Artigos de revistas sobre o tema "No bibliographic record is available on LRD"

This survey of the achievements of the Research Libraries Group (RLG) and its Art and Architecture Group shows the effectiveness of a collaborative approach in developing best practices and standards, and implementing new methodologies and technologies, to benefit the international art library and research communities. RLG members in Europe, North America and Australia include many of the major art research libraries. RLG offers services such as the RLIN bibliographic database and the MARCADIA retrospective conversion service in conjunction with projects documenting sales catalogue records (SCIPIO), preserving serials (the Art Serials Preservation Project) and facilitating the interloan of material between members. More recently the partnership between the RLG and the Getty Information Institute has made available an enormous range of art documentation work carried out by the Getty: standards and authority control work such as the Art & Architecture Thesaurus, the Union List of Artists’ Names and the Thesaurus of Geographic Names. In the 1980s the RLG conducted a survey identifying information needs in the humanities, which has led to resources such as the Bibliography of the History of Art becoming widely accessible, with the Provenance Index to follow shortly. This partnership is now active in the museum field, attempting to bridge the gap between the domains of secondary and primary materials in the field of art research. The REACH project (Record Export for Art and Cultural Heritage) is experimenting with the export of existing machine-readable data from heterogeneous museum collection systems, and testing the feasibility of designing a common interface for access which will complement RLG’s other resources.

The wide spectrum of full text and bibliographic information resources (e. g. Web of Science, Scopus), which Library for Natural Sciences of the Russian Academy of Sciences (LNS RAS) had in its subscription for the last few years, was a ground for the autors' efforts in developing of the modern system of selective dissemination of information (SDI system). At the same time, acquisition of information sources on traditional media has been steadily decreasing in recent years.Sources of bibliographic information in this SDI system are bibliographic databases Web of Science and Scopus, and full-text platforms of foreign scientific publishers (currently — several dozen, including John Wiley & Sons, Springer Nature and ScienceDirect).The users of the SDI system have opportunity to get two kinds of service: the first one is informing on the current issues of the scientific journals which are preselected by user himself; the second one is the thematic informing based on the keywords of user thematic requests. This SDI system has the important feature that distinguishes it from traditional definition of SDI systems: we do not restrict either lists of journals reported by users nor the bibliographic sources in thematic sets by the list of full text sources available via library’s subscription. The only condition for including specific journal in the SDI system for the first kind of service or including the bibliographic source in thematic sets for the second kind of service is existing of the source as electronic web entity. If user has made order for full text material from contents/thematic information set, the library retrieves such full text material via all available ways beginning with library’s subscription and finishing with interlibrary loan.We have selected e-mail sending of personalized information sets for our users, as it was the mode selected as preferable mode by our users themselves. Personalized information sets include ordinary fields of bibliographic record (incl. abstracts if available in protosource) and some fields for increasing navigation options of records: link to full text via DOI, link for article record in Scopus and PubMed, information about library’s subscription for source where specific record is published.

In 2009, a new company, SkyRiver, began offering bibliographic utility services to libraries in direct competition to OCLC’s WorldCat. This study examines the differences between the two databases in terms of hit rates, total number of records found for each title in the sample, number of non-English language records, and the presence and completeness of several elements in the most-held bibliographic record for each title. While this study discovered that the two databases had virtually the same hit rates and record fullness for the sample used—with encoding levels as the sole exception—the study results do indicate meaningful differences in the number of duplicate records and non-English-language records available in each database for recently published scholarly monographs.

The work of Latin American women artists is not adequately documented, nor is it sufficiently recognised in the major art reference works and bibliographies which thus fail to facilitate access even to documentation which is available in the USA. The author has been working towards a bibliographic apparatus that will bring together readily available sources on 20th century Latin American women artists. Much material has been found in the Art Exhibition Catalog collection in the Arts Library at the University of California at Santa Barbara. Two Cuban artists, Ana Mendieta and María Martínez-Cañas, are just two of some 200 artists from 20 countries represented in this project. (The revised text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1995).

The present work provides an updated checklist of helminth species infecting invasive murid rodents (Mus musculus, Rattus norvegicus, R. rattus, and Rattus sp.) in Mexico, including 35 helminth taxa (3 trematodes, 7 cestodes, 2 acanthocephalans, and 23 nematodes). The helminthological records were compiled from 18 studies conducted in seven Mexican states up to May 2020. Information on habitats, life stages, geographical locations, hosts, helminthological collections, prevalences, and bibliographic references are included, when available. Finally, a new locality record of the nematode Hassalstrongylus musculi in Yucatan is provided.

Automatically extracted metadata from scholarly documents in PDF formats is usually noisy and heterogeneous, often containing incomplete fields and erroneous values. One common way of cleaning metadata is to use a bibliographic reference dataset. The challenge is to match records between corpora with high precision. The existing solution which is based on information retrieval and string similarity on titles works well only if the titles are cleaned. We introduce a system designed to match scholarly document entities with noisy metadata against a reference dataset. The blocking function uses the classic BM25 algorithm to find the matching candidates from the reference data that has been indexed by ElasticSearch. The core components use supervised methods which combine features extracted from all available metadata fields. The system also leverages available citation information to match entities. The combination of metadata and citation achieves high accuracy that significantly outperforms the baseline method on the same test dataset. We apply this system to match the database of CiteSeerX against Web of Science, PubMed, and DBLP. This method will be deployed in the CiteSeerX system to clean metadata and link records to other scholarly big datasets.

The study reveals the publications of the Ukrainian Free Academy of Sciences in Germany that are available in the fund of Foreign Ukrainistics Department of Vernadsky National Library of Ukraine and represent the process of its formation, activity, development, and the names of scientists whose efforts led to UFAS. Sources of funding the scientific institution and publishing opportunities was found out, and the book description of the documents along with their meaningful content was carried out. A significant number of documents published by UFAS reveal its scientific directions and opportunities. Through the efforts of UFAS in Germany, the scientific world has been replenished with dozens of important works which represent Ukrainian science. The review of UFAS publications was published in a separate series “UFAS Chronicle”, and the publication “UFAS Bulletin” published monthly reports on the activities of the institution. Some groups (sections) prepared their “Collections” for printing. Monographs on current research were being published. The first issue of the bibliographic journal “Ukrainian Bibliological News”, the main topics of which are bibliology, archival science and library science, was published in the series “Bibliography”. The magazine kept records of Ukrainian printed materials in exile, published articles-reviews of UFAS leading scientists, analyzed the history of the magazine and reviews of new books about the figures of the Ukrainian word. Separate editions were published in the same series. An important task of the activities of FUD is to open the fund and popularize the diaspora book culture. The foundations for the further development and activities of UFAS in Canada and the United States were laid precisely in Augsburg, Germany. By organizing a center for the preservation and development of Ukrainian science in Germany, Ukrainian scientists have launched activities to establish strong scientific ties with European scientists and made it possible to integrate Ukrainian science into the world.

In addition to a list of valid names and synonyms, as provided by the Trichoptera World Checklist, access to the primary literature itself is essential for research in Trichoptera taxonomy and systematics. To improve access to bibliographic information, we established the Trichoptera Literature Database, http://www.trichopteralit.umn.edu, a bibliographic database of over 8,500 citations of literature on Trichoptera. In addition to compiling bibliographical information, we provided access to over 450 high quality Portable Document Format files (PDFs) of historically important, rare, or out-of-print older works as well as more current literature. To provide universal web access to this bibliographical resource, we constructed a dynamic, custom-designed, web application (PHP, Symfony framework) created to import Extensible Markup Language (XML) from the EndNote data file. The database allows the user to search by author and year of publication, displays citations in a standard bibliographic format, and provides download links to available PDF literature. Existing bibliographies of Trichoptera literature and online access to Zoological Record databases were used to accumulate citations. Protocols for scanning literature, issues regarding copyright, and procedures for uploading citations and PDFs to the database are established. We hope to create a collaborative framework of contributors by seeking regional, subject, or language organizers from the community of Trichoptera workers to assist in completing and maintaining this resource with the goal of lowering barriers to efficient access to taxonomic information.

Traditionally, archival description remained distinct from bibliographic description due to differences in material format, usage, and professional traditions. However, archival descriptive standards and practice have undergone numerous changes in recent years. This evolution is in part due to the advent of MARC and its adoption by the academic archives community. How much influence has the use of MARC and overall bibliographic description had on academic archival description as well as on the collaboration between traditional catalogers and archivists? To address this question, this article presents the findings of a landscape survey of the Association of Research Libraries members' descriptive practices surrounding MARC records, linked and embedded metadata, and authority records. Survey responses indicate that archival descriptive work remains concentrated in the archival domain, with archivists creating description as one component of job responsibilities at most institutions. Descriptive work—including MARC record creation—has not been passed off to cataloging colleagues despite their longer professional experience with the standard even though the OPAC is the most commonly cited archival information system available to respondents. Decisions about appropriate levels of description, standards to be employed, workflows, and other factors related to archival description do not appear to rely on external buy-in or approval in most repositories, and descriptive practices employ a mix of standards from both the archival and bibliographic traditions. These and other findings provide a baseline understanding of current archival descriptive practices and workflows, enhancing our ability to improve archival description and therefore findability and access to archival materials.

A Review of: Teper, J. H. (2019). Considering “sameness” of monographic holdings in shared print retention decisions. Library Resources & Technical Services, 63(1), 29-45. https://doi.org/10.5860/lrts.63n1.29 Abstract Objective – To investigate the degree to which books catalogued using the same bibliographic record differ and to consider the implications of these differences for cooperative monographic print retention programs. Design – Book condition survey. Setting – Academic library consortium in the United States of America. Subjects – 47 monographic titles, publication years 1851-1922, held by all consortium members and catalogued using the same respective OCLC record number. 625 out of a possible 705 circulating copies of these titles were available for item-level analysis via interlibrary loan. Methods – Book condition surveys were completed for all items and the resulting sets of assessment data points were analyzed to reveal trends. Main Results – 3.4% of items analyzed exhibited cataloguing errors (i.e., were catalogued using the wrong OCLC records), 56.8% retained their original bindings, 17.8% were marked to show previous ownership, 95.7% were complete with no missing content, 9.8% had no damage, and 18.9% had received identifiable preservation action. Conclusion – Books catalogued using the same OCLC record demonstrated many differences when compared at the item level. These differences are important in light of shared print retention programs and highlight a need for inquiry into the number of copies that should be retained to minimize the loss of uniqueness in print materials.

The article presents substantiation of the theoretical provisions underlying the National Standard GOST R 7.0.104—2019 “SIBID. Library and information services of the scientific library. Types, forms and modes of provision”. The author proves the expediency of applying cluster approach, allowed to consider the library and information service in terms of its content (type), form and modes of provision to users. The article demonstrates possibility of applying Standard not only to scientific libraries, but also to the libraries of other types. Definition of library and information service in the standard makes it possible to understand it as a specific result of library services and information activities of the library. The standard determines five types of services: library, bibliographic, information, bibliometric, consulting. Some of them are common to all types of libraries, but bibliometric services are specific feature of scientific libraries. Each type of services is implemented in one form or another, under which the standard refers to the method of providing library and information services in the framework of the existing scientific library organization of library and information services.Forms of library services: loan of a document for temporary use; transfer of its contents by copying; providing the possibility to familiarize with documents. Bibliographic services are implemented in the form of message containing reference or bibliographic advice on request, bibliographic list of publications and bibliographic products. Scientific libraries compose thematic or subject field indexes, lists of publications of individuals and collectives, lists with references to the works of specified persons and collectives. Bibliographic services include improving bibliographic literacy, training of users to create a bibliographic record, the formation of bibliographic apparatus of scientific and educational works. The recognized forms of information services are providing users with information products and full-text information, selected and systematized in accordance with the certain criteria. The prerogative of mainly academic and university libraries are bibliometric services, while the forms of their provision are quite diverse and depend on the degree of proximity of the scientific library directly to the research process and distribution of work in the structure of the research Institute. The standard establishes the following bibliometric services: providing user with formalized performance indicators of scientific work, creation of analytical product based on bibliometric and scientometric studies, checking of scientific works for incorrect borrowing. Consulting services are available in most libraries, but in scientific libraries there is added scientific advice on the design of scientific papers, normative, regulatory and administrative documents, presentation of results of individual research activities. The module includes not only the forms of services, but also the parameters specifying their provision: frequency, reason for rendering, targeting, economic characteristics, service location. Another contour of the module is the mode of providing and receiving services, which does not affect its essence, but may adjust its demand. Modes are characterized by the degree of independence of the user, synchronization of the order, execution and receipt of services, frequency of service, means and channel of communication. The article focuses on the service approach to library and information services. The intermediate version of the standard included the section “Service options” (on the ways to improve the comfort of obtaining library and information services by the user, based on his individual preferences), removed in the final version due to insufficient elaboration of the problem. In conclusion, the author notes that National Standard allows bring the service of scientists to their real needs and requests. As a perspective, the paper calls the development of Standard defining the mandatory range of services for libraries of each type and kind, as well as criteria for their qualitative assessment.

The methodology and technology associated with building information modeling (BIM) provide architects, engineers, and historians with concepts and tools that support the development of heritage projects. However, this specific form of BIM orientated towards buildings of patrimonial value—known as historic building information modeling (HBIM)—requires a distinct and additional view, accounting for aspects which are normally not attended to on projects involving new buildings. In an HBIM context, the parametric modeling process, the basis of any BIM procedure, involves the study of shapes, patterns, or standards for the establishment of particular collections of parametric objects, as well as the record of the available technology used to capture digital geometric data. In addition, all the information collected and generated through an HBIM process must be adequately managed, maintained, and archived. In the present study, we intend to list the most recent features of HBIM, based on a bibliographic review, encompassing distinct building situations (preservation, restoration, rehabilitation, and structural assessment); different technical equipment (drones, scanners, and photogrammetry); as well as diverse forms of geometric characterization (patterns, geometric rules, or curve generation) and ways of archiving data (stratigraphy, old drawings folders, or as-built models). With the aim of identifying, as an overview, we have presented the principal modeling strategies, technologic devices, and archive procedures, as a contribution to systematizing and organizing the dispersed practical and theorical studies related with HBIM.

A Toca do Paraguaio, assim como outros doze sítios do Holoceno antigo, localizados no Parque Nacional Serra da Capivara, no sudeste do Piauí, apresentam conjuntos culturais que atestam uma multiplicidade de comportamentos arcaicos datados entre 12 e 8 mil anos BP. Assim, com o objetivo de identificar similaridades e diferenças nesses comportamentos, bem como promover uma correlação entre os sítios datados desse período, realizou-se um levantamento de dados na bibliografia disponível, na documentação antiga relativa aos sítios e em observações diretas nos conjuntos arqueológicos, o que levou ao estabelecimento de um quadro preliminar cronocultural do Holoceno antigo no sudeste do Piauí.ARCHAEOLOGICAL CONTEXT OF THE PARAGUAYTOUCH AND ANCIENT HOLOCENE OCCUPATIONS IN SOUTHEAST PIAUÍ, BRAZIL ABSTRACTThe Paraguaio rockshelter, as well as a set of twelve other sites dated to the Early Holocene and located in Serra da Capivara National Park in the southeast of Piauí, present cultural assemblages that attest to a multiplicity of archaic behaviors between 12 and 8 Kyr BP. Thus, in order to identify similarities and differences in these behavioral aspects, as well as to promote a correlation between the different sites on the southeastern border of the Parnaíba Basin, a data collection was done in the available bibliography, in the old documentation related to the sites and through direct observations in the archaeological records, which led to the establishment of an Early Holocene chronocultural preliminary framework for the southeast of PiauíKeywords: Early Holocene; Paraguaio rockshelter; Holocene Cultures; Lithic Industry; Rock-art; Funerary behavior

Background: In the 1990s, the beta interferons and glatiramer acetate were introduced for treating relapsing-remitting multiple sclerosis. These medications have a demonstrated record of efficacy and safety, although they require frequent administration via injection and are only partially effective. The optimization of treatment in patients who do not respond adequately to this first-line therapy is essential for attaining the best long-term outcomes. Switching to the recently approved emergent therapies is a strategy to consider for treatment of patients with a suboptimal response. Objective: This review summarizes the mechanisms of action, clinical benefits, and safety profiles of current multiple sclerosis disease-modifying therapies, including highly efficacious monoclonal antibodies or convenient oral therapies, and with a special focus on the pegylated interferon beta 1a formulation. Methods: We reviewed the recent literature and human clinical trials on multiple sclerosis therapies by bibliographic search in PubMed and clinicaltrials.gov. Results and Conclusion: Although the first-line interferon beta exhibits a favorable benefit-torisk profile, treatment compliance is compromised potentially due to its known adverse events and frequent injectable administration. Less frequent dosing and improved pharmacological properties have been achieved by reaction of interferon beta with chemically activated polyethylene glycol. Provided that none of the available therapies show better effectiveness for all outcomes and their safety in clinical practice is of a fundamental concern, the pegylated form of interferon beta seems to keep its place as a competitive therapeutic option.

This article aims to describe the perception level of training of Brazilian Institute Foundation of Geography and Statistics (IBGE) employees who are designated in order to manage and Supervise Contracts. As described in Law No. 8,666 / 1993 and in the complementary legal framework, the performance of the contract must be monitored and supervised by a specially appointed Management representative. The bibliographic review technique was used as means of research, through the selection, record, interpretation and registration of published literature, published articles in recent journals, academic works, legislation and guidance manuals available to the public domain, as well as a data collection instrument based on a questionnaire applied to agents that exercise the role of contract inspectors into the IBGE State Units. The survey results indicate that the employees who are responsible for supervising contracts at this Foundation do not feel fully confident about having mastery of the legislation and the time needed to perform this function efficiently. In addition, they point out the complexities of legislation and some contracts as difficulties faced to carry out the tasks related to the function. The survey results indicate that the employees responsible for supervising contracts at this Foundation do not feel fully confident about having mastery of the legislation and the necessary time to perform this function efficiently. In addition, they point out the complexities of legislation and of some contracts, like difficulties faced to carry out the tasks related to the function.

The subgenus Onagrandrena was first recognized and described by Linsley and MacSwain (1956) to include those black Andrena that are oligolectic on plants of the family Onagraceae and have pollen-collecting hairs modified to collect the specialized pollen from those plants. The males are more difficult to recognize than the females and most males are very similar to those of Melandrena. Since first described, two species of Onagrandrena have been recognized that have pale vestiture in both sexes. However, the pollen collecting hairs of both of these are of the Onagrandrena type, both sexes have well-formed pronotal angles and lateral ridges, and the males have relatively narrow, long mandibles with reduced or absent subapical teeth. The species of Onagrandrena are very similar and are difficult to tell apart. Populations seem to be relatively isolated in desert locations with habitats amenable to the host plants. This, we believe, has led to a proliferation of species and we can detect slight average differences between populations from different geographic locations within some species. A few of these microgeographic races have been recognized in the literature as subspecies, but the present authors prefer not to formally recognize these races with names. The reader is referred to earlier sections of this revision (LaBerge l967, l969, l97l, 1973, l977, l980, l986, l989; LaBerge and Bouseman 1970, 1987; LaBerge and Ribble 1972, 1975; Bouseman and LaBerge 1979; Thorp, 1969; Donovan, 1977) for details of morphology and for a more complete bibliography of the literature on Andrena. No new morphological terms have been introduced in the present work and the bibliography presented includes only references cited in the text or not listed in earlier parts of the revision. Published locality and floral records are included in the appropriate sections near the end of each species account. Maps showing the known distributions of species (Figs. 2-6) do not have all listed localities spotted on them. Localities that could be located only in a general way, such as county, or could not be found on maps or in gazetteers are omitted. Considerable detailed information is available concerning the floral activity of several species of Onagrandrena in papers by Linsley, MacSwain, Raven and Thorp (1963a and b, 1964) and MacSwain, Raven, and Thorp (1973). These papers also provide brief notes on nesting burrows and an earlier paper by Linsley, MacSwain and Smith (1955) gives details on the nesting biology of a few species of Onagrandrena.

INTRODUCTION:Information specialists and others searching for Health Technology Assessments (HTAs) can use the ISSG Search Filter resource (SFR) to identify filters to incorporate into search strategies. This can save time and effort when designing searches and create more efficient searches that retrieve fewer and possibly more relevant database records (link available here: https://sites.google.com/a/york.ac.uk/issg-search-filters-resource/home).What are search filters? Search filters are collections of search terms designed to retrieve selections of records from bibliographic databases. Some filters are designed to retrieve records of specific study designs such as randomized controlled trials (RCTs) or systematic reviews; others aim to retrieve records relating to other features or topics such as the age or gender of study participants.Search filters may be designed to be sensitive, precise or balanced between sensitivity and precision.METHODS:When would you use a search filter in HTA? Search filters can be added to search strategies to limit to specific study types, for example, RCTs, mixed methods studies, systematic reviews. They can also be used when searching for other aspects of HTA such as patient views or specific age groups.The ISSG SFR includes sections listing search filters to help identify adverse effects, aetiology, economic evaluations, health state utility values, public views, and quality of life.RESULTS:How are filters used? A search filter is often used in combination with a topic search to restrict the search results to a specific type of record, for example, records reporting health state utility values or records of randomized controlled trials.CONCLUSIONS:Further guidance on the use of search filters can be found in the SuRe Info Search Filters chapter.

Objective – To better understand music information seeking behaviour in a real life situation and to create a taxonomy relating to this behaviour to facilitate better comparison of music information retrieval studies in the future. Design – Content analysis of natural language queries. Setting – Google Answers, a fee based online service. Subjects – 1,705 queries and their related answers and comments posted in the music category of the Google Answers website before April 27, 2005. Methods – A total of 2,208 queries were retrieved from the music category on the Google Answers service. Google Answers was a fee based service in which users posted questions and indicated what they were willing to pay to have them answered. The queries selected for this study were posted prior to April 27, 2005, over a year before the service was discontinued completely. Of the 2208 queries taken from the site, only 1,705 were classified as relevant to the question of music information seeking by the researcher. The off-topic queries were not included in the study. Each of the 1,705 queries was coded according to the needs expressed by the user and the information provided to assist researchers in answering the question. The initial coding framework used by the researcher was informed by previous studies of music information retrieval to facilitate comparison, but was expanded and revised to reflect the evidence itself. Only the questions themselves were subjected to this iterative coding process. The answers provided by the Google Answer researchers and online comments posted by other users were examined by the author, but not coded for inclusion in the study. User needs in the questions were coded for their form and topic. Each question was assigned at least one form and one topic. Form refers to the type of question being asked and consisted of the following 10 categories: identification, location, verification, recommendation, evaluation, ready reference, reproduction, description, research, and other. Reproduction in this context is defined as “questions asking for text” and referred most often to questions looking for song lyrics, while evaluation typically meant the user was seeking reviews of works (p. 1029). Sixteen question topics were outlined in the coding framework. They included lyrics, translation, meaning (i.e., of lyrics), score, work, version, recording (e.g., where is an album available for purchase), related work, genre, artist, publisher, instrument, statistics, background (e.g. definitions), resource (i.e. sources of music information) and other. The questions were also coded for their features or the information provided by the user. The final coding framework outlined 57 features, some of which were further subdivided by additional attributes. For example, a feature with attributes was title. The researcher further clarified the attribute of title by indicating whether the user mentioned the title of a musical work, recording, printed material or related work in their question. More than one feature could appear in a user query. Main Results – Overall, the most common questions posted on the Google Answers service relating to music involved identifying works or artists, finding recordings, or retrieving lyrics. The most popular query forms were identification (43.8%), location (33.3%), and reproduction (10.9%). The most common topics were work (49.1%), artist (36.4%), recording (16.7%), and lyrics (10.4%). The most common features provided by users in their posted questions were person name (53%), title (50.9%), date (45.6%), genre (37.2%), role (33.8%), and lyric (27.6%). The person name usually referred to an artist’s name (in 95.6% of cases) and title most often referred to the title of a musical work. Another feature that appeared in 25.6% of queries was place reference, almost half of which referred to the place where the user encountered the music they were enquiring about. While the coding framework eventually encompassed 57 different features, a small number of features dominated, with seven features used in over 25% of the queries posted and 33 features appearing in less than 10%. The seven most common features were person name, title, date, genre, role, lyric, and place reference. Lee categorized most of the queries as “known-item searches,” even though at times users provided incorrect information and many were looking for information about the musical item but not the item itself (p. 1035). Other interesting features identified by the author were the presence of “dormant searches,” long standing questions a user had about a musical item, sometimes for years, which were reawakened by hearing the song again or other events (p. 1037). Multiple versions of musical works and the provision of information gleaned third hand by users were also identified as complicating factors in correctly meeting musical information needs. Conclusion – While certain types of questions dominated among music queries posted on the Google Answers service, there were a wide variety of music information needs expressed by users. In some cases, the features provided by the user as clues to answering the query were very personal, and related to the context in which they encountered the work or the mood a particular work or artist evoked. Such circumstances are not currently or adequately covered by existing bibliographic record standards, which focus on qualities inherent in the music itself. The author suggests that user context should play a greater role in the testing and development of music information retrieval systems, although the instability and variability of this type of information is acknowledged. In some cases this context could apply to other works (film, television, etc.) in which a musical work is featured. Another potential implication for music information retrieval system development is a need to re-evaluate the terminology employed in testing to ensure that it is the language most often employed by users. For example, the 128 different terms used in this study to describe how a musical item made the user feel did not significantly overlap with terms employed in a previous music information retrieval task involving mood classification conducted through MIREX, the Music Information Retrieval Evaluation Exchange, in 2007. The author also argues that while most current music information retrieval testing is task-specific – e.g., how can a user search for a particular work by humming a few bars or searching for a work based on its genre, in real life, users come to their search with information that is not neatly parsed into separate tasks. The study affirms a need for systems that can combine tasks and/or consolidate the results of separate tasks for users.

Leishmaniasis is a neglected tropical disease that affects people living in tropical and subtropical areas of the world. There are few therapeutic options for treating this infectious disease, and available drugs induce severe side effects in patients. Different communities have limited access to hospital facilities, as well as classical treatment of leishmaniasis; therefore, they use local natural products as alternative medicines to treat this infectious disease. The present work performed a bibliographic survey worldwide to record plants used by traditional communities to treat leishmaniasis, as well as the uses and peculiarities associated with each plant, which can guide future studies regarding the characterization of new drugs to treat leishmaniasis. A bibliographic survey performed in the PubMed and Scopus databases retrieved 294 articles related to traditional knowledge, medicinal plants and leishmaniasis; however, only 20 were selected based on the traditional use of plants to treat leishmaniasis. Considering such studies, 378 quotes referring to 292 plants (216 species and 76 genera) that have been used to treat leishmaniasis were recorded, which could be grouped into 89 different families. A broad discussion has been presented regarding the most frequent families, including Fabaceae (27 quotes), Araceae (23), Solanaceae and Asteraceae (22 each). Among the available data in the 378 quotes, it was observed that the parts of the plants most frequently used in local medicine were leaves (42.3% of recipes), applied topically (74.6%) and fresh poultices (17.2%). The contribution of Latin America to studies enrolling ethnopharmacological indications to treat leishmaniasis was evident. Of the 292 plants registered, 79 were tested against Leishmania sp. Future studies on leishmanicidal activity could be guided by the 292 plants presented in this study, mainly the five species Carica papaya L. (Caricaceae), Cedrela odorata L. (Meliaceae), Copaifera paupera (Herzog) Dwyer (Fabaceae), Musa × paradisiaca L. (Musaceae), and Nicotiana tabacum L. (Solanaceae), since they are the most frequently cited in articles and by traditional communities.

The abstract presents the initiative to develop the Fungal Literature-based Occurrence Database for Southern West Siberia (FuSWS), which mobilizes occurrences of fungi from published literature (literature-based occurrences, Darwin Core MaterialCitation). The FuSWS database includes 28 fields describing species name, publication source, herbarium number (if exists), date of sampling or observation, locality information, vegetation, substrate, and others. The initiative on digitization of literature-based occurrence data started in the northern part of Western Siberia two years ago (Filippova et al. 2021a). The present project extends the initiative to the south and includes eight administrative regions (Sverdlovsk, Omsk, Kurgan, Tomsk, Novosibirsk, Kemerovo, Altay, and Gorny Altay). The area occupies the central to southern part of the West Siberian Plain. It extends for about 1.5 thousand km from the west to the east from the eastern slopes of the Ural Mountains to Yenisey River, and from north to south—about 1.3 thousand km. The total area equals about 1.2 million km2. Currently, the project is actively growing in spatial, collaboration and data accumulation terms. The working group of about 30 mycologists from 16 organizations dedicated to the digitization initiative was created as part of the Siberian Mycological Society (informal organization since 2019). They have created the most complete bibliographic list of mycology-related papers for the Southern West Siberia, including over 800 publications for the last two centuries (the earliest dated 1800). At abstract submission, the database had been populated with a total of about 10K records from about 100 sources. The dataset is uploaded to GBIF, where it is available for online search of species occurrences and/or download (Filippova et al. 2021b) Fig. 1. The project's page with the introduction, templates, bibliography list, video-presentations and written instructions is available at the website of the Siberian Mycological Society (https://sibmyco.org/literaturedatabase). The following protocol describes the digitization workflow in detail: The bibliography of related publications is compiled using Zotero bibliographic manager. Only published works (peer-reviewed papers, conference proceedings, PhD theses, monographs or book chapters) are selected. If possible, the sources are digitized and added to the library as PDF files. The template of the FuSWS database is made with Google Sheets, which allows simultaneous use by several specialists, in a common data format provided. The simple Microsoft Excel template is also available for the offline databasing. The Darwin Core standard is applied to the database field structure to accommodate the relevant information extracted from the publications. From the available bibliography of publications related to the region, only works with species occurrences are selected for the databasing purpose. The main source of occurrences is annotated species lists with exact localities of the records. However, different sorts of other species citations are also extracted, provided that they had the connection to any geography. All occurrences are georeferenced, either from the coordinates provided in the paper, or from the verbatim description of the field work locality. The georeferencing of the verbatim descriptions is made using Yandex or Google map services. Depending on the quality of georeference provided in publications, the uncertainty is estimated as follows: 1) the coordinate of a fruiting structure or a plot provided in the publication gives the uncertainty about 3-30 meters; 2) the coordinate of the field work locality provided in publication gives the uncertainty about 500 m to 5 km; 3) the report of the species presence in a particular region gives the centroid of the area with the uncertainty radius to include its borders. The locality names reported in Russian are translated to English and written in the «locality» field. Russian descriptions are reserved in the field «verbatimLocality» for accuracy. When possible, the «eventDate» is extracted from the annotation data. Whenever this information is absent, the date of the publication is used instead with the remarks in the «verbatimEventDate» field. The ecological features, habitat and substrate preferences are written in the «habitat» field and reserved in Russian. The original scientific names reported in publications are filled in the «originalNameUsage» field. Correction of spelling errors is made using the GBIF Species Matching tool. This tool is also used to create the additional fields of taxonomic hierarchy from species to kingdom, to fill in the «taxonRank» field and to synonymize according to the GBIF Backbone Taxonomy. To track the digitization process, a worksheet is maintained. Each bibliographic record has a series of fields to describe the digitization process and its results: the total number of extracted occurrence records, general description of the occurrence quality, presence of the observation date, details of georeferencing and the name of a person responsible for the digitization. The bibliography of related publications is compiled using Zotero bibliographic manager. Only published works (peer-reviewed papers, conference proceedings, PhD theses, monographs or book chapters) are selected. If possible, the sources are digitized and added to the library as PDF files. The template of the FuSWS database is made with Google Sheets, which allows simultaneous use by several specialists, in a common data format provided. The simple Microsoft Excel template is also available for the offline databasing. The Darwin Core standard is applied to the database field structure to accommodate the relevant information extracted from the publications. From the available bibliography of publications related to the region, only works with species occurrences are selected for the databasing purpose. The main source of occurrences is annotated species lists with exact localities of the records. However, different sorts of other species citations are also extracted, provided that they had the connection to any geography. All occurrences are georeferenced, either from the coordinates provided in the paper, or from the verbatim description of the field work locality. The georeferencing of the verbatim descriptions is made using Yandex or Google map services. Depending on the quality of georeference provided in publications, the uncertainty is estimated as follows: 1) the coordinate of a fruiting structure or a plot provided in the publication gives the uncertainty about 3-30 meters; 2) the coordinate of the field work locality provided in publication gives the uncertainty about 500 m to 5 km; 3) the report of the species presence in a particular region gives the centroid of the area with the uncertainty radius to include its borders. The locality names reported in Russian are translated to English and written in the «locality» field. Russian descriptions are reserved in the field «verbatimLocality» for accuracy. When possible, the «eventDate» is extracted from the annotation data. Whenever this information is absent, the date of the publication is used instead with the remarks in the «verbatimEventDate» field. The ecological features, habitat and substrate preferences are written in the «habitat» field and reserved in Russian. The original scientific names reported in publications are filled in the «originalNameUsage» field. Correction of spelling errors is made using the GBIF Species Matching tool. This tool is also used to create the additional fields of taxonomic hierarchy from species to kingdom, to fill in the «taxonRank» field and to synonymize according to the GBIF Backbone Taxonomy. To track the digitization process, a worksheet is maintained. Each bibliographic record has a series of fields to describe the digitization process and its results: the total number of extracted occurrence records, general description of the occurrence quality, presence of the observation date, details of georeferencing and the name of a person responsible for the digitization.

Introduction: Triple-negative breast cancer (TNBC) does not express estrogen and progesterone receptors, and does not overexpress the human epidermal growth factor 2. It represents 15%‒20% of breast cancers and have worse prognosis, with scarce available therapies and overall survival (OS) of 18 months. For these particularities, research on TNBC is important for its greater understanding. Objectives: To describe the clinical-epidemiological profile of patients with TNBC at Instituto Mário Penna (IMP). To compare findings with data from the literature. Methods: Consultation of breast immunohistochemistry (IHC) performed at IMP between July/2012 and June/2017. TNBC were selected. Data were collected from patients in electronic medical records. Maximum follow-up until December/2018. Database and statistical analysis using the SPSS program. Bibliographic review used the key phrase: “triple-negative breast cancer”. Results: 1,343 breast IHC performed at IMP in the studied period, 168 were TNBC (12.5%). Mean age of 53.4 years. Mean follow-up of 41.7 months. Neoadjuvant chemotherapy (CT) performed in 46.4%, with 12.8% of complete pathological response. Mean SG of 23.6 months, 20.2% progressed before the end of the treatment. Tumor mean size of 4.04 cm. Mortality of 22%, with 31.5% without information on death in the medical record, and about 17% on average with missing information. Table 1 shows the frequency distribution of the variables evaluated. Discussion: TNBC is a heterogeneous group of diseases, more commonly found in people aged under 40 years, of African descent, diagnosed at an advanced stage and with a high histological grade. Earlier metastasis, preferably visceral. More sensitive to CT, but with worse OS compared to other subtypes. Use of platinum, capecitabine and recent studies with immunotherapy are promising, in the search for better outcomes. Conclusion: The profile of patients with TNBC in IMP is compatible with that described in the literature. This study is a hypothesis generator and the basis for more complex research. High rates of missing information are a limiting factor.

At one point in Victor Hugo’s novel, The Hunchback of Notre Dame, the archdeacon, Claude Frollo, looked up from a book on his table to the edifice of the gothic cathedral, visible from his canon’s cell in the cloister of Notre Dame: “Alas!” he said, “this will kill that” (146). Frollo’s lament, that the book would destroy the edifice, captures the medieval cleric’s anxiety about the way in which Gutenberg’s print technology would become the new universal means for recording and communicating humanity’s ideas and artistic expression, replacing the grand monuments of architecture, human engineering, and craftsmanship. For Hugo, architecture was “the great handwriting of humankind” (149). The cathedral as the material outcome of human technology was being replaced by the first great machine—the printing press. At this point in the third millennium, some people undoubtedly have similar anxieties to Frollo: is it now the book’s turn to be destroyed by yet another great machine? The inclusion of “post print” in our title is not intended to sound the death knell of the book. Rather, we contend that despite the enduring value of print, digital publishing is “present and active” and is changing the way in which research, particularly in the humanities, is being undertaken. Our approach has three related parts. First, we consider how digital technologies are changing the way in which content is constructed, customised, modified, disseminated, and accessed within a global, distributed network. This section argues that the transition from print to electronic or digital publishing means both losses and gains, particularly with respect to shifts in our approaches to textuality, information, and innovative publishing. Second, we discuss the Children’s Literature Digital Resources (CLDR) project, with which we are involved. This case study of a digitising initiative opens out the transformative possibilities and challenges of digital publishing and e-scholarship for research communities. Third, we reflect on technology’s capacity to bring about major changes in the light of the theoretical and practical issues that have arisen from our discussion. I. Digitising in a “post-print age” We are living in an era that is commonly referred to as “the late age of print” (see Kho) or the “post-print age” (see Gunkel). According to Aarseth, we have reached a point whereby nearly all of our public and personal media have become more or less digital (37). As Kho notes, web newspapers are not only becoming increasingly more popular, but they are also making rather than losing money, and paper-based newspapers are finding it difficult to recruit new readers from the younger generations (37). Not only can such online-only publications update format, content, and structure more economically than print-based publications, but their wide distribution network, speed, and flexibility attract advertising revenue. Hype and hyperbole aside, publishers are not so much discarding their legacy of print, but recognising the folly of not embracing innovative technologies that can add value by presenting information in ways that satisfy users’ needs for content to-go or for edutainment. As Kho notes: “no longer able to satisfy customer demand by producing print-only products, or even by enabling online access to semi-static content, established publishers are embracing new models for publishing, web-style” (42). Advocates of online publishing contend that the major benefits of online publishing over print technology are that it is faster, more economical, and more interactive. However, as Hovav and Gray caution, “e-publishing also involves risks, hidden costs, and trade-offs” (79). The specific focus for these authors is e-journal publishing and they contend that while cost reduction is in editing, production and distribution, if the journal is not open access, then costs relating to storage and bandwith will be transferred to the user. If we put economics aside for the moment, the transition from print to electronic text (e-text), especially with electronic literary works, brings additional considerations, particularly in their ability to make available different reading strategies to print, such as “animation, rollovers, screen design, navigation strategies, and so on” (Hayles 38). Transition from print to e-text In his book, Writing Space, David Bolter follows Victor Hugo’s lead, but does not ask if print technology will be destroyed. Rather, he argues that “the idea and ideal of the book will change: print will no longer define the organization and presentation of knowledge, as it has for the past five centuries” (2). As Hayles noted above, one significant indicator of this change, which is a consequence of the shift from analogue to digital, is the addition of graphical, audio, visual, sonic, and kinetic elements to the written word. A significant consequence of this transition is the reinvention of the book in a networked environment. Unlike the printed book, the networked book is not bound by space and time. Rather, it is an evolving entity within an ecology of readers, authors, and texts. The Web 2.0 platform has enabled more experimentation with blending of digital technology and traditional writing, particularly in the use of blogs, which have spawned blogwriting and the wikinovel. Siva Vaidhyanathan’s The Googlization of Everything: How One Company is Disrupting Culture, Commerce and Community … and Why We Should Worry is a wikinovel or blog book that was produced over a series of weeks with contributions from other bloggers (see: http://www.sivacracy.net/). Penguin Books, in collaboration with a media company, “Six Stories to Start,” have developed six stories—“We Tell Stories,” which involve different forms of interactivity from users through blog entries, Twitter text messages, an interactive google map, and other features. For example, the story titled “Fairy Tales” allows users to customise the story using their own choice of names for characters and descriptions of character traits. Each story is loosely based on a classic story and links take users to synopses of these original stories and their authors and to online purchase of the texts through the Penguin Books sales website. These examples of digital stories are a small part of the digital environment, which exploits computer and online technologies’ capacity to be interactive and immersive. As Janet Murray notes, the interactive qualities of digital environments are characterised by their procedural and participatory abilities, while their immersive qualities are characterised by their spatial and encyclopedic dimensions (71–89). These immersive and interactive qualities highlight different ways of reading texts, which entail different embodied and cognitive functions from those that reading print texts requires. As Hayles argues: the advent of electronic textuality presents us with an unparalleled opportunity to reformulate fundamental ideas about texts and, in the process, to see print as well as electronic texts with fresh eyes (89–90). The transition to e-text also highlights how digitality is changing all aspects of everyday life both inside and outside the academy. Online teaching and e-research Another aspect of the commercial arm of publishing that is impacting on academe and other organisations is the digitising and indexing of print content for niche distribution. Kho offers the example of the Mark Logic Corporation, which uses its XML content platform to repurpose content, create new content, and distribute this content through multiple portals. As the promotional website video for Mark Logic explains, academics can use this service to customise their own textbooks for students by including only articles and book chapters that are relevant to their subject. These are then organised, bound, and distributed by Mark Logic for sale to students at a cost that is generally cheaper than most textbooks. A further example of how print and digital materials can form an integrated, customised source for teachers and students is eFictions (Trimmer, Jennings, & Patterson). eFictions was one of the first print and online short story anthologies that teachers of literature could customise to their own needs. Produced as both a print text collection and a website, eFictions offers popular short stories in English by well-known traditional and contemporary writers from the US, Australia, New Zealand, UK, and Europe, with summaries, notes on literary features, author biographies, and, in one instance, a YouTube movie of the story. In using the eFictions website, teachers can build a customised anthology of traditional and innovative stories to suit their teaching preferences. These examples provide useful indicators of how content is constructed, customised, modified, disseminated, and accessed within a distributed network. However, the question remains as to how to measure their impact and outcomes within teaching and learning communities. As Harley suggests in her study on the use and users of digital resources in the humanities and social sciences, several factors warrant attention, such as personal teaching style, philosophy, and specific disciplinary requirements. However, in terms of understanding the benefits of digital resources for teaching and learning, Harley notes that few providers in her sample had developed any plans to evaluate use and users in a systematic way. In addition to the problems raised in Harley’s study, another relates to how researchers can be supported to take full advantage of digital technologies for e-research. The transformation brought about by information and communication technologies extends and broadens the impact of research, by making its outputs more discoverable and usable by other researchers, and its benefits more available to industry, governments, and the wider community. Traditional repositories of knowledge and information, such as libraries, are juggling the space demands of books and computer hardware alongside increasing reader demand for anywhere, anytime, anyplace access to information. Researchers’ expectations about online access to journals, eprints, bibliographic data, and the views of others through wikis, blogs, and associated social and information networking sites such as YouTube compete with the traditional expectations of the institutions that fund libraries for paper-based archives and book repositories. While university libraries are finding it increasingly difficult to purchase all hardcover books relevant to numerous and varied disciplines, a significant proportion of their budgets goes towards digital repositories (e.g., STORS), indexes, and other resources, such as full-text electronic specialised and multidisciplinary journal databases (e.g., Project Muse and Proquest); electronic serials; e-books; and specialised information sources through fast (online) document delivery services. An area that is becoming increasingly significant for those working in the humanities is the digitising of historical and cultural texts. II. Bringing back the dead: The CLDR project The CLDR project is led by researchers and librarians at the Queensland University of Technology, in collaboration with Deakin University, University of Sydney, and members of the AustLit team at The University of Queensland. The CLDR project is a “Research Community” of the electronic bibliographic database AustLit: The Australian Literature Resource, which is working towards the goal of providing a complete bibliographic record of the nation’s literature. AustLit offers users with a single entry point to enhanced scholarly resources on Australian writers, their works, and other aspects of Australian literary culture and activities. AustLit and its Research Communities are supported by grants from the Australian Research Council and financial and in-kind contributions from a consortium of Australian universities, and by other external funding sources such as the National Collaborative Research Infrastructure Strategy. Like other more extensive digitisation projects, such as Project Gutenberg and the Rosetta Project, the CLDR project aims to provide a centralised access point for digital surrogates of early published works of Australian children’s literature, with access pathways to existing resources. The first stage of the CLDR project is to provide access to digitised, full-text, out-of-copyright Australian children’s literature from European settlement to 1945, with selected digitised critical works relevant to the field. Texts comprise a range of genres, including poetry, drama, and narrative for young readers and picture books, songs, and rhymes for infants. Currently, a selection of 75 e-texts and digital scans of original texts from Project Gutenberg and Internet Archive have been linked to the Children’s Literature Research Community. By the end of 2009, the CLDR will have digitised approximately 1000 literary texts and a significant number of critical works. Stage II and subsequent development will involve digitisation of selected texts from 1945 onwards. A precursor to the CLDR project has been undertaken by Deakin University in collaboration with the State Library of Victoria, whereby a digital bibliographic index comprising Victorian School Readers has been completed with plans for full-text digital surrogates of a selection of these texts. These texts provide valuable insights into citizenship, identity, and values formation from the 1930s onwards. At the time of writing, the CLDR is at an early stage of development. An extensive survey of out-of-copyright texts has been completed and the digitisation of these resources is about to commence. The project plans to make rich content searchable, allowing scholars from children’s literature studies and education to benefit from the many advantages of online scholarship. What digital publishing and associated digital archives, electronic texts, hypermedia, and so forth foreground is the fact that writers, readers, publishers, programmers, designers, critics, booksellers, teachers, and copyright laws operate within a context that is highly mediated by technology. In his article on large-scale digitisation projects carried out by Cornell and University of Michigan with the Making of America collection of 19th-century American serials and monographs, Hirtle notes that when special collections’ materials are available via the Web, with appropriate metadata and software, then they can “increase use of the material, contribute to new forms of research, and attract new users to the material” (44). Furthermore, Hirtle contends that despite the poor ergonomics associated with most electronic displays and e-book readers, “people will, when given the opportunity, consult an electronic text over the print original” (46). If this preference is universally accurate, especially for researchers and students, then it follows that not only will the preference for electronic surrogates of original material increase, but preference for other kinds of electronic texts will also increase. It is with this preference for electronic resources in mind that we approached the field of children’s literature in Australia and asked questions about how future generations of researchers would prefer to work. If electronic texts become the reference of choice for primary as well as secondary sources, then it seems sensible to assume that researchers would prefer to sit at the end of the keyboard than to travel considerable distances at considerable cost to access paper-based print texts in distant libraries and archives. We considered the best means for providing access to digitised primary and secondary, full text material, and digital pathways to existing online resources, particularly an extensive indexing and bibliographic database. Prior to the commencement of the CLDR project, AustLit had already indexed an extensive number of children’s literature. Challenges and dilemmas The CLDR project, even in its early stages of development, has encountered a number of challenges and dilemmas that centre on access, copyright, economic capital, and practical aspects of digitisation, and sustainability. These issues have relevance for digital publishing and e-research. A decision is yet to be made as to whether the digital texts in CLDR will be available on open or closed/tolled access. The preference is for open access. As Hayles argues, copyright is more than a legal basis for intellectual property, as it also entails ideas about authorship, creativity, and the work as an “immaterial mental construct” that goes “beyond the paper, binding, or ink” (144). Seeking copyright permission is therefore only part of the issue. Determining how the item will be accessed is a further matter, particularly as future technologies may impact upon how a digital item is used. In the case of e-journals, the issue of copyright payment structures are evolving towards a collective licensing system, pay-per-view, and other combinations of print and electronic subscription (see Hovav and Gray). For research purposes, digitisation of items for CLDR is not simply a scan and deliver process. Rather it is one that needs to ensure that the best quality is provided and that the item is both accessible and usable by researchers, and sustainable for future researchers. Sustainability is an important consideration and provides a challenge for institutions that host projects such as CLDR. Therefore, items need to be scanned to a high quality and this requires an expensive scanner and personnel costs. Files need to be in a variety of formats for preservation purposes and so that they may be manipulated to be useable in different technologies (for example, Archival Tiff, Tiff, Jpeg, PDF, HTML). Hovav and Gray warn that when technology becomes obsolete, then content becomes unreadable unless backward integration is maintained. The CLDR items will be annotatable given AustLit’s NeAt funded project: Aus-e-Lit. The Aus-e-Lit project will extend and enhance the existing AustLit web portal with data integration and search services, empirical reporting services, collaborative annotation services, and compound object authoring, editing, and publishing services. For users to be able to get the most out of a digital item, it needs to be searchable, either through double keying or OCR (optimal character recognition). The value of CLDR’s contribution The value of the CLDR project lies in its goal to provide a comprehensive, searchable body of texts (fictional and critical) to researchers across the humanities and social sciences. Other projects seem to be intent on putting up as many items as possible to be considered as a first resort for online texts. CLDR is more specific and is not interested in simply generating a presence on the Web. Rather, it is research driven both in its design and implementation, and in its focussed outcomes of assisting academics and students primarily in their e-research endeavours. To this end, we have concentrated on the following: an extensive survey of appropriate texts; best models for file location, distribution, and use; and high standards of digitising protocols. These issues that relate to data storage, digitisation, collections, management, and end-users of data are aligned with the “Development of an Australian Research Data Strategy” outlined in An Australian e-Research Strategy and Implementation Framework (2006). CLDR is not designed to simply replicate resources, as it has a distinct focus, audience, and research potential. In addition, it looks at resources that may be forgotten or are no longer available in reproduction by current publishing companies. Thus, the aim of CLDR is to preserve both the time and a period of Australian history and literary culture. It will also provide users with an accessible repository of rare and early texts written for children. III. Future directions It is now commonplace to recognize that the Web’s role as information provider has changed over the past decade. New forms of “collective intelligence” or “distributed cognition” (Oblinger and Lombardi) are emerging within and outside formal research communities. Technology’s capacity to initiate major cultural, social, educational, economic, political and commercial shifts has conditioned us to expect the “next big thing.” We have learnt to adapt swiftly to the many challenges that online technologies have presented, and we have reaped the benefits. As the examples in this discussion have highlighted, the changes in online publishing and digitisation have provided many material, network, pedagogical, and research possibilities: we teach online units providing students with access to e-journals, e-books, and customized archives of digitised materials; we communicate via various online technologies; we attend virtual conferences; and we participate in e-research through a global, digital network. In other words, technology is deeply engrained in our everyday lives. In returning to Frollo’s concern that the book would destroy architecture, Umberto Eco offers a placatory note: “in the history of culture it has never happened that something has simply killed something else. Something has profoundly changed something else” (n. pag.). Eco’s point has relevance to our discussion of digital publishing. The transition from print to digital necessitates a profound change that impacts on the ways we read, write, and research. As we have illustrated with our case study of the CLDR project, the move to creating digitised texts of print literature needs to be considered within a dynamic network of multiple causalities, emergent technological processes, and complex negotiations through which digital texts are created, stored, disseminated, and used. Technological changes in just the past five years have, in many ways, created an expectation in the minds of people that the future is no longer some distant time from the present. Rather, as our title suggests, the future is both present and active. References Aarseth, Espen. “How we became Postdigital: From Cyberstudies to Game Studies.” Critical Cyber-culture Studies. Ed. David Silver and Adrienne Massanari. New York: New York UP, 2006. 37–46. An Australian e-Research Strategy and Implementation Framework: Final Report of the e-Research Coordinating Committee. Commonwealth of Australia, 2006. Bolter, Jay David. Writing Space: The Computer, Hypertext, and the History of Writing. Hillsdale, NJ: Erlbaum, 1991. Eco, Umberto. “The Future of the Book.” 1994. 3 June 2008 ‹http://www.themodernword.com/eco/eco_future_of_book.html>. Gunkel, David. J. “What's the Matter with Books?” Configurations 11.3 (2003): 277–303. Harley, Diane. “Use and Users of Digital Resources: A Focus on Undergraduate Education in the Humanities and Social Sciences.” Research and Occasional Papers Series. Berkeley: University of California. Centre for Studies in Higher Education. 12 June 2008 ‹http://www.themodernword.com/eco/eco_future_of_book.html>. Hayles, N. Katherine. My Mother was a Computer: Digital Subjects and Literary Texts. Chicago: U of Chicago P, 2005. Hirtle, Peter B. “The Impact of Digitization on Special Collections in Libraries.” Libraries & Culture 37.1 (2002): 42–52. Hovav, Anat and Paul Gray. “Managing Academic E-journals.” Communications of the ACM 47.4 (2004): 79–82. Hugo, Victor. The Hunchback of Notre Dame (Notre-Dame de Paris). Ware, Hertfordshire: Wordsworth editions, 1993. Kho, Nancy D. “The Medium Gets the Message: Post-Print Publishing Models.” EContent 30.6 (2007): 42–48. Oblinger, Diana and Marilyn Lombardi. “Common Knowledge: Openness in Higher Education.” Opening up Education: The Collective Advancement of Education Through Open Technology, Open Content and Open Knowledge. Ed. Toru Liyoshi and M. S. Vijay Kumar. Cambridge, MA: MIT Press, 2007. 389–400. Murray, Janet H. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. Cambridge, MA: MIT Press, 2001. Trimmer, Joseph F., Wade Jennings, and Annette Patterson. eFictions. New York: Harcourt, 2001.

Let us work backwards from what we know, from personal experience: the photograph of which we have each been the subject. Roland Barthes says of this photograph that it transforms "the subject into object": one begins aping the mask one wants to assume, one begins, in other words, to make oneself conform in appearance to the disguise of an identity (Camera Lucida 11). A quick glance back at your most recent holiday gathering will no doubt confirm his diagnosis. Barthes gives to this subject-object the title of Spectrum in order to neatly join the idea of spectacle with the fearsome spectre, what he calls that "terrible thing which is there in every photograph: the return of the dead" (Camera Lucida 9). Cathy Davidson points out that in "photocentric culture, we can no longer even see that we see ourselves primarily as seen, imaged, the photograph as the evidential proof of existence"; photocentric culture thus generates "a profound confusion of image and afterlife" (669 672). Andre Bazin announces that the medium "embalms time, rescuing it simply from its proper corruption" (242), while Susan Sontag points out that it may "assassinate" (13). What photography mummifies, distorts and murders, among other things, is the sense that the reality of the self resides in the body, the corporeal and temporal boundaries of personhood. The spectral haunting of the photograph is familiar to anyone who has ever looked at snapshots in a family album. How much more present it was to the producers and consumers of early photography who engineered the genre of the memento mori, portraits taken of the dead or in imitation of death. Despite the acknowledged 'eeriness' of our own recorded and vanished pasts, such pictures seem grotesquely morbid to us now -- for what we cannot recover is the absolute novelty of photography in its early days, or the vehicle that it provided in the nineteenth century for a whole set of concerns about selfhood that begin, ironically, with death. Those early photographs bring to mind another death, that of the author. Re-enter Barthes, for it is he who definitively announces the new textual paradigm in which the author disappears. In "Death of the Author," Barthes calls the author tyrannical and adopts liberationist rhetoric in unseating him. But what cult is Barthes actually countering? His essay begins and ends with Balzac, and includes Baudelaire, Van Gogh and Tchaikovsky, while his heroes are Mallarmé, Valéry and Proust. Barthes' notion of the author is implicitly a nineteenth-century construction, to be undone by modernist writing against the grain. And what distinguishes the nineteenth-century author from his predecessors? His portrait, of course. Thanks to the surge of visual and reproductive technologies culminating in the mechanised printing process and photography, the nineteenth-century author is suddenly widely available to readers as an image. The author literally becomes a face hovering above the text; it is this omnipresence that Barthes objects to. Photography gives new momentum to the cult of the author, but this is not mere historical coincidence -- that the photograph is developed at a point in history when authorship is particularly mobile: in between the Romantic individualism that transforms authorship from a craft to a calling, and the modernist interrogation of ontology and representation that explodes such notions from within. However, the opposite is also true. Photography as we know it is a product of the institution of authorship. Photography is founded on and makes available, through the democratisation and dissemination of a certain technology, a concept of public selfhood that hitherto had been reserved for those in charge of textual representation, of themselves as well as of other subjects. Primarily this is because the ideological, technological and material vehicles of the photograph -- identities, characters, scenes, the properties of chemical interaction, the invention of specialised apparatus, poses, props, and photo albums -- were closely related to book culture. How did photography change the notion of the author? It did so by commandeering truth claims -- by serving as the scientific illustration of divinely-ordained natural laws. The art of chemically fixing the image obtained through a camera obscura was perfected in 1839 by Louis Jacques Mandé Daguerre and William Fox Talbot, separately, with different techniques.1 Daguerre's method caught on quickly, partly because his daguerreotype recorded such exquisite detail. The daguerreotype surface was reflective and sharply etched; inspection with a magnifying glass disclosed minutiae -- insects, eyelashes, objects in the far distance. The daguerreotype, popularly nicknamed "the pencil of the sun," seemed like a miniaturised and complete mirror of the world, a representation without human intervention.2 In 1839, and throughout the 1840's and '50's, photography transparently supported the notion that the discoveries of science would help reveal God's secrets, not disprove them -- a view that suffered but continued on after the publication of The Origin of the Species in 1859. Its presumed objectivity and comprehensive truthfulness made photography immediately appealing as a scientific and artistic tool. Although it was used to record geologic formations and vegetation, the bulky apparatus of the early photographic methods meant that it was better suited to the indoor studio -- and the portrait, in which the truth of human character could be made visible. It served as a means of defining normality and deviation; it was central to the project of identifying physical characteristics of the insane and the criminal, and of classifying racial features, as in the daguerreotypes made of slaves in the United States by J. T. Zealy in 1850, which the natural scientist Louis Aggasiz used as independent evidence of the natural differences between the races in order to endorse the doctrine of "separate creation" (Trachtenberg 53) So perceptive and penetrating did the photograph seem, it was even deemed capable of revealing vice and virtue, and it was in this way that the photographer moved onto the terrain of the author. The truth-telling properties of photography seemed to corroborate the authorial estimation of character that was a central element of nineteenth-century fiction. In texts where photography is itself on display this property is especially obvious -- in Nathaniel Hawthorne's The House of the Seven Gables, for example, where true and secret characters are only discerned in daguerreotype portraits. But photography did more than divinely and scientifically confirm fictional character; the venerated author's ability to delineate moral qualities made him, or her, an exemplary character as well. The Victorians prized "sincerity," the criterion by which they measured their authors. Especially in the influential pronouncements of Carlyle, the Victorian notion of sincerity "makes man and artist inseparable" (Ball 155). An exemplary moral life was particularly powerful in the form of an author. Indeed, it was through authorship of some kind that such lives could take the public form they needed in order to fulfill their function as models. And so photography appears not just in the text but on its margins, framing and qualifying it: the portrait of the author, already a bibliographic convention, gains additional authority through the objective lens of the camera, in which the author's character is exhibited as a kind of testimony to his or her truth-telling abilities. The frontispiece guarantees the right of the author to moral leadership. As literacy and readership expanded and exceeded former class distinctions, the nineteenth-century author began to need to market himself in order to find and keep an audience. But since the source of the author's authority was sincerity, the commodification of the authorial self presented a dilemma. Some writers, such as Dickens, embraced this role; others withdrew from the task of performing a public self, but their refusal of the public's gaze was itself often dramatised, as for Tennyson, Elizabeth Barret Browning and, after her death, Emily Dickinson. The photograph portrait of the artist, as well as other likenesses of his visage, was a particularly convenient piece of authorial paraphernalia because it sustained the idea of the author as moral exemplar, but in fact it was only one of the many ways in which nineteenth-century readers kept the author before their eyes. Souvenirs such as autographs, original manuscripts and other tokens testifying to the presence of the author's body, as well as gift books and precious editions designed to generate and satisfy fans, were mainstays of Victorian keepsake culture. The photograph as corporeal souvenir signals the point where we must turn around and consider the question of photography and authorship from the other direction: that is, how the institution of authorship constructs photography. Given that photography as an art developed out of the desire to eliminate the human hand, to trace directly from nature, it seems ironic that photography could have an author. And yet it was the notion of a public and visible self, associated primarily with authorship, which accounted for the widespread popularity of photography. When the daguerreotype was introduced in 1839, enterprising amateurs in Europe and the United States transformed it from a tricky chemical procedure into a practical art, a livelihood. Daguerrean saloons appeared in the cities and in rural areas, itinerant daguerreotypists set up temporary headquarters. But every daguerreotype studio had two purposes, whether it was the high-end urban atelier of Southworth and Hawes in Boston or a peddler's rented room: it was the place where one went to have one's picture taken and it was also a public gallery, where the portraits of former customers were displayed. In an urban gallery, those portraits might include the poets, ministers and politicians of the day, but even in a village studio, one could see exhibited the portraits of the local beauties, the town big-wigs. Entering the studio as a customer or a spectator, anyone could imaginatively take his or her place among an assembly of eminent personages. More importantly, the daguerreotype and later forms of photography made portraiture accessible to the middle and working classes for the first time. The studio was a democratic space where one could entertain the fantasy of a different self, and in fact one could literally enact that fantasy through the props and accessories of identity that the studio provided. In borrowed hats and canes, sitting stiffly in chairs or standing against painted backdrops, holding books, flowers, candles, and even other daguerreotypes, the sitter could assume the persona he or she would like others to see. Often the sitter composes an obvious gender performance, other times the sitter exhibits himself as the master of a certain occupation. With the invention of the wet plate collodion process in 1851, which made it possible to reproduce quantities of images from a single negative, the public went in for the carte-de-visite, on which one's very own portrait was imprinted and handed out like a postcard souvenir. The carte-de-visite necessitated a new way of keeping and displaying multiple photographs, and thus the photo album was born. But in fact the paradigm of the book already governed photographic display and the storage of the personal collection. When the Bible was the only book a family might own, it served as the cabinet of memorable dates and events. Other kinds of mementoes were stored in lockets and books: locks of hair, painted miniatures, pressed flowers. Daguerreotypes were kept in small codex-like cases or in hinged lockets. The souvenir and its symbolic connection to the body (one's own or that of a beloved) was of course not limited to the cult of the author but was available as a mode of identity to anybody who read novels. The culture of the souvenir, the keepsake, the personal precious object stored in a book, offered a means of articulating the self that readily accommodated the photograph, and in that context, the photograph took on the properties of a personal talisman. In the wake of photography, the scrapbook, the flower album, the signature album -- all those vehicles for collecting and displaying the ephemera of a lifetime -- flourished. Books were no longer mainly devoted to dense layers of print but could consist of open space to be filled in by their owners, who would thereby become authors of their own works and incidentally of their own identities. The popularity of the album was partly due to developments in printing, which was changing from a text-based industry to one increasingly concerned with images, a shift that culminated in photo-offset printing and photoduplication. But the popularity of the album and other biblioform containers for the personal collection also has something to do with the culture of the souvenir, which prepared the way for the photograph as personal talisman and then accomodated the tremendous expansion photography offered to the self. Via the photograph, a self that was allied with its own mementoes would be transformed: selfhood formerly attached to an object intended for private contemplation was subsequently attached to an object intended for exhibition. Via the photograph, the same publicity attendant on the circulation of the author was incorporated into the stuff of the ordinary subject, who regarded his or her own image and offered it up to history. The reflexive spectacle of visible selfhood brings us back to the return of the dead, that feature of the photograph which seems to persist, and perhaps illuminates the difference between the kind of death it spooks us with now and the kind of 150 years ago. For our ancestors, the photograph was a way to cheat death, to manipulate the strict boundaries of identity, to become memorable, to catch a heady glimpse of absolute truth; but for us it is different. We can see how much we are the creations of photography, and how much we surrender to the public self it burdens us with. Notes 1. The technological history of photography is of course much complicated by issues of competition, technological "prehistory" and intellectual property—for example, there is the matter of the disappearance of Daguerre's partner Niepce. However, Daguerre is generally credited with "inventing" the medium. See Gernsheim, Greenough et al and Newhall. 2. The phrase and others like it were not only popularised by influential critic-practitioners of photography such as Oliver Wendell Holmes, Fox Talbot, in The Pencil of Nature, and Marcus Aurelius Root, in The Camera and the Pencil, but were perpetuated in the everyday language of commerce—for example, the portrait studio that advertised its "Sun Drawn Miniatures" (Gernsheim 106). References Ball, Patricia. The Central Self: A Study in Romantic and Victorian Imagination. London: Athlone Press, 1968. Barthes, Roland. Camera Lucida: Reflections on Photography. Trans. Richard Howard. New York: Hill and Wang, 1981. ---. "The Death of the Author." Image, Music, Text. Trans. Stephen Heath. New York: Hill and Wang, 1977. Bazin, André. "The Ontology of the Photographic Image." Classic Essays on Photography. Ed. Alan Trachtenberg. New Haven, Conn: Leete's Island Books, 1980. 237-244. Davidson, Cathy N. "Photographs of the Dead: Sherman, Daguerre, Hawthorne." South Atlantic Quarterly 89.4 (Fall 1990): 667-701. Gernsheim, Helmut. The Origins of Photography. London: Thames and Hudson, 1982. Greenough, Sarah, Joel Snyder, David Travis and Colin Westerbeck. On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography. Boston: Little, Brown, 1989. Newhall, Beaumont. The History of Photography, From 1839 to the Present. New York: Museum of Modern Art, 1982. Sontag, Susan. On Photography. New York: Dell, 1977. Trachtenberg, Alan. Reading American Photographs: Images as History, Mathew Brady to the Present. New York: Hill and Wang, 1989. Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Dean, Gabrielle. "Portrait of the Self" M/C: A Journal of Media and Culture 5.5 (2002). [your date of access] < http://www.media-culture.org.au/mc/0210/Dean.html &gt. 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