After the restoration of Estonia’s independence, a new interest in Estonian art historiography emerged. The leading researchers of Estonian art historiography have been Juta Keevallik and Professor Krista Kodres, who have inspired me to study the 1920s. In 1919, following the example of the Nordic countries, a ‘chair of aesthetics and general history of art’ was also established at the University of Tartu. Yet it was not until the Estonian state had acquired part of the art collection of the Liphart Baltic German noble family that the competition for the chair of art history was launched in June of 1920. A year later, the Viennese professor Josef Strzygowsky was elected as the first professor of art history, but since he declined, the next candidate in the competition, the art history docent from Lund University, Helge Kjellin, was invited. He arrived in Tartu the next year, on 17 January 1922. On 23 January, he already appealed to the university rector to allocate rooms for his art history seminar: After all, art history is a new discipline at this university and so the university library is not stocked well enough with special literature on art history. Therefore, I have brought with me my own library […], and picture collection (photographs, slides, etc). Professor Kjellin pointed out that the art history seminar should also be provided with drawings and graphic art collections for the students to study different artistic techniques. He mentioned 15 chairs for students as part of the furniture needed for the seminar. However, a week later it turned out that about 40 students had registered for his seminars and about 100 wished to attend his lectures, most of them girls who thirsted for knowledge. In Estonia, art history was still regarded as a subject of general knowledge for the educated elite, rather than the scientific study of art, Kunstwissenschaft, which German scholars envisioned and had aspired to since the end of the 19th century, with the most important centres at the universities of Berlin and Vienna. However, it was precisely this new Scientific (or academic) art history that Kjellin wanted to establish in Tartu. Kjellin directly linked Tartu to Berlin. He had studied at Uppsala University with the Swedish art historian, then a docent, Johnny Roosval, and later at Lund University with Professor Ewert Wrangel. In turn, Heinrich Wölfflin and Adolph Goldschmidt were Roosval’s professors in Berlin. Roosval wanted to shape Swedish art history according to the German model. He inspired his students to choose Swedish mediaeval art as their subject, and Kjellin was one of the students who followed his advice. After graduating from Uppsala University in 1913, Kjellin worked at museums in Stockholm and Malmö, but was then invited by Wrangel to continue his studies in Lund where he also defended his doctoral thesis in 1917. Kjellin concentrated on the study of mediaeval Swedish churches. In Estonia as well, he wanted to discover the mediaeval influences from the island of Gotland on the churches in the Old Livonian island of Ösel and the county of Wiek (the western part of Estonia). Kjellin managed to engage at least some of his Estonian students to help him with his scholarly pursuits. In fact, the University of Tartu’s study system at that time encouraged students to already practice research methods in their first years. Seminars had a significant role in the teaching of art history at the beginning of the 20th century. Kjellin gave students practical exercises in the art history seminars at Tartu, e.g. they had to describe neoclassical buildings in the city of Tartu. Later they would catalogue the university library’s graphic collections. In seminars, they would present a paper on a chosen or given subject, but they would also discuss papers presented by their fellow students. During summer vacation, some students had the opportunity to put their knowledge into practice by helping Kjellin to describe churches in Saaremaa. Some more able students, who chose art history as their main subject, would even conduct independent research at archives in Tartu, Tallinn, and Riga, where they would also collect (photo)graphic and descriptive material on historic buildings and art. Kjellin already left the chair in Tartu in September of 1924 for financial reasons. The University of Tartu could not pay Kjellin the salary he requested because it was more than the Ministry of Education allowed. Foreign professors received larger salaries than Estonian professors anyway. Kjellin agreed to examine his students in 1925 as well and reviewed a few of his students’ master’s theses in 1926 and 1928. He also continued his research on Estonian medieval architecture and published a few studies in 1928 and 1932, but later dropped Estonian subjects from his fields of interest. As mentioned before, Kjellin had ca 100 art history students. A third of them took the final exam in art history. Only seven of them sat the exam at the most difficult level, which allowed them to defend a master’s degree in art history. Of these seven, only two defended their degree and only one of them – Voldemar Vaga – went to work as an art historian and later became Professor of Art History at the University of Tartu. Many of the female students who studied art history with Kjellin became history teachers in schools. However, Kjellin’s contribution to the study and teaching of art history, but also heritage conservation in Estonia, is fundamental. Together with the archaeology professor Aarne Michael Tallgren, he prepared the draft of the first heritage conservation law in Estonia, which was passed in the Estonian parliament in 1925. The study collections – photographs, slides, measurement drawings, and descriptions of the art history seminar (later cabinet) have retained their scholarly value even today. Although the chair of art history was left vacant starting from 1925, Sweden was once again the place from where the second professor of art history – Sten Ingvar Karling – was invited to Tartu in 1932. Kjellin had created excellent teaching conditions for the new professor and for future students to study art history at the University of Tartu.