The following text presents an online project, which has been developed since April 2007 with a duration of five years on the initiative of the Kunstgeschichtliches Institut in Frankfurt and the Kunsthistorisches Institut in Florence, together with the partner institutions Städel Museum and Historisches Museum in Frankfurt and jointly financed by…[Read more]

Drei digitale Kunstprojekte aus den Jahren 2015 und 2016 werden in diesem Text vorgestellt und verglichen, Game Over Facebook, WrongGrid und Curating Money. Ihnen ist gemeinsam, dass sie in Konfrontation zu ihrem jeweiligen technischen und ästhetischem Kontext stehen, beispielsweise zu den digitalen Plattformen, auf denen sie gespeichert sind,…[Read more]

Am 11.10.2014 erschien im Feuilleton der Frankfurter Allgemeinen Zeitung ein Artikel von Gina Thomas über die derzeitige Intensivierung der wissenschaftlichen Arbeit zum Kunstmarkt. Der Titel lautete: Wie der Kunsthandel die Wissenschaft erobert. Auf diese Bestimmung eines Verhältnisses und die gebrachten Beispiele soll hier reagiert werden.

In Along an African Border, anthropologist Sónia Silva examines how the Angolan refugees living in Zambia during the Angolan civil war used their divination baskets to cope with daily life in a new land. To many people, these baskets are capable of thinking, hearing, judging, and responding. They communicate by means of small articles drawn in…[Read more]

Sónia Silva is an Associate Professor of anthropology at Skidmore College. Drawing on ethnographic fieldwork in Zambia, as well as museum work in Europe and the USA, Silva’s research deals with materiality, material religion, the notion of the fetish, ritual and religion, divination, witchcraft, violence, and museums. Silva is the author of Alon…[Read more]

Think back to your first year of college. How did you feel? Eager? Excited? Maybe also fearful, anxious about fitting in, making friends, or being successful? First-year students have a lot on their minds. It can be challenging to help them forge a meaningful connection with the library. Amidst the internal cacophony generated by the transition to…[Read more]

Throughout historic developments, the publicly ascertained and published price of an artwork repeatedly served as a reference point for art theoretical discussion. Particular importance was attached to the auction sale price, since this financial evaluation of art was of such a public nature. While there is a long history of these ideas about the…[Read more]

This presentation defines BEAM and discusses how the author introduced it in a graduate-level music bibliography course.

Open access has changed. At the beginning of the millennium, it was portrayed in a romanticizing way and was embedded in a conceptual ensemble of participation, democratization, digital commons and equality. Nowadays, open access seems to be exclusive: to the extent that commercial players have discovered it as a business model and article fees…[Read more]

As cultural heritage collections become available online they carry the promise of ‘access’ – new audiences, new uses, new understandings. But access is never simply open. Limits are imposed, structures are defined, categories are created. Decisions are made about what gets digitised and why. This chapter will describe a series of exper…[Read more]

The process of managing information in architecture, engineering and construction (AEC) design projects remained relatively unchanged between publication of works of Bavarian theorist Albrecht Dürer and French mathematician Gaspard Monge in the 1500s and 1700s respectively, and the widespread adoption of computer aided design (CAD) in the early…[Read more]

Der Markt für wissenschaftliche Informationen hat in den letzten Jahrzehnten einen enormen Konzentrationsprozess durchlaufen, und zwar nicht nur was Publikationen, sondern Produkte des gesamten akademischen Workflows betrifft. Dies könnte am Ende zu einem „end-to-end lock-in” führen. Sowohl um dieser Entwicklung etwas entgegenzusetzen als auch…[Read more]

Given the unique cultural artifacts and ephemera contained in music libraries, music librarians spend much of our time concerned with the description of materials that fall outside the mainstream expectations of descriptive cataloging. Such diverse objects include dance manuals, record carriers, magazines, posters, and other promotional materials.…[Read more]

Shared productivity applications like Google Docs have become commonplace in libraries, but there are many other free, web-based resources that librarians can use for staff management and collaboration. Library staff at BGSU have been using applications such as Dropbox, Hiveminder, and Floorplanner, as well as many others, for such tasks. We will…[Read more]

Social justice and critical theory frameworks have been utilized to discuss library pedagogy and cataloging, but librarians have been slow in applying critical theory to how we actually manage libraries and lead staff. Management is not glamorous; rather, many still hold the traditional view of management as upholding hierarchical values. At its…[Read more]

Librarians have been publicly voicing dissent towards neutrality since at least the 1980s, when a number of radical librarians coming out of the climate of social upheaval in the 1960s-1970s began to call for a re-examination of the idea of library neutrality (Dick 220). Individuals on the margins have been writing on this topic for decades, but…[Read more]

Profiling the Samuel Becket collection at the University of Reading