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Digital Liaisons: Shifting Borders in Interdisciplinary Collaboration
At the 2012 ASIS&T Annual Meeting, the SIG Digital Libraries hosted a panel exclusively featuring posters and presentations by master's and undergraduate students on topics pertaining to interdisciplinary collaboration. This event was intended to acknowledge the presence of ASIS&T student members by providing a venue specifically for master's and undergraduate students to present independent research on topics related to information and knowledge management. In recognition of limited student funding, participants were allowed to present in absentia through video presentations and mailing in posters. The event also served as a social meeting point to facilitate networking between students, faculty, and professionals.
SIG DL would like to share the excellent work by our presenters through this webpage. Below, you can learn more about the backgrounds of the presenters, view videos from the panel, and review supplementary material. For any questions, please feel free to contact SIG DL at asist.sigdl@gmail.com.
Link to Photo Album
Link to Program
Plenary Speaker
"Data" Is Not Enough: Case Studies in Managing and Preserving Digital Research Outputs
Elizabeth Rolando, Rachel Mandell – Best Poster (tie) – Georgia Tech, UCLA
Abstract Expand
Cloud computing is already a reality in many libraries around the world and it "refers to both the applications delivered as services over the Internet and the hardware and systems software in the data centers that provide those services" (Armbrust et al., 2010, p. 50). Breeding (2012, p. 2) states that "the term cloud computing is used quite freely, tagged to almost any type of virtualized computing environment or any arrangement where the library relies on a remote hosting environment for a major automation component".
The technologies associated with cloud computing can be classified in three main categories: infrastructure as a service (IaaS), platform as a service (PaaS) and software as a service (SaaS). In libraries' environment, it is commonly used as Saas (for instance, Alma, WordShare and Summon, are services that provided…) but also as IaaS where instead buying hardware, the institution only rent servers in the cloud. As highlighted by Romero (2012, p.111) adoption of cloud computing approaches could report significant benefits to libraries, namely: cost reduction, scalability, lower investment, reduced risk, included support and greater security and accessibility.
This new trend is affecting directly the way that libraries around the world are addressing digital preservation issues, as they need to ensure the perdurability of data. In the case of Brazilian libraries, further reflection is still needed. Even though public and universities libraries are starting to use cloud services, the fact that the government funds them, poses the challenge of the request for bids, enforced by the Brazilian legislation for every product or service that cost more than R$8.000,00 (about U$3478,00). If this process was to fail, and another purchase process was to be initiated, the service and/or the storage of data are not guaranteed.
The poster will present preliminary results of a survey addressed to the librarians and IT analysts of the three largest public universities in São Paulo State: São Paulo University, University of Campinas and São Paulo State University. The main aim of this research is to determine the main reasons for the low penetration of cloud services in Brazilian libraries, whether they are solely related to the legal barriers or there are other technological, social or cultural reasons, as the librarians' reluctance to embrace disrupting approaches as this one. The study also reflects on the opportunities and challenges of cloud based digital preservation practices in Brazilian libraries, with the aim of ensuring long-term and safe storing of their data, while staying within the assigned budget and respecting current legislation.
Armbrust, Michael et al. (2010). A view of cloud computing. Communications of the ACM, 53(4), 50-58.
Romero, Nuria Lloret (2012). "Cloud computing" in library automation: benefits and drawbacks. The Bottom Line: Managing library finances, 25(3), 110-114.
Biography Expand
Elizabeth (Lizzy) Rolando is the Research Data Librarian at Georgia Tech, working in the Scholarly Communications and Digital Curation Department in the Library. In this role, Lizzy is working to build out and develop the data services provided by Georgia Tech, while also providing consultation on data management planning and data archiving. Before joining the Georgia Tech Library, Lizzy worked as a Graduate Student Researcher at UCLA under Dr. Christine Borgman studying the data practices of Science and Technology researchers. She received both her MLIS and Bachelor of Science from UCLA. Lizzy is an ASIS&T 2012 New Leader.
Rachel Mandell is a recent graduate from UCLA's Library and Information Science Master's program. While at UCLA, she focused on the management of research data and other forms of research output. She completed a Master's thesis under the direction of Christine Borgman and the UCLA Library on the requirements and needs of researchers across many academic fields, for the development of the UCLA Data Registry. This new tool facilitates data discovery and reuse on the UCLA campus. Rachel is a native southern Californian, currently living in Konstanz, Germany. When she is not working on her German language skills, she is hiking through the Schwarzwald, learning how to bake local specialties, and is interested in continuing her work and education in the areas of digital preservation, electronic publishing, open access, and the digital humanities
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Poster File
"They're Doing This for Free?": Using Crowdsourcing as a Way to Generate User Interest and Efficiently Digitize Collections
Fallon Bleich and Mary Michelle Moore – Best Poster (tie) – Rutgers University
In the current fast paced world of technology, users strive to achieve success in new and interesting ways. Digital libraries, archives, and repositories seek ways to attract users to their unique collections while also maintaining tight budgets. Enter crowdsourcing, a volunteering method that has exploded technologically in the past decade. Why is it so successful? What are users getting out of participating? How can we take this method and apply it to other institutions? The gamification of libraries and archives through crowdsourcing, allows users to interact with materials and concepts that they might not otherwise have access to, such as images of unidentified galaxies (from Galaxy Zoo) or dinosaur bone measurements (from the Open Dinosaur Project). This virtual stimuli not only invites users, but also unites them in their social collaboration. Users also feel a sense of success from being the person to identify that particular galaxy or the person that transcribed the most letters from the Civil War. These results only showcase how popular crowdsourcing has become as a method of digitizing information. I am surveying a variety of different institutions that are currently or have recently used crowdsourcing as a way to enhance their collections and broaden their audience. I have also gathered data from the institutions' websites and will include it in my results. This survey and its results will explore why institutions are using crowdsourcing, how well it is working/worked for them, and explore why some places have attracted larger crowds than others. The poster will share these results and hopefully show how other digital projects can also use crowdsourcing to showcase their collections.
Fallon Bleich is an MLIS student at Rutgers University ['13], with a specialization in Digital Libraries. Her previous academic background includes a BA in History from Hendrix College. Fallon is currently the online copresident of the Rutgers ASIS&T group and a circulation assistant at the Bentonville Public Library in Bentonville, Arkansas.
Mary Michelle Moore is an MLIS student at Rutgers University ['13] with a previous BA in Anthropology from the University of California Los Angeles. She is currently the webmaster for the Rutgers RASL group and a Library Assistant at the University of California-Irvine Library
Conducting a Data Management Audit of a Scientific Research Group
Christopher Eaker and mentors – Special Prize Poster – University of Tennessee-Knoxville
As research-intensive science produces increasingly higher volumes of digital data, managing it with long term preservation in mind is more important than ever. Data management has become an often overlooked practice, taking a backseat to the science it supports (Heidorn, 2011; Carlson, Fosmire, Miller, & Nelson, 2011). Libraries and information science professionals can offer valuable assistance in managing that data, as they, historically, have strong skills related to the access and preservation of information and knowledge, such as classifying, describing, distributing, and storing (Pryor, 2012; Jones, Ball, & Ekmekcioglu, 2008).
One such way information science professionals can offer help to their scientific colleagues is by conducting an audit of their data management practices. By conducting an audit, the auditor can identify areas of strength, areas needing improvement, redundant activities, and useful tools. The goal of the data management audit is to increase efficiency and improve data management practices within a research group or project, which will, in turn, support the long term preservation and access of data sets. A data management audit supports the entire lifecycle of data, including Project Planning, Data Collection, Data Analysis, Data Archiving, and Data Distribution and Sharing.
This poster will highlight the skills an information professional needs and demonstrate a practical approach to performing a data management audit. Based on the Digital Curation Centre's Data Asset Framework (2009) and framed within the data lifecycle, this poster will explain the data management audit process and provide examples of questions asked, data workflow diagrams, and suggestions for improvements. Below are descriptions of the tasks involved in each phase of the audit.
During the project planning phase of the data management audit, the information science professional holds introductory meetings with science project managers. The purpose of these meetings is to determine which groups will be audited and be introduced to project personnel who will be participating in the data management audit. The auditor must obtain Internal Review Board approval, if necessary, before conducting any data gathering interviews.
During the data collection phase, the data collected includes, but is not limited to, surveys of project personnel; internal documents, such as reports and project logs; external documents, such as brochures and websites; and demonstrations of tools.
The data analysis phase of the data management audit includes processing and analyzing the data collected from the previous phase. Tasks within this phase include transcribing interviews, studying each group's workflow, and extracting trends and finding gaps in those workflows. Additionally, the auditor should develop a workflow diagram that visualizes and describes the research process in each group audited. Color-coding each phase of the workflow process on the diagram facilitates easy comparison across research groups. Finally, during data analysis, the auditor must consistently consult with project personnel to determine if the workflow diagrams accurately represent the groups' processes.
Data Distribution & Sharing
Once the analysis is complete, the auditor must produce a final report that outlines key findings and lays out recommendations for improvements. This report is then shared with the project leaders and other project personnel who will determine how to proceed.
Implementation of the recommendations contained within the data management audit report is the goal of the data management audit. The recommendations must be useful, reasonable suggestions to improve efficiency, reduce redundancy, and increase quality. Important areas where recommendations may be made include data management planning, metadata, archiving and preservation, and project tracking.
Carlson, J., Fosmire, M., Miller, C., & Nelson, M. (2011). "Determining data information literacy needs: A study of students and research faculty." portal: Libraries and the Academy 11(2), 629-657. The Johns Hopkins University Press.
Heidorn, P. B. (2011). "The emerging role of libraries in data curation and e-science." Journal of Library Administration, 51(7-8), 662-672. doi: 10.1080/01930826.2011.601269
Jones, S., Ball, A., & Ekmekcioglu, Ç. (2008). The data management audit framework: A first step in the data management challenge. International Journal of Digital Curation, 3(2).
Pryor, G. (2012). "Why manage research data?." In G. Pryor (Ed.), Managing research data (p. 15). London: Facet Publishing.
Chris is a second year masters student in the School of Information Sciences at the University of Tennessee, Knoxville (UTK). He comes to the information science profession after a successful career as a civil engineer. He is now specializing in data curation and is a research assistant in the Data Curation Education in Research Centers program at UTK. He plans to become a data curator in an academic research library upon graduation next May.
Precision Agriculture Applications in Upstate New York: An Overview
Pamela Espinosa de los Monteros, Daniel Ochs – Syracuse University
The advancement of new technological applications in the agriculture industry have given rise to the development of machinery and controllers on the cutting edge of both engineering and information science.
Precision Agriculture, as it is now referred to, has become possible with the availability of Geographic Information Systems (GIS) and Global Positioning Systems (GPS) technology working in conjunction with newly developed sensors, monitors and controllers included in agricultural machinery (Goddard, 2001). The result is complex technological information systems with the capability of automatically capturing information, storing data and supporting the analysis of the overall farm operation.Today, there is an increasing amount of information available to farmers about their soil, historic yield data, and product performance.
In theory, these new technological systems enable advanced planning, autopilot steering of farming equipment, and sub-inch accuracy for variable rate planting, fertilizer applications, and chemical applications.
Currently, academic, independent, and corporate researchers differ on how Precision Agriculture information should be utilized by farms. This poster will display an overview of Precision Agriculture systems, the flow of information in these systems, and the potential of this emerging information technology.
The information used for the development of this poster is based on case study analysis from ten different farm operations implementing Precision Agriculture technologies in upstate New York between 2011 and 2012. This research was conducted for a project in Information Design, as a part Syracuse University's MLIS curriculum, in conjunction with an independent agricultural consultant.
Daniel Ochs holds a B.S. from the College of Agriculture and Life Sciences at Cornell University ('10), and is an alumni of the Fulbright-Garcia Robles Fellowship (2010-2011) in Mexico City, Mexico, where he focused on parametric financing for agribusiness. Currently, working for Ochs Consulting LLC as an agricultural consultant, Daniel has focused on implementing precision agriculture and improving information management on farm operations in Upstate New York. Daniel would like to pursue graduate study in agriculture to further address these challenges.
Pamela Espinosa de los Monteros is a graduate student of Library and Information Science at Syracuse University ('13). She holds a B.A. in Interdisciplinary Humanities from the University of San Diego ('06), and is an alumni of the Fulbright-Garcia Robles Fellowship (2010-2011) in Mexico City, Mexico, where she focused on international communication strategies for NGO's. Topics of research include: information design with a focus on cultural relevancy and optimal presentation methods for diverse communities, and accessibility of information sources for multi-ethnic/multi-lingual users.
Yes, but what is it that you do?
Amanda K. Rinehart – Illinois State University
Despite carefully crafted job descriptions, librarians in the e-science or data field find that there is little consensus on position responsibilities and required competencies. Consequently, librarians in these positions tend to customize their positions around what their clientele require. Indeed data "Curation Service Models [are] driven by user requirements". Therefore, it's not just about the data – it's about the people. Specifically, it's about the different cultures of user groups and librarians and how to communicate effectively across these groups. The "elevator speech" for a scientist might be quite different from the one for your librarian colleague. A recent survey of e-science librarianship job advertisements ranks communication as the most frequently cited personal skill. While each librarian, researcher and student may have different needs, there are usually broad disciplinary cultures that can guide interactions. Understanding some of these broadly-defined disciplinary characteristics can go a long way towards successful communication.
Amanda holds a Masters of Library and Information Science from the University of South Florida and a Masters of Botany and Plant Pathology from Michigan State University. Previously, Amanda was the E-Science Librarian for Brown University, a laboratory/data manager at the US Horticulture Research Laboratory, and the Society of Nematologist's scholarly communications consultant. She currently manages the Digital and Data Services Department at Illinois State University, including the institutional repository, ISU ReD.
Sixteen Students, Fourteen weeks: Building a Digital Library through Collaborative Learning
Kate Thornhill, Emily Powers, Emily Toner, Christina Tanguay, and Chelsea Gunn – Simmons College
Since 2005, the Graduate School of Library and Information Science (GSLIS) at Simmons College has provided students with the opportunity to take part in the creation of a digital library collection highlighting alumni scrapbooks from Simmons College Archives. These projects have been incorporated into the classroom as part of a Digital Libraries course taught by Professor Candy Schwartz. In May 2012, the Paula Kantala McAndrews Scrapbooks became the most recent addition to the Notable Women of Simmons College Digital Scrapbook Collection, after a semester of intensive training and collaboration among the students in the class. The purpose of this poster is to highlight the learning processes that went into the construction of the digital library and the results of the students' team collaborations. The poster will cover the history of the project, the main aims of coursework, the methods of training and development, and the overall overcome of the project.
As members of the team that created this digital library, we plan to address how library students new to creating a digital library developed workflows, managed a successful technology project, and learned project management skills. The poster will address collaborative processes and the impact of peer-to-peer training on the development of the digital library. During the digital library's 14-week development period, students acquired specialized knowledge on their committee's topics as well as gaining a general knowledge of all other aspects of digital libraries.
Professor Schwartz gave guidance when needed but encouraged students to make decisions independently on all aspects of the project, including deadlines, criteria and technical specifications. These methods of constructivist and experiential learning left students with practical experience and a "t-shaped" skill set.
Chelsea Gunn is an archivist living in Providence, RI and received her MLIS with a concentration in archives management from Simmons College in 2012. She served as the project manager for the Paula Kantala McAndrews Digital Library project. In addition Chelsea is interested in metadata, databases, creative collaboration, and using digital tools to bring new audiences to archival materials. She also works as a Field Surveyor for the RHODI Project at the Rhode Island Historical Society.
Emily Powers is a Massachusetts native and a MSLIS '13 candidate at Simmons College GSLIS in Boston. Her areas of interest include web services, digital libraries, special libraries, journalism, and web design and development.
Christina Tanguay is a lifelong resident of Lowell, Massachusetts. She received her MSLIS from Simmons College in 2012, where she concentrated in Archives Management. Her areas of interest include digital libraries, preservation, and visual materials. Christina worked on the preservation and digitization committees for the Paula Kantala McAndrews Digital Library project. She works as an Archives Assistant at MIT's Institute Archives and Special Collections.
Kate Thornhill is expected to receive her MLIS from Simmons College in December 2013, where her focus has been building digital libraries and institutional repositories and learning about the open movement. She served as chair for the digitization committee for the Paula Kantala McAndrews Digital Library project, supervising the creation of all digital objects for the collection. In addition to school, she works full-time as a Collections Management Assistant for Tufts University Hirsh Health Sciences Library.
Emily Toner is expected to receive her MSLIS from Simmons College in December 2012, where her focus has been special collections, digital libraries, and emerging metadata schema. Emily served as the chair of the metadata committee for the Paula Kantala McAndrews Digital Library project, supervising the creation of descriptive metadata for the collection. In addition to school, she works as a library clerk at the Boston Architectural College and as a part-time librarian at the landscape architecture firm, Carol R. Johnson Associates.
Digitizing Don Quixote
Christine Parker, Justin Mancini – Queens College
Digitizing Don Quixote presents a new approach to the digitization of rare books, using the collection of 14 early editions and related works of Don Quixote housed by the Queens College Department of Special Collections and Archives. Our project has been to create an interactive digital experience accessible through the World Wide Web.
Using the open source software Omeka, we have built a content management system for the collection that provides the contextual information necessary to understand the differences between editions. The site uses archival principles of description for rare books, yet also takes advantage of digital technologies to bring fresh, new interactive platforms to users.
Using the 1620, 1864, and 1900 editions as the prototypes, we employed Javascript to design interactive title pages with roll-over text boxes and hyperlinks. These links direct users to a wiki that expands upon the scope and content of select points of interest. Information on the printer, the publisher, and the images can be explored to enhance understanding of the uniqueness of each volume. Users can also choose to zoom in to very fine detail or interact with pages in a more familiar page-turning interface. In the second phase site development, we have added an exhibit layer which places the Don Quixote collection within the larger context of print history. Users can learn how a rare book volume would have been printed through an interactive historical print shop. Geographic locations of significance to particular volumes are presented through a map interface. In addition, all points of connection are tied together in a visual node map where users can browse and explore relationships of context to enrich their experience.
Our goal is to take our editions of Don Quixote beyond the borders of the archive through this digital experience so that users worldwide can explore unique materials in new ways. Rare books are a valuable resource not only to select scholars but to all users interested in the humanities. With this site, we aim to both increase access to our materials and stimulate users of all backgrounds to engage early works in novel digital environments.
Christine Parker is an emerging professional currently working as both an assistant archivist at Queens College and a reference librarian trainee in the public sector. Her professional interests include library and information studies, archives, and the intersections of digital applications with special collections. She holds a B.A. in Anthropology from Stony Brook University and will receive her M.L.S. from the Queens College Graduate School of Library and Information Studies in February of 2013 along with a certificate in Archives and Preservation of Cultural Materials. Christine serves as the project lead for Digitizing Don Quixote, also known as the Digital Print History project at Queens College. She began work on the project as a Special Collections and Archives Fellow in the fall of 2011 and continues to develop and expand the project's online content with an eye towards combining effective and meaningful access for rare book collections with an interactive user experience.
Information Organization in Music Recommendation
Rachel Bloch Shapiro – Special Prize Paper – University of Maryland
This paper examines how approaches to information organization by commercial music recommendation services can impact the success of a recommendation as measured by relevance and novelty. This paper highlights current research that, if adapted for commercial use, could improve the primary approaches to music recommendation, namely content‐based (Pandora), collaborative filtering (iTunes Genius), and a hybrid system using semantic analysis of the web (the Echo Nest). This paper suggests that innovations in syndicated content, link analysis, using crowdsourcing to improve metadata, and improvements in linked data, should help recommendation systems reach deeper into the Long Tail.
Rachel Bloch Shapiro is an MLS candidate at the College of Information Studies at the University of Maryland and holds a bachelor's degree in Mathematics from the University of Chicago. Rachel is a recipient of the 2012 American Jewish Libraries scholarship, and a recipient of University of Maryland's Helen A. Tegnell scholarship for the 2012-13 academic year.Rachel has worked at the Special Collections Research Center at the University of Chicago Library, and as a volunteer in various libraries and museums. Rachel has also worked as a teaching assistant at the University of Illinois-Chicago in Mathematics, and as a high school Mathematics instructor while living abroad in Haifa, Israel. Most recently, Rachel completed an internship at the Technical Services Division of the University of Maryland Libraries, where she worked with an E-resources and Serials Librarian to design a relational database that would manage electronic resources cataloging workflow. This coming winter, Rachel will be working as an intern on the Taxonomic Literature 2 Linked Data Project at the Smithsonian.
National Information Standards Organization (NISO) Guidelines for Good Digital Collections Calculator
Margaret Wilson – University of Oklahoma
Based on the NISO Framework of Guidance for Good Digital Collections, this poster illustrates an interactive calculator that calculates the percentage of "goodness" for a digital collection based upon responses that users give to a series of questions. The questions are based on NISO guidelines, and grouped according to four categories of NISO criteria: collections, objects, metadata, and initiatives. Each category of criteria is its own menu item on the calculator interface. Users answer questions in each category. The possible answers are "yes", "no", and "maybe." For each "yes" answer the user is awarded a point. A hint is displayed for each "maybe" answer, and then prompted to answer the question. For each "no" answer a prompt is displayed explaining the importance of the issue addressed in the question and offering additional resources for improvement. At the end of answering a group of questions for a menu item, a percentage score is calculated for the total number of questions and awarded. When the questions for all four menu items have been calculated, a total percentage for the entire series of questions is calculated and displayed to the user. The poster will explain the basic mechanisms calculator and display the menu design for the calculator and the process for awarding points, hints, and "no" responses. This poster will also display QR codes and tinyURLs linking to the full text of the questions, "maybe" hints, and "no" responses, as well as the original NISO criteria. The purpose of the calculator is to serve as an introduction to the NISO Guidelines for Good Digital Collections, as well as provide a potential tool for thinking about issues involved with digital collections. For the full text of NISO Framework of Guidance, see: http://www.niso.org/publications/rp/framework3.pdf
Margaret Wilson is an MLIS student in the School of Library and Information Studies at the University of Oklahoma. She has worked for the University of Oklahoma Bizzell Memorial Library, and the Oklahoma Historical Society Research Center.
The Luke Howard Collection: The Artful Science of Clouds
Christine Wood – University of Oklahoma
The Luke Howard Collection began as a proposal to collect the work of Luke Howard, the early nineteenth century chemist who gave the world the origins of cloud metadata, coining the terms Cumulus, Stratus, Nimbus, and Cirrus. What makes Howard unique is his creation of cloud illustrations to accompany his work, the images that document the phenomena he named. Attempts to locate Howard's original artwork and papers, and the artwork and literature he inspired, have revealed how one subject crosses many disciplines. A man who may be conveniently categorized under meteorology also has a significant place in English Literature, Art History, the History of Science, and Library Studies.
In English Literature, there is evidence of inspiration for contemporary writers and poets. In Art History, Howard's work shows how the format and medium fits into the non-professional artwork of the time and how Howard's works also inspired professional artists. The cloud paintings of artist John Constable are one example of this. He also inspired the poetry of Percy Shelly and Goethe, and the art and writing of John Ruskin (Gale 2012). In the History of Science, his illustrations show how scholars began to understand the natural world. In Library Science, Howard's cloud metadata became the base for a controlled vocabulary.
Luke Howard's images are scattered from the Science & Society Picture Library to the Bridgeman Art Library to the Royal Meteorological Society. Fewer than 10 images are available and none of these are accompanied with metadata. Sizes, dates, mediums, locations, and copyright are mostly unknown. Institutions credited with ownership do not have digital archives.
Luke Howard's fame arises from naming the clouds, but his contributions to art, literature, and history cross many different disciplines. Currently, his collective works are not a collection since they are physically divided into subjects. The value of Howard's works is better appreciated when viewed as a whole. Each individual discipline can gain from the accumulation of these works as a whole, along with their subject specific metadata.
Digital collections offer the opportunity to transcend individual subjects and physical locations. They can eliminate the busywork of locating known information and allow focus on the interpretation of gathered information. Luke Howard's paintings may be best preserved in a museum, his books in a library, and his letters in an archive, but a digital collection overcomes these physical limitations and creates a unique body of work.
Luke Howard is just one example of a subject that is bigger than its current manifestations. If created, this collection has the potential to appeal to a broad audience because of the unique relationship its images create between science, history, and art. There is currently no way to evaluate the entire collection and its related objects. A digital collection will connect Howard's artistic work with artifacts across disciplines.
Hamblyn, Richard. 2001. The Invention of Clouds: How an Amateur Meteorologist Forged the Language of the Skies. New York: Farrar, Straus and Giroux.
Gale. 2012. "John Constable." Gale Encyclopedia of Biography. http://www.answers.com/topic/john-constable
Cloudman. 2012. "Luke Howard- The Godfather of Clouds." http://www.cloudman.com/luke_howard.htm (accessed April 3, 2012).
Christine Wood is an MLIS student in the School of Library and Information Studies at the University of Oklahoma. She has worked in the archives of the Georgia O'Keeffe Museum, in the image library of Christie's Auction House, and for the University of Virginia Law Library. Her background is in art history and photography.
Keynote Speaker: Michael Leach
Michael Leach is the Head of Collection Development, Cabot Science Library, at Harvard University. He has worked in science libraries for more than 20 years. In addition, he is an adjunct faculty member at the Simmons Graduate School of Library & Information Science, where he has taught courses on information technology, web publishing, collection development and database management; he is also a PhD candidate at Simmons GSLIS, focusing on digital libraries and the adoption of corporate principles in academic information settings.
Over the past 9 years, Michael has taught over 45 continuing education programs, reaching nearly 600 colleagues, and he has been a frequent speaker at conferences, including annual meetings of ALA, ASIST, ACRL and SLA. He is also a Past-President of the American Society for Information Science & Technology (ASIS&T).
Digitizing Don Quixote (Remote)
Christine Parker, Justin Mancini – Honorable Mention Paper – Queens College
Digitizing Don Quixote presents a new approach to the digitization of rare books, using the collection of 14 early editions and related works of Don Quixote housed by the Queens College Department of Special Collections and Archives. Our project has been to create an interactive digital experience accessible through the World Wide Web. Using the open source software Omeka, we have built a content management system for the collection that provides the contextual information necessary to understand the differences between editions. The site uses archival principles of description for rare books, yet also takes advantage of digital technologies to bring fresh, new interactive platforms to users.
Using the 1620, 1864, and 1900 editions as the prototypes, we employed Javascript to design interactive title pages with roll-over text boxes and hyperlinks. These links direct users to a wiki that expands upon the scope and content of select points of interest. Information on the printer, the publisher, and the images can be explored to enhance understanding of the uniqueness of each volume. Users can also choose to zoom in to very fine detail or interact with pages in a more familiar page-turning interface.
In the second phase site development, we have added an exhibit layer which places the Don Quixote collection within the larger context of print history. Users can learn how a rare book volume would have been printed through an interactive historical print shop. Geographic locations of significance to particular volumes are presented through a map interface. In addition, all points of connection are tied together in a visual node map where users can browse and explore relationships of context to enrich their experience.
The Librarian as Programmer: Text Mining (Remote)
Devin Higgins – Best Paper – Michigan State University
As information resources have become more likely to take digital form, the computer programmer's skill set has increasingly overlapped with that of the librarian. While the manipulation of data by computer has utility within the library in a number of areas, the following case study focuses on the use of computer programming for text mining tasks in the creation of a digital library at the Center for Black Music Research (CBMR) at Columbia College Chicago. For large collections of text of relatively unexplored content, text mining can offer a remarkably efficient tool for the discovery and application of descriptive metadata. Text mining programs can be written in response to the specific needs of a given collection, helping to build digital libraries where the content of the collection helps generate its form.
After graduating with a degree in library and information science from the University of Illinois in May 2012, Devin began a position as Digital Library Programmer at Michigan State University the following fall. His current professional interests are in building digital collections that promote user exploration, designing automated data flows, and the digital humanities.
New American Heritage: Designing Digital Collections for User Collaboration (Remote)
Charles Macquarie, Charlotte Nicholson, Katherine Pradt, Aimai Reporter, Bruce Shenitz – Pratt Institute
Our project aims to develop guidelines for curating interactive, community-based digital collections for groups and institutions with limited resources. Many small, local cultural heritage organizations would like to develop an internet presence and display their collections online. These collections may include various kinds of media and much of the material may be user contributed or user-edited, making the needs of these institutions complex. Though limited resources tend to be the norm, the potential and necessity for collaboration across scholarly and professional disciplines makes this area ripe for exploration, and development of such guidelines can help to offset these resource shortages. We will use a specific institution, the folk life program of the Council on the Arts and Humanities for Staten Island (COAHSI), as a case study to explore the decisions, issues, and challenges that such collections should address when implementing a web-based collection.
Charles Macquarie
Charles Macquarie has an undergraduate degree in English and Religious Studies from Lewis & Clark College, and graduated Pratt Institute's School of Information and Library Science in May of this year. Most of his work so far has been processing collections of personal papers and processing government and organizational records. He is particularly interested in the way digital projects can help to provide new conceptions of the materials in these collections.
Charlotte Nicholson
In spring 2012, Charlotte received her MSLIS from Pratt Institute. During her studies at Pratt she focused on archival theory and practice, specializing in artist archives and digital asset management. Since 2008 Charlotte has worked as the Assistant Archivist for the Esteban Vicente Archives where, among other projects, she implemented the digitization plan for 53 linear feet of analogue documents. In addition she serves as the archival consultant for the Doug Ohlson Estate.
Katherine Pradt
Katherine received her MSILS from Pratt Institute in 2012. She is primarily interested in user-centered design of digital interfaces for online collections, with a related focus on information architecture and an unavoidable expertise in copyright issues. In addition to her degree from Pratt, Katherine holds an MFA in fiction and poetry from Sarah Lawrence College and a BA in English literature from Yale.
Aimai Reporter
Aimai Reporter is a recent MSILS recipient from Pratt SILS, awarded the silver cord for maintaining a 4.0 average. Her studies focused on Archives & Special Collections and sharing those collections digitally. Her background in commercial & digital photography gave Aimai experience in project management, archiving, and digital asset management, influencing her decision to get her degree. Internships include The New Museum Archive, ICP Robert Capa Archive, & The Thomas J. Watson Library at the Met.
Bruce Shenitz
Bruce has extensive experience as a writer, reporter, and editor for major national newspapers and magazines. He has worked and studied internationally in Taiwan, Hungary, Yugoslavia, the Netherlands, Sweden, and Germany, and was awarded a fellowship from the Knight Foundation to study law from the perspective of a journalist at Yale Law School. He earned his MSLIS from Pratt in 2012, with a focus on taxonomy, cataloging, and information architecture.
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"They're Doing This for Free?": Using Crowdsourcing as a Way to Generate User Interest and Efficiently Digitize Collections [In-Person]
Fallon Bleich and Mary Michelle Moore – Rutgers University
Conducting a Data Management Audit of a Scientific Research Group [In-Person]
Christopher Eaker and mentors – University of Tennessee-Knoxville
As research-intensive science produces increasingly higher volumes of digital data, managing it with long term preservation in mind is more important than ever. Data management has become an often overlooked practice, taking a backseat to the science it supports (Heidorn, 2011; Carlson, Fosmire, Miller, & Nelson, 2011). Libraries and information science professionals can offer valuable assistance in managing that data, as they, historically, have strong skills related to the access and preservation of information and knowledge, such as classifying, describing, distributing, and storing (Pryor, 2012; Jones, Ball, & Ekmekcioglu, 2008).One such way information science professionals can offer help to their scientific colleagues is by conducting an audit of their data management practices. By conducting an audit, the auditor can identify areas of strength, areas needing improvement, redundant activities, and useful tools. The goal of the data management audit is to increase efficiency and improve data management practices within a research group or project, which will, in turn, support the long term preservation and access of data sets. A data management audit supports the entire lifecycle of data, including Project Planning, Data Collection, Data Analysis, Data Archiving, and Data Distribution and Sharing.
Plenary Speaker: Dr. June Abbas
Chair, 2010-2011
Dr. June Abbas, PhD, is an Associate Professor in the School of Library and Information Studies (SLIS) at the University of Oklahoma, Norman campus. She obtained her PhD in Information Science from the University of North Texas in 2001 and taught in the Department of Library and Information Studies at the State University of New York in Buffalo from 2001-2008 before joining the SLIS in August 2008. Her research focuses on the development of user-centered digital libraries, institutional repositories, and other knowledge organization structures. She also conducts research on children and teens and their use of technology, and the intersection between information behavior, information retrieval, and structures for organizing knowledge. The courses she teaches include those related to the organization of information and knowledge resources, cataloging and classification, indexing and surrogation, digital collections, and digital information retrieval. She has also served as project manager on seven digital libraries projects and on task forces to develop institutional repositories at two universities. Currently she is Chair of the ALA RDA Programming and Forums Taskforce
Special thanks to the 2011-2012 and 2012-2013 officers of SIG Digital Libraries for all their help and support.


(Saleha Mohsin, Bloomberg News) Treasury Secretary Steven Mnuchin clashed with Maxine Waters, the chairwoman of the House Financial Services Committee, bickering with her about ending a hearing on Tuesday after more than three hours of testimony and about whether he would return to the panel.
The public back-and-forth exposed the rancor between Mnuchin and Waters, a California Democrat who has promised aggressive oversight of President Donald Trump's administration and has long advocated for his impeachment.
The two leaders began arguing after Mnuchin asked for the hearing to end so that he could attend a meeting with Bahrain's finance minister at 5:30 p.m. in Washington.
Mnuchin said he'd notified committee staff on Monday that he'd need to leave at 5 p.m.
Waters asked for Mnuchin to remain for another 10 minutes.
He said he could stay for 5 minutes, and offered to return to testify to the committee in May.
She refused to formally dismiss him.
"If this is the way you will treat me, I will rethink" returning, Mnuchin said at one point.
Waters complained that no Treasury secretary had previously attempted to set a time limit on his testimony before the committee.
Mnuchin, who'd testified earlier in the day before another House panel, retorted that no other secretary had been treated like him.
He suggested Waters bang the gavel to adjourn the hearing. She told him not to instruct her what to do.
Treasury's general counsel, seated next to Mnuchin, whispered in his ear. Mnuchin said that he had been advised that he wasn't obligated to stay at the hearing. Then he withdrew his offer to return to testify in May.
At about 5:30 p.m., Waters ended the hearing.
"I expect the secretary to honor our invitation to return so that the rest of these members have an opportunity to pursue their questions," she said.


After joining Walter Emrich for the aerial monitoring on September 19th, we discussed the possibility of venturing out for another sea kayaking expedition before the season was over. Walter said he would keep an eye on the weather and get in touch when the weather was looking good. About a week later, he contacted me by email about kayaking to the Western Isles Nature Preserve on Saturday, September 27th. He couldn't have picked a better day! The water was calm and the sun felt like it could have been mid-summer.
I want to take this opportunity to thank Walter Emrich for leading me on yet another great kayaking adventure! Very grateful for having met so many amazing people on my journey through this project. Thank you Nature Trust!
It was a tremendous experience to see these preserves from the air, many of which I had already visited on land or by boat. However, it was the first time I was able to see the Western Isles, South Wolf Island, New River Island and L'Etang Islands. I have since been kayaking around the Western Isles (which will be the subject of my next post). The other three are definitely strong candidates for being painted from an aerial perspective. I know for sure that one of my next paintings will be L'Etang Islands from this perspective. It is a site that is truly spectacular when seen from the air.


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Every single page of the world's best-selling classical music magazine is included in our brand new app
by Immediate Media Company Limited
Every single page of the world's best-selling classical music magazine is included in our brand new app.
Music Magazines & Newspapers
BBC Music Magazine is FREE but there are more add-ons
We've brought the great music we write about to life – you can now instantly sample and buy almost 200 recordings mentioned and recommended in every issue of BBC Music Magazine, thanks to our specially developed widget.
Click on any album cover or on underlined text, and the widget will open up, allowing you to hear extracts from hundreds of recordings – without ever leaving the app.
Click on any track to buy, and our widget will then take you to iTunes, where your choice will be highlighted, making it easier than ever to buy recommended recordings.
BBC Music Magazine is a must-read for anyone with a passion for classical music. Every issue brings the world of classical music to life, from interviews with the greatest artists and features on fascinating subjects, to all the latest news and opinions from around the music world.
There are also reviews of over 100 recordings, from symphonies and operas to big concertos by great composers from Bach to Vivaldi, each one rated by the finest writers in the business. BBC Music Magazine is the ultimate choice for classical music connoisseurs and new enthusiasts alike.
Now available on your iPad, there's never been a better time to read BBC Music Magazine!
Subsciptions and Single Issues
Customers can buy single issues and subscriptions using In App Purchase
Subscriptions are available on monthly or annual terms.
• Your subscription automatically renews unless auto-renew is turned off at least 24 hours before the end of the current subscription period
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• Any unused portion of a free trial period, if offered, will be forfeited when you purchase a subscription
• The app may offer a free trial. At the end of the free trial period, the full price of the subscription will be charged thereafter. Cancellations must occur 24 hours before the end of the subscription period to avoid being charged. Visit http://support.apple.com/kb/ht4098 for more information.
The subscription will include the current issue if you do not already own it and subsequently published future issues. Payment will be charged to your iTunes Account at confirmation of purchase.
If you would like to get in touch with the team for more information or support please email [email protected] or alternatively you can visit our App support page https://immediate1.typeform.com/to/kc5nri
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* please note: this digital edition does not include the covermount gifts or supplements you would find with printed copies*
Similar Apps to BBC Music Magazine
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The 10 Best Beaches in New York - Tripping.com
The 10 Best Beaches in New York
It's starting to get hot which means you need a trip to one of New York's best beaches to cool off. The best part? All these beaches are easy to get to and make for the perfect weekend getaway. Check out popular spots like Coney Island or the Rockaways, or try something off the beaten path to get away from the crowds. Even if swimming isn't you're thing, there are plenty of outdoor activities to entertain you all day long. All you need to do is book that swanky New York vacation rental and take a quick subway, ferry, or bus ride to check out these 10 best beaches in New York!
1. Fort Tilden Beach
Once a United States Army base, Fort Tilden might be New York's best kept secret. This three-mile stretch of clean sand, trees and grassy dunes is a great destination for fishing and bird-watching. Plus, it's usually so isolated, that even on the busiest summer weekend, you'll feel like you have the beach to yourself. In addition to the beach, Fort Tilden is also known for its art installations. Battery Harris East, has an observation deck that provides 360 degree views of Jamaica Bay and New York Harbor, and there are a ton of decommissioned military structures to look at as well. The best way to get here is by bike, and don't forget to bring some snacks. There aren't many restaurants or stores in the area.
Find Fort Tilden Beach State Reservation vacation rentals
2. Jacob Riis Park Beach
Also known as "The People's Beach," Jacob Riis Beach is easily accessible by public transit. It's best known for its Art Deco boathouse which first opened in 1932 but also boasts a golf course, ball courts and a wider beach than nearby Fort Tilden. Often times overlooked for its neighbor, Rockaway Beach, Jacob Riis Park Beach is a treasure all its own and has been enjoying a recent renaissance. While you're here, check out Riis Park Beach Bazaar for food, shopping, and a packed calendar of events.
Find Jacob Riis Park Beach vacation rentals
3. Jones Beach
Jones Beach has six miles of sand with minigolf, ball courts, and even two swimming pools. It's perfect for families, but music lovers often come here to see headliners like Gwen Stefani and Dave Matthews Band play at Nikon at Jones Beach Theater. Plan ahead because the Jones Beach shuttle bus is often overcrowded.
Find Jones Beach vacation rentals
Find the perfect New York vacation rental on Tripping.com. Tripping.com is the world's #1 vacation rental search engine with over 10 million properties!
4. Cherry Grove Beach
Only accessible by wooden walkways, Cherry Grove Beach feels like a true getaway. With no paved roads, this beach offers more of a laid-back feel compared to other Fire Island spots. Stay at one of the idyllic, cottage vacation rentals so you'll have plenty of time to check out the clubs, bars, and restaurants in the area.
Find Cherry Grove Beach vacation rentals
5. Long Beach
Only about one hour away from New York City, Long Beach is a breeze to get to. Just take the LIRR from Penn Station and you'll have your toes in the sand in no time. This seaside town saw a lot of damage after Superstorm Sandy, but after raising $42 million, there's now a brand new boardwalk providing you with over two miles for strolling and biking. With five miles of sand, this beach is perfect for playing volleyball and frisbee and has a great local music scene. Every summer, the community hosts a concert series with weekly art festivals and a farmers' market on Saturdays.
Find Long Beach vacation rentals
6. Orchard Beach
Lovingly referred to as the Riviera of New York City, this is Bronx's only public beach, spanning 1.1 miles and 115 acres. It's located within Pelham Bay Park and is only a quick train ride and bus transfer away. Most notable for its unique crescent shape, Orchard Beach offers stunning views of City Island. There are also 26 courts for basketball, volleyball and handball, tennis courts, and picnic areas. There aren't many restaurants and bars, but if you get hungry, you can grab a bite to eat from one of the concession stands.
Find Orchard Beach vacation rentals
7. Rockaway Beach and Boardwalk
Rockaway Beach is the only beach near New York City where you can legally go surfing, but that's not the only reason it's so popular. You can reach this massive, nearly six-mile long beach in just about an hour from downtown New York. All you have to do is take the A train to Broad Channel before switching to the S train to Rockaway Park-Beach 116th, or take the new ferry. You'll find plenty to do here besides surf and sand. There's a fully-rebuilt boardwalk and a plethora of markets, restaurants and outdoor activities available. One of the most popular spots is the Rockaway Beach Surf Club, home to the popular food stand Tacoway Beach.
Find Rockaway Beach and Boardwalk vacation rentals
8. Robert Moses State Park
All that stands between New York City and Robert Moses State Park is an easy train ride and an even easier bus ride. This gem of a beach boasts five miles of oceanfront, an 18-hole golf course, picnic areas, surfing, and private outdoor showers. Compared to its next door neighbor, Jones Beach, Robert Moses State Park is quiet and virtually crowd free. For some of the best views outside the city, head a little farther east to Field 5. Here, you'll find the rest of the scenic Fire Island coast and the 200 year-old Fire Island Lighthouse. It's only 192 steps to the top!
Find Robert Moses State Park vacation rentals
9. Coney Island Beach
Thanks to its carnival games, amusement park rides, and the famous Nathan's Hot Dog Eating Contest, Coney Island is pretty iconic. While the three miles of sand and waves are still the beach's main attraction, you can also walk along the boardwalk or visit Luna Park and ride the Cyclone roller coaster. It's the perfect juxtaposition of old and new, and the perfect place for your ultimate summer getaway.
Find Coney Island Beach vacation rentals
10. Brighton Beach
Brighton Beach, also called Little Odessa, is known mostly for its large settlement of Russian-speaking immigrants and the colorful shops, food emporiums, and restaurants that came with them. It's a little eclectic, a little exotic, and a lot unique. Where else can you find treasures like Ukrainian honey-pepper vodka? Of course, there's always the beach, but you'll definitely have to explore the surrounding neighborhood while you're here.
Find Brighton Beach vacation rentals
Ready to go? Check out these amazing Beaches in New York vacation rentals on Tripping.com.
10 Best Places to Stay for the U.S. Open
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Everything You Need To Know About Manhattanhenge 2018
7 Best Romantic Weekend Getaways From New York
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New York: Top Offers
Kew Gardens, Queens, New York
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Old singers never die – they just surround themselves with younger people. Or do they?
In May 2011, I wrote a "tymshft" post in my Empoprise-MU music blog, comparing Focus' original version of the song "Hocus Pocus" with a subsequent bluegrass version by the Cleverlys.
I haven't listened to the Cleverlys version in a while, but I've recently had occasion to listen to Focus' version – both the Midnight Special version that I shared in 2011, and some more recent versions that I found on YouTube.
Is this just a problem with age, where old singers just can't sing like they used to? According to Jeannie Deva, the answer is no. It is possible for an older person to maintain, and even improve on, his or her singing capability. However, there are certain things that can cause a voice to deteriorate.
Drugs, alcohol, smoking, stress, lack of sleep – I guess those have been known to occur to rock singers.
How did banking and government exist before the 21st century?
I have been employed in the biometric industry for nearly twenty years. Yet despite my long immersion in this industry, I can understand when outsiders conclude that we are all insane.
Rick Agostinelli, Chief Executive Officer of Digital Persona, recently made the following statement. However, any of us in the industry could have made the same statement, with the same tone.
More than half of the people in the world have no identity credentials. As a result, they have little or no access to banking or government services.
Now when Mr. Agostinelli makes this statement, or when I make this statement, we are talking about this as a serious problem that needs to be solved. But when normal people look at the statement, their reaction is more likely to be, "Why is the second sentence related to the first?" Or, why does the lack of identity credentials necessarily RESULT in a lack of banking or government services? After all, for thousands of years of human history, banking and government services were accessible to everyone, despite the lack of biometric capabilities. Why? Because the communities were small enough that identity credentials were unnecessary.
Let's say that you were growing up in a small town in Pennsylvania in the late 1800s. You could walk down to the bank, and the banker would know who you were. Well, to be honest, the banker was using a crude manual form of facial recognition…but you didn't have to carry an identity credential around with you to get your money out of the bank. Similarly, any government official in the town would know who you were. If you were arrested that evening for breaking into that same bank, the constable didn't have to match your fingerprints against a national database of prints. He'd just lock you up in his jail.
But today, we have determined (or some of us have determined) that identity credentials are essential to keep the banks and the governments running. This is partially due to the number of citizens that governments must serve – the nation of India needs to provide services for over a billion people. This may be due to other purposes also – purposes that alarm civil libertarians and criminals alike.
Whatever your industry, it's important to take a step back and make sure that your industry is not engaged in groupthink – or, as Evgeny Morozov noted, that you're not trying to solve the wrong problem.


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* fix 304 header issue in `plugin.filehandler`

### 1.1.3 - January 20, 2012

* expand method signature of `response.checkRoute()`

### 1.1.2 - January 13, 2012

* `plugin.request` added `request.body` for `PUT` and `POST`
* update `createServer` to allow for options for `https`
* removed dependency on `date-utils`, added dependency on `cromag`

### 1.1.1 - December 4, 2011

* `plugin.meta` added to plugin definition
  * `author` - author name
  * `email` - author email
  * `name` - plugin name
  * `description` - plugin description
* `plugin.name` deprecated in favor of `plugin.meta.name`
* added `html` and `callback` to `404 handler`
* added headers, expiration, and modification checks to `filehandler plugin`
  * added `options.timeout` for cache headers
  * added `304` response for `If-Modified-Since` headers

### 1.1.0 - November 27, 2011

* `addRoute()` now returns `routeId` instead of `this` - BREAKING CHANGE
* added `removeRoute(routeId)`
* updated to `EventEmitter2` current - BREAKING CHANGE

### 1.0.9 - October 25, 2011

* removed regular expression test causing exception in 0.5.10
* ready for node.js v0.6.0, and verified working on windows

### 1.0.8 - October 2, 2011

* added session to request in session plugin
* lower node.js version requirement
* added request plugin
  * POST parameter handling
  * request url parsing


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MIC18 富強公司 | 富強 Pro Audio PA
Pro Audio / 錄音器材 / 零售批發 / Shure 產品 (香港及澳門) 代理商 / Harman 產品 (香港及澳門) 代理商: JBL 及 Crown
【1 月優惠套裝】Zoom H6 手提錄音器 + APH-6 配件
商品編號 01847
新增至購物袋中
H6 採用了可換式的咪頭設計,令用家在不同場合都可以得到最清晰的聲音,另外增加兩個 XLR 輸入達到總共四個(H4N 只有兩個),可同時錄取六個聲道,加入實體按鈕,令到操作更得心應手。
世界首個採用可換式咪頭的手提錄音器;
4 個 XLR/TRS 輸入;
最多 6 聲道同時錄音;
格式支援高達 24-bit/96kHz;
6-in/2-out USB 介面;
4 夥 AA 電可以運作超過 20 小時;
支援高達 128GB SDXC 記憶卡;
• Interchangeable input capsules that can be swapped out as easily as the lens of a camera
• Six-track simultaneous recording
• Four mic/line inputs with XLR/TRS combo connectors
• Gain controls (real knobs!) and -20dB pads for each input
• Phantom power for all main inputs: +12/+24/+48V
• Large full-color LCD display, angled so it's easy to read in all environments
• Records directly to SD, SDHC and SDXC cards up to 128GB
• Up to 24-bit/96kHz audio in BWF-compliant WAV or a variety of MP3 formats
• Auto-record, Pre-record and Backup-record functions mean that you'll never miss that perfect take
• Multitrack to stereo internal mixdown
• Independent monitor and playback mixes
• Virtual VU meters
• Voice memo and up to 99 marks per recording
• Overdubbing, up to 99 takes
• Built-in effects, including low-cut filtering, compression and limiting
• Onboard MS decoding
• Normalize, Divide and Trim editing
• Chromatic tuner and metronome
• Loop Playback with user-defined start and stop points
• Variable playback speed, from 50% to 150%
• Variable pitch per track without affecting playback speed
• USB port for data exchange to and from computer
• Multichannel and stereo USB audio interface for PC/Mac/iPad
• Camera strap mounts
• Mounts directly to DSLR or camcorder with optional HS-01 Hot Shoe Mount adapter
• Accepts standard AA alkaline or NiMH rechargeable batteries
• Over 20 hours of operation with 4 AA alkaline batteries
The H6 offers four main inputs (1-4), plus two additional inputs (L, R) that are derived from whichever capsule (X/Y, MS, Shotgun, or Dual XLR/TRS Combo) is plugged into the unit. The supplied XYH-6 X/Y capsule also provides a secondary input for connecting an external mic- or line-level signal via a stereo 1/8″ Mic/Line In mini phone jack. When a connection is made to that jack, signal from the X/Y microphones is muted.
All four main H6 inputs (inputs 1-4) are combo connectors that can accept either XLR or 1/4″ balanced or unbalanced phone cables. They can handle both micand line-level signals, which means that you can connect either external microphones or line-level devices like mixers, portable music players, electronic keyboards, or electric guitars or basses with active electronics (passive electric guitars or basses can also be connected with the use of a mixer or effects device). Internal switching contacts automatically detect the circuit of choice.
On the H6, all connectors use the industry standard Pin 2 hot on XLR connectors and Tip hot on TRS connectors, as shown here:
Each of the six inputs (that is, 1-4 as well a L, R) has a dedicated gain control knob. In addition, the four main inputs and the EXH-6 capsule feature a -20dB pad, allowing you to prevent distortion even when high-level signals are introduced. In fact, with the use of the Pad switch, the H6 can input a signal 30dB louder and 14dB softer than any other Handy Recorder model. In addition, all capsules utilize higher voltage preamps (5 volts instead of the more commonly used 3 volts) for distortion free recording, even at high volumes. A built-in instrumentation amp allows signals to be transmitted with minimal noise even when long cables are used.
If you're using high-quality condenser (powered) microphones with the H6, no problem—a simple menu option allows the unit to provide Phantom Power (either +12, +24, or +48 volts) to any or all of the main inputs (inputs 1-4). Inexpensive condenser microphones requiring Plug-In Power (2.5 volts) can be connected to the X/Y capsule's stereo 1/8″ Line In jack.
The H6 Line Out is an unbalanced stereo 1/8″ phone jack, located on the bottom of the H6, beneath the LCD display. It carries the analog stereo output signal, as determined by the H6′s internal mixer.
The H6 USB port, located on the side panel to the right of the LCD display, provides a digital output of either a stereo mix or the six individual input signals, depending upon the setting of the "Audio Interface" function in the USB menu.
In addition, the H6 provides a headphone output with a dedicated volume control, located on the side panel to the left of the LCD display. Connect your headphones to the stereo 1/8″ mini phone jack for private monitoring of the stereo output signal.
The H6 even has a built-in speaker, located on the underside of the unit, for fast monophonic monitoring of the recorded signal without the need to make any connections whatsoever. This speaker is automatically disconnected when connection is made to either the Line Out or Headphone output.
The X/Y miking technique is optimal when you want to cover a wide area and still capture sound sources in the center with clarity and definition, making it great for all types of live stereo recording.
The supplied XYH-6 X/Y capsule adds two matched high-quality unidirectional microphones to your H6. This kind of microphone is most sensitive to signal coming from directly in front, and less sensitive to signal coming from behind or from the sides; in technical terms, they are said to utilize a cardioid polar pattern. These mics have the largest diaphragm size (0.579″ = 14.6mm) of any ever available on a portable recorder.
As shown in this illustration, the angle of the two mics can easily be changed from 90 degrees to 120 degrees for a wider stereo image (US Patent 8184815).
Playing back stereo X/Y tracks in mono results in a fuller sound than you would get with one microphone, but if mono compatibility is critical (for example, in television production), the Mid-Side (MS) mic technique can be a better choice.
Enter MS ("Mid-Side") recording: an incredible technique that allows you to actually adjust the width of the stereo image after it has been recorded, making it especially useful for film, video and television projects. Sound like magic? Read on.
Although the H6′s supplied MSH-6 MS capsule appears to be just one microphone, it actually contains two mic elements, positioned directly on top of one another. One of the microphones inside the MSH-6 is unidirectional (that is, it is mostly sensitive to signal coming from directly in front, and less sensitive to signal coming from behind or from the sides) while the other is bi-directional (that is, it is mostly sensitive to signals coming from directly in front and directly behind, and less sensitive to signal coming from the sides).
Inside the H6 MS capsule, the directional ("Mid") mic faces forwards while the bi-directional ("Side") mic is set perpendicular to it, like this:
The basic concept behind MS recording is that the Mid microphone picks up signal coming from the center, while the Side microphone creates ambience and directionality by adding or subtracting information from either side.
The Mid-Side technique works well whenever you need a variable amount of room sound. It can also be used for studio recording, and its convenience and flexibility make it a good option for rehearsal and live concert recording as well.
File types supported
The H6 can record audio in two different basic file types: WAV and MP3. The main difference between the two is that WAV files are uncompressed; that is, they contain all the recorded data without any "bits" (digital words) being removed. Thus, they provide full fidelity without compromise. The H6 can record up to six monophonic WAV files (or up to three stereo files) in any of the following formats:
44.1kHz / 16-bit
48kHz / 16-bit
All WAV files recorded by the H6 are automatically time-stamped, making them fully compatible with the Broadcast Wave Format (BWF); in other words, they are "BWF-compliant." This is especially important when recording audio for video, because it allows the audio to be precisely synchronized with the onscreen action in postproduction.
MP3 recordings are compressed, which means that some unnecessary data is removed prior to storage, making them much smaller than WAV files, and thus much easier to upload and download. Some MP3 files exhibit a slight loss of audio fidelity as compared with the original signal; however, this is not noticeable in all circumstances.
NOTE that when the MP3 file type is selected, the H6 only records in stereo; if you want to record in multitrack, you must select a WAV file type. The H6′s internal mixdown function allows multitrack WAV projects to be easily reduced down to stereo MP3 or WAV, with independent control over each track's level, panning and pitch.
Never miss a take:
Pre-record, Backup-record, and Auto-record.
PRE-RECORD
The interview started a splitsecond before you were ready. The conductor lifted his baton just as you were checking a cable. The talent went back on-air a moment too soon.
No problem… as long as you're using the H6. Its Pre-record function automatically keeps the H6 silently but continuously recording in the background, all the time. Then, when you hit the RECORD button, it keeps the previous two seconds and appends it to the beginning of the file. It's as if the H6 had started recording two seconds before you actually got to hit the button.
BACKUP-RECORD
Backup-record—the ultimate safety net. When turned on during the recording of WAV files, the H6 automatically records a duplicate set of L/R tracks, but with 12dB less input gain. Even if the original L/R track is distorted, chances are the Backup version is fine.
You can listen to either set of tracks simply by going to the Backup File option in the PROJECT menu. When turned OFF, you'll hear the original L/R tracks; when turned ON, you'll hear the lower-level Backup tracks instead. Pick the one you prefer and use it as your L/R master. Bacon saved.
AUTO-RECORD
The Auto-record function allows the H6 to automatically start recording when a certain level of sound is detected. When turned ON and the RECORD button is pressed, the H6 doesn't immediately start recording; instead, it goes into a standby mode; as soon as an incoming signal exceeds the Start Level you've set, recording begins.
There's an equivalent Autorecord Stop function, too. When turned ON, as soon as incoming signal drops below the Stop Level you've set, recording ends.
Onboard effects.
The H6 provides an arsenal of effects that allows you to add polish to your recordings and compensate for any problems or limitations in the acoustics of the recording environment.
A low-cut filter allows you to remove signal below a certain user-designated frequency (called a cutoff frequency). This is useful for eliminating pops, wind noise, blowing, transmitted resonance from an onstage mic stand and other kinds of low frequency rumble.
Compression and limiting compensate for fluctuations in level; in essence, they act like an automatic volume control, reducing the level of louder sounds (that is, the sounds below a threshold point). The main difference between the two is that a limiter reduces louder sounds more severely.
The H6 allows you to choose from three compressor settings and three limiter settings. The two "General" settings (Comp1 and Limiter1) are all-purpose settings that will work well on most kinds of program material. The Comp2 and Comp3 presets are optimized for use with vocals and drums, respectively, while the Limiter2 and Limiter3 presets are optimized for use in live concert recording and small room "studio" recording, respectively.
In addition, there's an onboard metronome and chromatic / guitar / bass tuner—both handy tools when recording musical content.
Battery life and recording times.
The H6 requires just 4 AA batteries—either alkaline or rechargeable NiMH—for power. Battery life (when using alkaline batteries) is more than 20 hours, even during continuous recording. An optional AD-17 AC adapter (included in the APH-6 Accessory Pack) allows you to power the H6 from any standard wall socket.
The H6 records directly to SD cards. It supports standard SD cards as well as the newer SDHC and SDXC cards, up to 128 gigabytes, making it capable of accessing massive data storage.
Using the H6 as an audio interface.
The H6′s USB port allows it to send and receive digital data. Connect the H6 to your laptop or desktop computer via USB, launch your favorite DAW or use the included Cubase LE , and start laying down your tracks. You can even connect the H6 to an iPad (camera connection kit required).
When the H6 is set to "Stereo Mix" in the USB menu, it acts as a 2-input / 2-output interface; when set to "Multi Track," it acts as a 6-input / 2-output interface. The H6′s onboard INPUT&OUTPUT mixer allows you to create a custom stereo or six-track mix for output via USB, with independent control over the level and panning of each track, as well as access to effects like low-cut filtering, compression and limiting. In addition, signal that is input to the H6 can be monitored directly before it passes through the connected computer or iPad, enabling monitoring with zero latency (that is, without any delay). There's also a handy Loop Back mode that allows you to blend stereo signal coming from the computer or iPad with signal coming into the H6 inputs, useful for live streaming via the Internet or for adding narration to a musical backing track.
Live concert recording
The illustration shows how you might typically use the H6 for live concert recording. Here, the XYH-6 X/Y capsule is being used to capture the onstage performance in stereo. In addition, a stereo feed from the mixer is being sent to inputs 1 and 2 in order to record the board sound, and a pair of external mics is connected to inputs 3 and 4 to capture the audience sound.
Location videography
In the example shown in the illustration , the MSH-6 MS capsule is being used to capture the main sound source in stereo, with external boom and lavalier mics (connected to Inputs 1 and 2) focused on the talent providing narration. Another pair of external mics is connected to inputs 3 and 4 and are being used to record a second stereo image, this one of the other performers in the scene. By using the MS capsule, you can then use the H6′s onboard MS decoder to adjust the width of the main stereo image in post-production.
The H6 is the perfect audio companion for anyone doing ENG work, especially when it is used with the optional SGH-6 Shotgun mic capsule, as shown in this example. Here, the SGH-6 is being used to capture the news event itself, recorded on the L/R track. Because shotgun mics have a narrower focus (sometimes referred to as more "reach") than an average microphone, the SGH-6 is the perfect choice when covering late-breaking news at a distance. In addition, the SGH-6 does a great job of picking up the frequencies produced by the human voice.
Two external handheld mics for the interviewer and interview subject are plugged into Inputs 1 and 3, with backup external lavaliers plugged into Inputs 2 and 4. The H6′s onboard effects and powerful mixing functions make it the ideal field mixer; the low-cut filter can be used to reduce wind noise, and the compressor/limiter can be used to condense the dynamic range and thus make the audio more television-friendly. The six recorded tracks can then be mixed down internally to a stereo MP3 file for microwave or satellite transmission to the broadcast facility.
Rehearsal recording
Want to record your band as they rehearse? No problem, especially if you plug in the optional EXH-6 Dual XLR/TRS capsule, which allows six discrete mic- or line-level connections to be made to your H6.
In this example, a stereo submix of the mics covering the drum kit is being fed from the PA mixer to the L/R inputs of the H6 via the EXH-6. The four main inputs are used as follows: the lead singer's mic is connected to Input 1; a microphone positioned in front of the guitar amp is connected to Input 2; a direct signal from the bass player's active electric bass is connected to Input 3; and an electronic keyboard is connected to Input 4. Thus, each instrument and vocal is receiving a track of its own (or, in the case of the drums, two tracks).
Being able to spread your instruments and vocals over six tracks instead of four gives you an extra degree of flexibility that other handy recorders cannot provide. As you listen back to your song, new musical ideas may spring to mind, and that's where the H6′s powerful overdubbing function comes into play, because it allows any of the tracks to be redone—up to 99 different takes—meaning that you can reshape your song after the fact.
The APH-6 includes:
RCH-6 wired Remote Controller
AD-17 USB-type AC adapter
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Nurses of America continue to fight for the lives damaged by COVID-19
In: Articles, Feature
by Jada Ingelton and Izabella Perez
FIGHT FOR YOUR RIGHT: Registered nurses exercise their Constitutional right to freedom of assembly at the organized peaceful protest in front of the White House on Tuesday, April 21. The group continued to stay six feet apart as they protested against the lack of personal protective equipment, which played a role in the deaths of approximately forty-six nurses. Photo courtesy of USA Today
In the wake of the Novel Coronavirus (COVID-19), a fatal pandemic, many state governors and officials have taken to closing down and withholding businesses in an effort to reduce and prevent the spread of infection. Schools, retail stores and even some bank branches have all been on a temporary shut down as the regulations of social distancing have been significantly enforced worldwide. While many have taken the notion to participate in these measures, some essential workers have continued to go to work every day. Putting other's safety and health above their own, nurses in particular are one group of essential employees that have used their continued work efforts to make a difference in the lives of those who need it.
COVID-19 is an infectious airborne disease that has spread across more than 200 countries and territories, as well as infecting millions of people. Nurses everywhere have been adamant in doing their part to help treat as many patients as possible and keep them quarantined away from others that they could possibly spread it to. By going to work every day, let alone having to work around and with said contracted patients, the nurses put the lives of themselves and their families at risk. Despite their best efforts, 3.25 million people have been confirmed to have contracted the virus, with 213 thousand deaths following. Of those 213 thousand, more than 200 nurses have died combating it and over a thousand have contracted COVID-19. The nurses were honored by National Nurses United, the largest union of registered nurses in the country, in front of the White House on Tuesday, April 21. The union of nurses read the names of the late frontline workers, standing in protest against the lack of personal protective equipment.
"More than seven in ten of our nurses are reporting exposure to COVID-19 and most are still untested," New York State Nurses Association (NYSNA) Executive Director Pat Kane said, in an address to the lawsuits being filed against the New York State Department of Health. "We cannot allow these dangerous practices to continue."
There are currently two ways to test for COVID-19: molecular tests and serological tests. The molecular tests look for signs of an active infection and are performed by swabbing the back of the throat with a cotton swab. This is currently the way most people are tested for the virus. Serological tests detect antibodies that the body naturally produces to fight off the virus and is usually tested with a blood sample. With testing readily available at hospitals and testing centers worldwide, nurses should have reasonable and easy access to keeping their health in check, however, for many cities and institutions that is not the case.
"Nurses protested today because we need to stop the spread of the virus and to do that, nurses and other health care workers need the optimal personal protective equipment to do their jobs safely," Deborah Burger, co-president of National Nurses United, said in a statement to USA TODAY. "It is inexcusable that Congress is debating a new COVID-19 interim package without including a mandatory OSHA (Optimal Safety and Health Administration) standard for health care workers in the bill."
The possibility of spreading COVID-19 is a concern taking priority in many healthcare workers' minds. To avoid possibly infecting their loved ones when coming home, these workers have come up with a routine to avoid possibly spreading the disease. While the routine may vary from worker to worker, it mainly consists of stripping yourself of the clothes worn that may have come into contact with the virus before entering the home and disinfecting any items that cannot be thrown away. Workers with family take extra care in this process, not wanting to risk infecting their loved ones.
"I live with my pregnant wife, son and two dogs. My wife is also a nurse. We try to strip down as soon as possible when coming in the door, clothes straight to the laundry," says an emergency department nurse who wished to remain anonymous for fear of workplace repercussions. "I've been spraying off my shoes, pen and badge with disinfectant, and then it's straight to the shower."
While the nurses of the world have continued to showcase what it means to be committed to their job, many factors still may put them at a struggle. The American Nurses Association's (ANA) Code of Ethics for Nurses with Interpretive Statements (2015) is the nursing profession's nonnegotiable ethical practice standard. ("Coronavirus Update." ANA.) Within this standard, a number of provisions portray the duties and directives of nurses, including Provision 2 which states that a nurse's primary commitment is to their patient. However, in Provision 5, a contradictory statement marks that a nurse owes the same duty to themself as to others. These two provisions limit the availability of nurses working on the COVID-19 cases, as they also must be mindful and considerate of their own health and security. Along with this aspect, the number of nurses in the workforce is not nearly as much as one would believe. According to a study done in 2018, the global shortage of nurses is around 5.6 million. With the employees barely being supported, the nursing profession can use as much support as possible ineffectively powering through these drastic times.
"People will die because, realistically speaking, you cannot attend to ten, 20 or 30 patients by yourself," said emergency room nurse Katherine Ramos of New York. "How could you possibly give the care, the quality care that is necessary? You can't."
One way nurses have been offered some relief is through the passing of the CARES, or Coronavirus Aid, Relief and Economic Security Act. This act includes over 2 trillion dollars in spending and tax breaks to go towards helping health care providers and the economy respond to the pandemic. ANA has also played a major role in contributing to as much relief efforts for nurses as possible. The persistent and supportive legislation provides a total of 17.5 billion dollars for necessities such as life-saving medicine, critical medical supplies, personal protective equipment and contract tracing to identify additional cases.
As more information is being learned and released about COVID-19, the Centers for Disease Control and Prevention (CDC) updates their site and releases guidelines hospitals should follow concerning hospitalization of patients that have contracted COVID-19 as well as testing for the virus. The CDC states that all hospitals should prevent the spread of all respiratory diseases, identify and isolate all patients tested positive for COVID-19 as well as any patients that could possibly be tested positive and monitor any healthcare personnel that might have been exposed to the virus. Hospitals are adhering to these guidelines by making separate rooms and floors dedicated to treating patients with coronavirus and having one nurse test a patient instead of having a team do it to lower the risk of infection. The necessary protection is also provided for nurses when treating patients.
INCHING TOWARDS TREATMENT: A drive-through testing center at the University of Washington Medical Center enables nurses to participate in testing and treating students and faculty who may have contracted COVID-19. Experts and nurses have diagnosed, properly treated, and expanded their knowledge on the spread of the pandemic with the swabs of saliva taken from patients. Photo courtesy of Vox.com
"We have to accept that this is a tremendous challenge for the health care system," Dr. Omar B. Lateef of Rush University Medical Center said. "If we allow uncontrolled spread, we will be overwhelmed. But if we practice mitigation, then hospitals can handle it."
The COVID-19 fight is long from over. With not enough nurses to tend to people in hospitals and the risk of these nurses possibly spreading the virus to others, one can anticipate this battle lasting for many more months. However, these healthcare workers will not give up treating patients and are praising others for practicing social distancing and their innovative ways to stay safe amiss this pandemic
"I am just in love with the innovation now that I'm seeing. It makes me smile. As nurse leaders, we really need to support innovation by empowering others to implement solutions and discover those who are doing out-of-the-box thinking," said president and night shift supervisor for the cardiovascular ICU at Medical City Dallas Megan Brunson.
Previous Post: Schools turn to distance learning in the wake of a global pandemic
Next Post: COVID-19 puts a temporary end to sports


EFCE's first Scientific Vice President (1996-1998), Jacques Villermaux was a compelling an charismatic speaker who energised his audiences. At WCCE4 in Karlsruhe, Germany, his plenary lecture Strategies 2000: Challenges in Basic Research was termed "a fireworks of ideas." A scientist of international renown in the field of chemical reaction engineering, Professor Jacques Villermaux was a visionary of his time.
"Werther to be awarded EFCE's Jacques Villermaux Medal"
In 1998, the European Federation of Chemical Engineering introduced the Jacques Villermaux Medal. The Medal was presented together with the Dieter Behrens Medal for the first time in October 1999, on the occasion of the 2nd European Congress of Chemical Engineering (ECCE-2) in Montpellier, France.
"scientific achievements within the context of the Federation's science policy, working parties, conference programme or other related activities."
Prof. Dr.-Ing. Joachim Werther, from the Hamburg University of Technology (TUHH), Germany, is the laureate of the Jacques Villermaux Medal 2015.
Professor Werther, from the Institute of Solids Process Engineering and Particle Technology at TUHH, has been recognised for his outstanding scientific achievements in particle technology, with a career spanning more than 40 years in the field.
He is regarded as an expert in fluidisation, chemical looping technology, solids process flow simulation and has had profound influence on problem solving within particle technology.
The award was presented at the 10th European European Congress of Chemical Engineering (ECCE10) in Nice, France, on 28 September 2015.


Walking path around Dębno Castle.
Located a mere 22km west of Tarnów, just off of 94 - the former main road from Kraków (63km away) to Tarnów, Dębno Castle is an easy and worthwhile detour for anyone travelling between Małopolska's main cities.This late-Gothic knight's residence was built between 1470 and 1480 by Jakub Dębiński, the Castellan of Kraków. At that time, the emphasis was beginning to shift from protection to prestige, as indicated by the beautiful brick and stone exterior enhanced by towers with lovely bay window trusses and door and window frames embellished with organic, geometric and heraldic motifs. Though remodelled several times as it passed through the centuries and the hands of several Polish noble families, the castle at Dębno has maintained its original appearance of four two-storey wings connected by wooden interior arcades. Since 1976 the castle has been home to a branch of the Tarnów Regional Museum - The Museum of Antique Interiors - and its sumptuous displays of historic period furniture and domestic items, paintings, weaponry and religious objects. At one time surrounded by a moat, a wooden bridge still leads you onto the well-maintained grounds, which stand on a hill above the surrounding farmlands. A short walk around the castle offers the chance to see a few monuments, the village church, and a picturesque graveyard. Overall, Dębno is the perfect 90-minute diversion, and ideal for stretching the legs or having a picnic.
If you don't have a car, you can also get to Dębno by catching a bus, which run about twice an hour from the 'Tarnów ul. Sikorskiego - Huta' stop outside the Świt shopping centre. The journey costs 4.50zł, takes 30-35mins and drops you off within walking distance of the castle.
Admission 12/8zł, weekends 15/10zł, family ticket 26zł.


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Category:Railway stations closed in 1924
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This category is for Railway stations closed in the year 1924.
See also: Category:Railway stations opened in 1924
► Railway stations in Great Britain closed in 1924 (13 P)
Pages in category "Railway stations closed in 1924"
The following 10 pages are in this category, out of 10 total. This list may not reflect recent changes (learn more).
58th Street Terminal
Aberford railway station
Bushwick station
Gallagh Road railway station
Metropolitan Avenue station (LIRR)
North Roslyn station
Primorskaya Railway
Primorsky railway station
Ridgewood station (LIRR Lower Montauk)
Willis Avenue station
Retrieved from "https://en.wikipedia.org/w/index.php?title=Category:Railway_stations_closed_in_1924&oldid=956376610"
This page was last edited on 13 May 2020, at 01:02 (UTC).