Library Publishing Curriculum Textbook

Total Page:16

File Type:pdf, Size:1020Kb

Library Publishing Curriculum Textbook Library Publishing Curriculum CC-BY 4.0 2 Library Publishing Curriculum About the Original Curriculum The Educopia Institute and the Library Publishing Coalition (LPC), in partnership with the Public Knowledge Project (PKP), NASIG, and BlueSky to BluePrint, are delighted to offer the “Library Publishing Curriculum,” a suite of professional development offerings for librarians that are open and free under a CC-BY license for anyone to offer or adapt. This dynamic, extensible, multimedia curriculum is intended to empower librarians to meet local demands to launch and/or enhance scholarly publishing activities. Released in 2018, the initial curriculum includes four modules that address major competencies in library publishing: Content, Impact, Policy, and Sustainability, each roughly equivalent to a 12-hour course. Each module contains 4–6 units that address topics of interest and has been authored by field experts. The Library Publishing Curriculum was created as part of the “Developing a Curriculum to Advance Library-Based Publishing” project, generously funded by the Institute of Museum and Library Services. The original curriculum from which this textbook has been adapted is permanently housed in the repository at Wayne State University Libraries. The project has already had an impact on the quality and quantity of library publishing services offered to scholars and students and is contributing to a healthier, more equitable publishing ecosystem. About This Textbook Version In the original, modular curriculum (2018) on which this textbook is based, each unit contained an instructor’s guide, narrative, a slideshow with talking notes, bibliographies, supplemental material, and activities for use in a physical or virtual classroom for workshops and courses. This textbook version, produced in 2021, adapts the original narrative as the primary content (with very little additional editing) and incorporates the bibliographies, appendices, and images from the slideshow into a linear reading and learning experience for use by librarians or students learning on their own or as part of a classroom learning experience. The LPC hopes others use and extend this CC-BY version into even more learning opportunities to help create a more equitable publishing ecosystem. Library Publishing Curriculum CC-BY 4.0 3 Original Curriculum Principal Investigator(s): Brian W. Keith Katherine Skinner Sara Benson Melanie Schlosser Harriet Green Merinda Hensley Project Manager(s): Janet Swatcheno Hannah Ballard Nancy Maron Advisory Board: Sarah Lippincott Carol Ann Davis Peer Reviewers: Marilyn Billings Anne E. McKee Jon Cawthorne Annie Johnson Brad Eden Ava Dickerson Isaac Gilman Barbara DeFelice October Ivins Courtney McAllister Sarah Lippincott Emily Stenberg Nancy Maron Fiona Salisbury Holly Mercer Gail McMillan Kate Pitcher Johanna Meetz Kevin Stranack Kate McCready Charles Watkinson Lisa Schiff Authors: Rebecca Welzenbach Katherine Skinner Ronald Jantz Melanie Schlosser Kevin Hawkins Peter Berkery Charlotte Roh Meredith Baab Harrison Inefuku Jasmine Mulliken Project Partners: Friederike Sundaram Public Knowledge Project Dennis Lloyd NASIG Mary Rose Muccie Blue Sky to Blue Print Brenna McLaughlin John W. Warren Funders: Laurie N. Taylor Institute of Museum and Library Services Textbook Edition Editor: Cheryl E. Ball Assistant Editors: Christopher Crumley, Ashley Jackson, Kaycee White, Kaitlyn Ziehm Library Publishing Curriculum CC-BY 4.0 4 Table of Contents CONTENT MODULE 9 About this Module 9 Authors 9 Unit 1: Editorial Strategy 10 Selecting Your Strategic Approach 10 Identifying Needs and Opportunities 11 Crafting Your Mission and Vision 12 Example Goal and Objectives 14 Refining Your Editorial Strategy 15 Putting Your Strategy into Action 15 Bibliography 16 Unit 2: Nuts and Bolts of Scholarly Publishing 17 Kicking Things Off 17 Submission 18 Content Production 20 Dissemination 23 Bibliography 23 Unit 3: Long-Form Content 44 Long-Form Characteristics 44 Peer Review 46 Common Pitfalls 48 Setting Author Expectations 49 Discovery of Long-Form Works 50 Bibliography 51 Unit 4: Journal Publishing 55 Why Journals? 55 Building a Journal Portfolio 56 Defining Roles 56 Should We or Shouldn’t We? 58 If You Build It, Will They Come? 60 That Was Fun. Let’s Do It Again! 62 Bibliography 63 Unit 5: Publishing Educational Materials 71 Today’s Textbook Scene 71 Developing Your OER Strategy 73 Choosing the Type of OER to Create 74 Hosting and Posting Your OER 75 OER Discovery 76 Final Thoughts 77 Bibliography 77 Unit 6: Working with Multimodal Content 79 Why Digital? 79 Considerations 79 Platforms 81 Technical Support Sustainability 84 An Overview of Existing Digital Publishing Programs 84 Workflow 85 Bibliography 87 IMPACT MODULE 88 About this Module 88 Author 88 Unit 1: Trends Affecting Scholarly Publishing 89 The Changing Role of Libraries 90 Flat or Declining Revenue Streams 90 The Rise of Digital Content Marketplaces 90 The Surge of Open Access 91 The Growth of Electronic Reading 92 The Expansion of Self-Publishing 93 Changes in Content Discovery 93 The Pervasiveness of Social Media 94 The Centrality of Metadata 94 Competition for Reader Attention 95 The Changing Definitions of Scholarship and Publishing 95 Conclusion 95 Bibliography 97 Unit 2: Strategic Planning 99 What is “Impact”? 99 Organizational ObJectives 99 Publishing Models 101 Stretch and SMART Goals 102 Prioritizing 103 Bibliography 104 Unit 3: Assessment Measures and Strategies 105 Determining What Matters 105 Focus on Impact 106 Assessing Programs 107 Assessing Publications 109 Collecting and Analyzing Data 112 Moving from Data to Decisions 113 Bibliography 115 Unit 4: Strategies for Enhancing Discovery and Accessibility 118 Discovery: Metadata, Indexing, and Search Engine Optimization 118 Identifiers 122 Metadata Process 124 Journal Indexing 128 Search Engine Optimization (SEO) 130 Library Publishing Curriculum CC-BY 4.0 6 Accessibility 133 Bibliography 140 Unit 5: Outreach, Engagement, and Collaboration for Impact 142 Stakeholder Analysis 143 Conduct a Campus Publishing Inventory 147 Moving Toward Engagement 149 Engaging with Underrepresented and Diverse Voices 151 Bibliography 152 Unit 6: Purposeful Marketing, Promotion, Publicity 158 Branding 160 Positioning and Audience Targeting 163 Engaging Authors/Editors in Marketing and Promotion 164 Scheduling Promotional Activities 165 Budgeting Promotional Activities 167 Copywriting for Impact 168 Publicity 171 Promotional Events 174 Exhibits and Conference Promotions 176 The Integrated Marketing Plan 177 Bibliography 178 Unit 7: Social Networking for Publishers 188 Social Media Trends 189 Social Media Stakeholder Analysis 189 Social Media Marketing Strategies 190 Creating Content 191 Planning and Organizing for Social Media Marketing 193 Stickiness, Spreadability, and Likeability 195 Microstyle and Micromessaging: Effective Social Media Messages 197 Bibliography 200 SUSTAINABILITY MODULE 207 About this Module 207 Authors 207 Unit 1: Business Basics 208 ProJects, Programs, and Portfolios 208 ProJects, Programs, and Shared Language for Sustainable Operations 210 Business Considerations and Mission-Driven Publishers 213 Bibliography 215 Unit 2: Financial Basics 216 Budgets and Planning 216 Financial Reporting 216 ProJections 221 Conclusion 223 Bibliography 223 Unit 3: Staffing and Governance 224 Position Types and Appointment Types 224 Library Publishing Curriculum CC-BY 4.0 7 What Do Library Publishers Do? 225 Staffing Models: Internal, External, Outsourcing, and Collaboration 226 Sustainability, Hiring, and Diversity: The Sound of Their Shoes 228 Politics and Governance 231 Conclusion 234 Bibliography 234 Unit 4: Preservation 236 What is Long-Term Digital Preservation? 236 Technical Foundations for Preservation 237 Preservation is a Socio-Technical Commitment 238 Socio-Technical Considerations for Preservation 240 Publishing Services Framework and Digital Preservation 240 Bibliography 241 POLICY MODULE 260 About this Module 260 Authors 260 Unit 1: Copyright 261 Why Have an External Copyright Policy? 261 Why Have an Internal Copyright Policy? 261 Copyright Basics 262 Copyright in Publishing Agreements 264 Creative Commons Licensing 265 Copyright Deposit and Registration 267 Using Others’ Work 268 Creating and Using Copyright Policies 272 General Copyright Recommendations 274 Bibliography 275 Unit 2: Legal Agreements 276 Stakeholder Identification 276 Types of Legal Agreements 277 Policy and Procedures with Publication Agreements 282 Unit 3: Diversity 284 Factors to Consider When Developing a Diversity Policy 285 Implementing Diversity and Inclusion Policies 289 Writing a Diversity and Inclusion Policy 290 Bibliography 291 Unit 4: Preservation 292 Why Digital Preservation Matters to Publishers 292 How Do Libraries Currently Preserve Digital Content? 293 Identifying Preservation Partners 294 Why Preservation Policies Matter 294 What Does a Preservation Policy Typically Include? 295 Who is Your Audience? 296 Library Publishing Curriculum CC-BY 4.0 8 Content Module About this Module The Content Module contains six units: 1) Editorial Strategies, 2) Nuts and Bolts, 3) Publishing Long-Form Scholarship, 4) Supporting a Journals Program, 5) Developing Materials for Coursework, and 6) Working with Multi-Modal Content. These units cover how library publishers attract, select, edit, manage, and disseminate content. It includes information about how to recruit partners and select content for a program, and how to incorporate diverse voices into each part of
Recommended publications
  • Slater Bradley Studio
    Slater Bradley Studio [email protected] www.slaterbradley.com Slater Bradley 1975 born in San Francisco, CA Education: 1998 BA, University of California, Los Angeles, CA Solo Exhibitions: 2014 LOOP Fair, Barcelona, Spain (under the auspices of Galeria Filomena Soares, forthcoming May 2014) 2013 Sean Kelly Gallery, New York, NY, A Point Beyond the Tree Johnson Museum of Art, Cornell University, Ithaca, NY, Sequoia: Recent Work by Slater Bradley Galería Helga de Alvear, Madrid, Spain, she was my la jetée 21c Museum, Bentonville, AR, Slater Bradley and Ed Lachman: Dead Ringer 2012 Max Wigram Gallery, London, England, Slater Bradley: Nudes Galeria Filomena Soares, Lisbon, Portugal, Melancholia Team Gallery, New York, NY, Don’t Let Me Disappear 2011 Aspen Art Museum, Aspen, CO, Slater Bradley and Ed Lachman: Look Up and Stay in Touch (cat.) Max Wigram Gallery, London, England, NEVER BET AGAINST ME Galería Helga de Alvear, Madrid, Spain, Slater Bradley and Ed Lachman: Shadow 2010 Whitney Museum of American Art, New York, NY, Slater Bradley and Ed Lachman: Shadow (curated by Chrissie Iles) PSM Galerie, Berlin, Germany, CLEAN SLATE 2009 Team Gallery, New York, NY, if we were immortal Max Wigram Gallery, London, England, Boulevard of broken dreams Frans Hals Museum | De Hallen Haarlem, Haarlem, The Netherlands, nothing changes how it used to be 2008 Taka Ishii Gallery, Tokyo, Japan, Perfect Empathy 2007 Blum & Poe, Los Angeles, CA, Hope From A Dark Place Max Wigram Gallery, London, England,The Unreleased Factory Galería Helga de Alvear, Madrid, Spain, Tonic-Clonic The Armory Show, New York, NY (under the auspices of Team Gallery) Contemporary Art Museum, St.
    [Show full text]
  • Comparison of Altmetric Scores of Open Access Articles and of Articles
    Humboldt-Universität zu Berlin Institut für Bibliotheks- und Informationswissenschaft Berliner Handreichungen zur Bibliotheks- und Informationswissenschaft Heft 444 Altmetrics and Open Access Comparison of Altmetric Scores of open and closed access articles published by German research institutions in the field of natural sciences von Lea Satzinger Altmetrics and Open Access Comparison of Altmetric Scores of open and closed access articles published by German research institutions in the field of natural sciences von Lea Satzinger Berliner Handreichungen zur Bibliotheks- und Informationswissenschaft Begründet von Peter Zahn Herausgegeben von Vivien Petras Humboldt-Universität zu Berlin Heft 444 Satzinger, Lea Altmetrics and Open Access : Comparison of Altmetric Scores of open and closed access articles published by German research institutions in the field of natural sci- ences / von Lea Satzinger. - Berlin : Institut für Bibliotheks- und Informationswis- senschaft der Humboldt-Universität zu Berlin, 2019. – 81 S. : 15 Abb. - (Berliner Handreichungen zur Bibliotheks- und Informationswissenschaft ; 444) ISSN 14 38-76 62 Abstract Altmetrics, in contrast to traditional metrics, measure the societal impact research outputs have on the public in general, using social media platforms as their primary data sources. In this study, differences in Altmetric Scores between open and closed access articles of German research institutions in the field of natural sciences have been analyzed. For this investigation data from the years 2013 to 2017 was gathered from Web of Science, Altmetric.com and Unpaywall. Results indicated that arti- cles published in open access gain higher Altmetric Attention Scores compared to articles behind subscription paywalls, although the difference was statistically not significant. Research outputs published in gold open access had the highest scores, followed by articles in green and then hybrid open access.
    [Show full text]
  • Curriculum Vitae for Hugh Scott-Douglas
    HUGH SCOTT-DOUGLAS Born in Cambridge, UK, 1988 Education BFA, Ontario College of Art and Design, Toronto, Canada, 2010 Pratt Institute, Brooklyn, NY, 2005 Lives and works in Toronto, Canada One-Person Exhibitions 2019 Thank you Thank you Thank you Thank you Thank you Thank you, Blum & Poe, Tokyo, Japan 2018 ฿o₫៛€$, Blum & Poe, Los Angeles, CA 2016 Tochigi Prefectural Museum of Fine Arts, Tochigi, Japan Trade Winds, Casey Kaplan, New York, NY 2015 Blum & Poe, New York, NY Simon Lee Gallery, Hong Kong, China Consumables, Simon Lee Gallery, London, UK Rosenwald-Wolf Gallery, University of the Arts, Philadelphia, PA 2014 Promises to Pay in Solid Substance, Jessica Silverman Gallery, San Francisco, CA eyes without a face, Croy Nielsen, Berlin, Germany A Broken Mule, Kaikai Kiki Gallery, Tokyo, Japan 2013 The Cabinet of Dr. Caligari, Blum & Poe, Los Angeles, CA (exh. cat.) 2012 A Place in the Sun, Clifton Benevento, New York, NY A cashed cheque, a canceled stamp, Jessica Silverman Gallery, San Francisco, CA 2011 Sitzprobe, Croy Nielsen, Berlin, Germany Chinese Whispers, Clint Roenisch Gallery, Toronto, Canada BLUM & POE LOS ANGELES NEW YORK TOKYO 2010 An Invitation to Lubberland, Clint Roenisch Gallery, Toronto, Canada Group Exhibitions 2018 Kinship, Jessica Silverman Gallery, San Francisco, CA Horizon Lines, Jessica Silverman Gallery at 288 Pacific, San Francisco, CA 2017 A Sea Change, Jessica Silverman Gallery, San Francisco, CA 2016 The Sun Placed in the Abyss, Columbus Museum of Art, Columbus, OH (exh. cat.) The Campaign for Art, San Francisco Museum of Modern Art, San Francisco, CA Money, Good and Evil. A Visual History of Economics, Staatliche Kunsthalle Baden-Baden, Baden-Baden, Germany (ext cat.) Cyanotypes: Photography's Blue Period, Worcester Art Museum, Worcester, MA (exh.
    [Show full text]
  • THE OA EFFECT: HOW DOES OPEN ACCESS AFFECT the USAGE of SCHOLARLY BOOKS? White Paper
    springernature.com Illustration inspired by the work of Jean-Claude Bradley Open Research THE OA EFFECT: HOW DOES OPEN ACCESS AFFECT THE USAGE OF SCHOLARLY BOOKS? White paper Open Research: Journals, books, data and tools from: 2 The OA effect: How does open access affect the usage of scholarly books? springernature.com Contents Authors Foreword . 3 Christina Emery, Mithu Lucraft, Executive summary . 4 Agata Morka, Ros Pyne Introduction . 5 November 2017 Part 1: Quantitative findings . 6 Summary . 6 Downloads . 7 Citations and mentions . 11 Part 2: Qualitative findings . 13 Summary . 13 Reasons for publishing open access . 14 Experience of publishing open access . 15 The future of open access . 16 Discussion . 18 Conclusion and recommendations . 20 Acknowledgements . 22 Contacts . 23 About Springer Nature and OA books . 24 Appendices . 26 Appendix 1: Definitions and limitations . 26 Appendix 2: Methodology . 27 Appendix 3: Top 10 downloaded books . 29 Appendix 4: Interviewed authors and funders . 30 Appendix 5: Author questionnaire . 32 Appendix 6: Funder questionnaire . 33 Appendix 7: References . 34 This work is licensed under a Creative Commons Attribution International License (CC BY 4.0) The OA effect: How does open access affect the usage of scholarly books? springernature.com 3 Foreword Springer Nature was created in 2015, but from our earliest days as Springer, Palgrave Macmillan and Nature, we have been publishing monographs and long-form research for some 175 years. The changing environment for book publishing has created both opportunities and challenges for researchers and their funders, for publishers, and for the wider community of readers and educators. As a publisher, we have championed new models of scholarship, introducing ebooks in 2006, and our first open access (OA) book in 2011.
    [Show full text]
  • The Bosnian Case: Art, History and Memory
    The Bosnian Case: Art, History and Memory Elmedin Žunić ORCID ID: 0000-0003-3694-7098 Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy The University of Melbourne Faculty of Fine Arts and Music July 2018 Abstract The Bosnian Case: Art, History and Memory concerns the representation of historic and traumatogenic events in art through the specific case of the war in Bosnia 1992-1995. The research investigates an aftermath articulated through the Freudian concept of Nachträglichkeit, rebounding on the nature of representation in the art as always in the space of an "afterness". The ability to represent an originary traumatic scenario has been questioned in the theoretics surrounding this concept. Through The Bosnian Case and its art historical precedents, the research challenges this line of thinking, identifying, including through fieldwork in Bosnia in 2016, the continuation of the war in a war of images. iii Declaration This is to certify that: This dissertation comprises only my original work towards the PhD except where indicated. Due acknowledgement has been made in the text to all other material used. This dissertation is approximately 40,000 words in length, exclusive of figures, references and appendices. Signature: Elmedin Žunić, July 2018 iv Acknowledgements First and foremost, my sincere thanks to my supervisors Dr Bernhard Sachs and Ms Lou Hubbard. I thank them for their guidance and immense patience over the past four years. I also extend my sincere gratitude to Professor Barbara Bolt for her insightful comments and trust. I thank my fellow candidates and staff at VCA for stimulating discussions and support.
    [Show full text]
  • SUBMISSION from SPRINGER NATURE Making Plan S Successful
    PLAN S IMPLEMENTATION GUIDANCE: SUBMISSION FROM SPRINGER NATURE Springer Nature welcomes the opportunity to provide feedback to the cOAlition S Implementation Guidance and contribute to the discussion on how the transition to Open Access (OA) can be accelerated. Our submission below focuses mainly on the second question posed in the consultation: Are there other mechanisms or requirements funders should consider to foster full and immediate Open Access of research outputs? Making Plan S successful: a commitment to open access Springer Nature is dedicated to accelerating the adoption of Open Access (OA) publishing and Open Research techniques. As the world’s largest OA publisher we are a committed partner for cOAlition S funders in achieving this goal which is also the primary focus of Plan S. Our recommendations below are therefore presented with the aim of achieving this goal. As a first mover, we know the (multiple) challenges that need to be overcome: funding flows that need to change, a lack of cooperation in funder policies, a lack of global coordination, the need for a cultural change in researcher assessment and metrics in research, academic disciplines that lack OA resources, geographic differences in levels of research output making global “Publish and Read” deals difficult and, critically, an author community that does not yet view publishing OA as a priority. While this uncertainty remains, we need the benefits of OA to be better described and promoted as well as support for the ways that enable us and other publishers to cope with the rapidly increasing demand. We therefore propose cOAlition S adopt the following six recommendations which we believe are necessary to deliver Plan S’s primary goal of accelerating the take-up of OA globally while minimising costs to funders and other stakeholders: 1.
    [Show full text]
  • Slater Bradley Studio
    Slater Bradley Studio [email protected] www.slaterbradley.com Slater Bradley 1975 born in San Francisco, CA Education: 1998 BA, University of California, Los Angeles, CA Solo Exhibitions: 2014 LOOP Fair, Barcelona, Spain (under the auspices of Galeria Filomena Soares, forthcoming May 2014) 2013 Sean Kelly Gallery, New York, NY, A Point Beyond the Tree Johnson Museum of Art, Cornell University, Ithaca, NY, Sequoia: Recent Work by Slater Bradley Galería Helga de Alvear, Madrid, Spain, she was my la jetée 21c Museum, Bentonville, AR, Slater Bradley and Ed Lachman: Dead Ringer 2012 Max Wigram Gallery, London, England, Slater Bradley: Nudes Galeria Filomena Soares, Lisbon, Portugal, Melancholia Team Gallery, New York, NY, Don’t Let Me Disappear 2011 Aspen Art Museum, Aspen, CO, Slater Bradley and Ed Lachman: Look Up and Stay in Touch (cat.) Max Wigram Gallery, London, England, NEVER BET AGAINST ME Galería Helga de Alvear, Madrid, Spain, Slater Bradley and Ed Lachman: Shadow 2010 Whitney Museum of American Art, New York, NY, Slater Bradley and Ed Lachman: Shadow (curated by Chrissie Iles) PSM Galerie, Berlin, Germany, CLEAN SLATE 2009 Team Gallery, New York, NY, if we were immortal Max Wigram Gallery, London, England, Boulevard of broken dreams Frans Hals Museum | De Hallen Haarlem, Haarlem, The Netherlands, nothing changes how it used to be 2008 Taka Ishii Gallery, Tokyo, Japan, Perfect Empathy 2007 Blum & Poe, Los Angeles, CA, Hope From A Dark Place Max Wigram Gallery, London, England,The Unreleased Factory Galería Helga de Alvear, Madrid, Spain, Tonic-Clonic The Armory Show, New York, NY (under the auspices of Team Gallery) Contemporary Art Museum, St.
    [Show full text]
  • Validity of Altmetrics Data for Measuring Societal Impact
    Accepted for publication in the Journal of Informetrics Validity of altmetrics data for measuring societal impact: A study using data from Altmetric and F1000Prime Lutz Bornmann Division for Science and Innovation Studies Administrative Headquarters of the Max Planck Society Hofgartenstr. 8, 80539 Munich, Germany. E-mail: [email protected] Abstract Can altmetric data be validly used for the measurement of societal impact? The current study seeks to answer this question with a comprehensive dataset (about 100,000 records) from very disparate sources (F1000, Altmetric, and an in-house database based on Web of Science). In the F1000 peer review system, experts attach particular tags to scientific papers which indicate whether a paper could be of interest for science or rather for other segments of society. The results show that papers with the tag “good for teaching” do achieve higher altmetric counts than papers without this tag – if the quality of the papers is controlled. At the same time, a higher citation count is shown especially by papers with a tag that is specifically scientifically oriented (“new finding”). The findings indicate that papers tailored for a readership outside the area of research should lead to societal impact. If altmetric data is to be used for the measurement of societal impact, the question arises of its normalization. In bibliometrics, citations are normalized for the papers’ subject area and publication year. This study has taken a second analytic step involving a possible normalization of altmetric data. As the results show there are particular scientific topics which are of especial interest for a wide audience.
    [Show full text]
  • The Studio Museum in Harlem Ma∂Azine/Summer 2008
    Studio/ Summer 2008 The Studio Museum in Harlem Ma∂azine/ Summer 2008 SMH Board of Introducin∂ From the Director Trustees turin∂ Alani Bass , Mi∂uel Calderon, Target Free Cat Chow and Felicia Me∂∂inson; Chairman Sundays! StudioSound with Rich Medina; and Raymond J. McGuire See pa∂es Eye Notes, featurin∂ the work of Vice-Chair our youn∂est “artists in residence,” Carol Sutton Lewis 36–38! the hi∂h school participants of our Treasurer Expanding the Walls pro∂ram. Re∂inald Van Lee Secretary The Studio Museum in Harlem Ma∂azine / Summer 2008 Anne B. Ehrenkranz year, Leslie Hewitt, Tanea Richard- Gayle Perkins Atkins son and Saya Woolfalk ener∂ize the Jacqueline L. Bradley Museum’s ∂alleries (and the pa∂es Kathryn C. Chenault 02 What’s Up / Kehinde Wiley / R.S.V.P. / New Intuitions / A Portrait of the Artists / Eye Notes / Harlem Postcards / Gordon J. Davis of this ma∂azine) with their new work Susan Fales-Hill Four Decades 18 Projects on View / Rich Medina / Black is Beautiful 20 Upcomin∂ Exhibitions / Barkley L. Hendricks in New Intuitions. I am thrilled that In these pa∂es you will see addi- Dr. Henry Louis Gates, Jr. they share the ∂alleries this sum- tional excitin∂ features hi∂hli∂htin∂ Sandra Grymes 24 Feature / Allison Saar’s Swing Low 26 Elsewhere / Phantom Sightings / Salad Days / 1968: Then and Now / Yoruba / VanDerZee Mussenden Donna Courtesy / 1932 / Summer 2008 Studio mer with The World Stage: Africa, alumni of our foundational pro∂ram, Joyce K. Haupt A People’s Geography / Nicholas Hlobo / The 7th Gwan∂ju Biennale / RECOGNIZE! / The Poetics of Cloth / The Essential Lagos ~ Dakar, a solo exhibition by includin∂ Alison Saar (1983–84) and Arthur J.
    [Show full text]
  • THE ART NEWSPAPER Art Basel: 15/06/2016
    ○ Download our FREE daily app THE ART NEWSPAPER Art Basel: 15/06/2016 ○ Kunstmuseum Basel ○ Michael Landy ○ Basel’s backyard ○ Refugees welcome Inside the city’s biggest art Why the British artist wants to Head to Salts in Birsfelden to museum, which has just got How the art world is responding destroy Jean Tinguely’s museum find a dynamic non-profit space bigger and better to a crisis in the real world in the name of love off the beaten track Page 4 >> Pages 9-10 >> Pages 16-18 >> Page 23 >> Buy Eliasson’s green light, Collectors take a long help refugees Green light, the Vienna-based art project launched by Olafur Eliasson to welcome refugees, hard look at themselves is coming to Art Basel this weekend. Since March, partici- pants from countries including Syria, Afghanistan and Iraq have At Art Basel, artists hold up a mirror to everyone who makes the art world go round worked with local people at Thyssen-Bornemisza Art Contem- Artists are holding up a mirror to porary to make nearly 300 green the art world at Art Basel, its biggest lamps designed by the Danish- tribal gathering, which opened to in- Icelandic artist. Participants will vited collectors yesterday. Collectors, present the project inside Oscar art advisers, dealers and the rest of Tuazon’s wooden structure on the art market’s elite arrived to find the Messeplatz, on 18 and 19 its rituals (and sometimes them- June. Lamps will be available for selves) represented—though not SFr350 each. Proceeds go to pro- necessarily in the best light.
    [Show full text]
  • Debating the Literary and Filmic Memory of Jan Karski
    Loyola University Chicago Loyola eCommons Jan Karski Conference 9-2014 Debating the Literary and Filmic Memory of Jan Karski Sue Vice University of Sheffield, [email protected] Follow this and additional works at: https://ecommons.luc.edu/jankarski Part of the History Commons Recommended Citation Vice, Sue. Karski’s testimony on the Holocaust: story of a secret state, shoah, and the Karski report. Presented at the Jan Karski Memory and Responsibility Conference, September 20, 2014. This Presentation is brought to you for free and open access by Loyola eCommons. It has been accepted for inclusion in Jan Karski Conference by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © 2014 Sue Vice. Jan Karski has been the subject of historical and memorial inquiry, as we have heard so far in this conference. He has also been the subject of different kinds of literary and visual representation, such as documentary film and television, and fiction of various kinds, including a graphic novel. I will discuss the different uses and interpretations made of the figure of Karski in these varied genres, as well as the conflicts that occur, sometimes explicitly, between them. I will start with an example of such a clash of interpretations, that between the director Claude Lanzmann and the writer Yannick Haenel. In 2009, Haenel published his novel Jan Karski, a fictionalized vision of the wartime envoy. His novel relies on Lanzmann’s interview with Karski in Shoah, and Karski’s own writings in Story of a Secret State.
    [Show full text]
  • Download Preprint
    Recommendations from the Reducing the Inadvertent Spread of Retracted Science: Shaping a Research and Implementation Agenda Project Jodi Schneider*, Nathan D. Woods, Randi Proescholdt, Yuanxi Fu, and the RISRS Team July 2021 *Corresponding author: [email protected] and [email protected] Table of Contents EXECUTIVE SUMMARY 3 Recommendations 4 INTRODUCTION 5 RISRS Project Goals and Assumptions 6 Framing the Problem 8 Scope of this Document 9 THE RISRS PROCESS 10 Scoping Literature Review 10 Interviews 11 Workshop, Dissemination, and Implementation 11 LITERATURE REVIEW AND CURRENT AWARENESS 11 Reasons for Retraction 11 Formats and Types of Retraction 13 Field Variation 15 Continued Citation of Retracted Papers: What Went Wrong? 20 Visibility of Retraction Status 24 Inconsistent Retraction Metadata 25 Quality of Retraction Notices 26 Literature Review Conclusions 28 DEFINING PROBLEMS AND OPPORTUNITIES 29 PROBLEMS AND OPPORTUNITIES DESCRIBED BY THE EMPIRICAL LITERATURE ON RETRACTION 29 Problem Themes Described by the Empirical Literature on Retraction 30 Opportunity Themes Described by the Empirical Literature on Retraction 32 Problem Definition Described by the Empirical Literature on Retraction 35 THEMES FROM STAKEHOLDER INTERVIEWS 36 Problem Frameworks based on Stakeholder Interviews 36 Contentious Themes based on Stakeholder Interviews 38 The Purpose of Retraction According to Stakeholder Interviews 38 Changing the Scholarly Record 39 The Harms of Retraction According to Stakeholder Interviews 39 The Character of Reform According to Stakeholder Interviews 40 SYNTHESIZING THE PROBLEMS AND OPPORTUNITIES 41 Aligning Opportunity Pathways 41 Defining the Scale and Scope of the Problem 42 RECOMMENDATIONS 43 1. Develop a Systematic Cross-industry Approach to Ensure the Public Availability of Consistent, Standardized, Interoperable, and Timely Information about Retractions.
    [Show full text]