bluuebunny/crossref_metadata_2025 huggingface dataset:
Trading places, wide open spaces
Authors: Mavroudis Mary , Yasamee April
Published: July 2016

This article describes a job exchange between April Yasamee, Senior Library Assistant, Design Subject Librarian, Goldsmiths, University of London, UK and Mary Mavroudis, School Liaison Librarian, Applied Communications, RMIT University, Melbourne, Australia. They exchanged jobs for three months between April and July 2007. April arrived in Melbourne just after the start of the academic year. Mary reached London at the beginning of the summer term and the exam period. The article takes the form of email correspondence between them, as they adapt to their new university libraries, noting the differences and similarities between the two institutions.
Cultural heritage: the art library cuts across borders in Sweden
Authors: Assarsson-Rizzi Kerstin
Published: July 2016

Vitterhetsakademiens Library (The Library of the Royal Swedish Academy of Letters, History and Antiquities) at the Swedish National Heritage Board is a partner in the development of new services in Sweden, both physically at the Library and digitally on the internet. An agreement signed by four partners in September 2007 aimed to strengthen and develop the Library’s services to the research community. In 2005 seven libraries in Stockholm formed a network with the specific aim of improving the quality of library services for research in the humanities. And in 2007 a new internet search service was launched which enables cross searching of major databases that cover various aspects of the Swedish cultural heritage; this includes two databases hosted by the Library. This process of cutting across institutional and sectoral borders has been facilitated by modern technology.
A snapshot of some current digitisation projects in French art libraries
Authors: Trunel Lucile
Published: July 2016

The Gallica programme of the Bibliothèque nationale de France, and the Digital Library of the Institut national d’histoire de l’art (INHA), are two major French initiatives in the digitisation of art history information. Gallica was launched in 1995 and by the end of 2007 incorporated some 80,000 images and 90,000 texts. Essentially encyclopaedic in content, it nevertheless contains much material relevant to art, including iconographic documents from the library’s specialist departments. Mass digitisation of some 100,000 works per annum from 2007 onwards will add a substantial body of texts and periodicals in this subject. INHA’s digitisation programme for its Digital Library began in 2002: the two main areas it is currently concentrating on are a corpus of ‘classics of art history’, and the digitisation of specialised and rare documents such as the pre-1920 catalogues of the Louvre. 200,000 images are already available on line.
Images as an integral part of our documentary heritage: posters and prints at Bibliothèque et Archives nationales du Québec
Authors: Lassonde Élise , Léger Danielle
Published: July 2016

When seeking comprehensiveness, any collector encounters the rare and the exceptional. Posters and prints are this article’s main theme; many outstanding recent additions of these documents have been made to the Quebec Heritage Collection at Bibliothèque et Archives nationales du Québec since 1992, when new areas of development were added. Various acquisition modes and strategies are described, illustrating original ways to apply legal deposit and documenting varied sources for purchase and donation within each family of publications. Forays made by visual artists into poster production are also outlined. In conclusion, the authors evoke concerns about how to cope with disparate, distant and diversely managed iconographic documents and the strategic value of acquisition data.
British Printed Images to 1700
Authors: Hunter Michael
Published: July 2016

Printed images provide vivid evidence concerning many facets of British history in the 16th and 17th centuries. Yet their exploitation has hitherto been inhibited partly by difficulties of access and partly by the lack of adequate means of searching for them by subject. In both respects, electronic technology is making major strides forward, as this article indicates with particular reference to a project aimed to make such material widely available in searchable, online form.
Video as art: collecting artists’ moving image in academic art libraries
Authors: Montero Gustavo Grandal
Published: July 2016

Video collections have been part of library holdings for several decades, but developing and managing these collections presents a number of challenges. This is the case particularly for artists’ film and video, and this article attempts to identify the issues involved and to offer some practical guidance, drawing on the experience of collection development and management at Chelsea College of Art and Design Library, and across the libraries of University of the Arts London and elsewhere.
The British Artists’ Film and Video Study Collection: a resource for moving-image research
Authors: Curtis David , Ball Steven
Published: July 2016

The British Artists’ Film and Video Study Collection is a small specialist collection dedicated to the history of artists’ moving images in Britain, which is based at Central Saint Martins College of Art and Design at the University of the Arts London. The Collection services the needs of both academics and curators in this specialist area. Its founders describe itsraison d’êtreand collecting policy, and outline some of the challenges of working in an environment susceptible to changing research priorities and uncertain digital storage standards.
Art monthly 1976 - On the gentle art of staying the same while changing utterly
Authors: Bickers Patricia
Published: July 2016

Founded in 1976, Art monthly is Britain’s oldest contemporary art magazine. It is impossible, and perhaps even unwise, to try to account for the magazine’s longevity, but a contributing factor may be the high degree of continuity between the past and present that is reflected in the loyalty of Art monthly’s readership and of its writers and regular contributors. This does not mean that the magazine has not changed at all; on the contrary. That Art monthly has adapted and responded to shifts in the art world over the years is reflected, for instance, in the large number of student subscribers to the magazine. However, change has been introduced gradually and in a manner in keeping with the founding ethos of the magazine. This is what is meant by ‘the gentle art of staying the same while changing utterly’ – the subheading for this article, and of the talk on which it is based.
The behaviour of the researcher of the future (the ‘Google generation’)
Authors: Nicholas David
Published: July 2016

This paper describes and evaluates the information-seeking behaviour of young people in the virtual environment. Data are drawn from a JISC/BL funded project on the future scholar and a seven-year study of the virtual scholar conducted by CIBER at University College London. Hundreds of thousands of young people, mainly students, from all over the globe, are covered in the log analyses. On the basis of these data, the characteristics of their ‘digital footprints’ are drawn, demonstrating the huge paradigm shift that has occurred in the information seeking of young scholars. The results are surprising, disturbing and challenging and the author concludes with a discussion of how information professionals and the arts and humanities community in general might best meet young people’s information needs.
The private library of Calouste Gulbenkian: giving virtual access to a personal book collection
Authors: Barata Ana , Rosa Constança Costa , Pinto Eunice Silva
Published: July 2016

A recent project at the Calouste Gulbenkian Foundation has highlighted the importance of the library of private books built up by its founder. Tasks involved the identification of the items, preservation and conservation activities and bibliographic control of the collection. The most visible result is a website that provides virtual access, as well as a deeper insight, into Calouste Gulbenkian’s personal book collection. The information in the library’s catalogue has been re-organised in order to make it accessible to a wide audience with differing needs and interests.
A future for our digital memory: born-digital cultural heritage in the Netherlands
Authors: Angevaare Inge
Published: July 2016

This article provides an overview of the status quo with regard to collecting and preserving born-digital cultural heritage objects in the Netherlands. Since there, as elsewhere, the cultural heritage sector is still grappling with the realities of web 2.0, the article also offers some more speculative thoughts on where web 2.0 may take us, as well as some practical suggestions for the next steps cultural heritage organisations could take.
Illustrating the illustrators: the V&A Illustration Awards
Authors: Flynn Martin
Published: July 2016

The Victoria and Albert Museum has been running an illustration awards competition for nearly 40 years. This aims to recognise and reward the best quality illustration in books, newspapers, magazines and comics. However, the awards have suffered from being extremely labour-intensive, had a very low level of awareness in the industry amongst publishers and artists and produced minimal permanent records of the quality and range of their annual output. Recently the museum has begun addressing these issues.
The renovation of the Richelieu building: a future centre for art researchers in Paris
Authors: Gaudelus Sébastien , Poulain Martine , Trunel Lucile
Published: July 2016

The historic site of the French national library is currently being renovated in order to become a major centre for art documentation and special collections. It will incorporate three separate institutions: the specialist departments of the Bibliothèque nationale de France, the library of the Institut national d’histoire de l’art, and the library of the Ecole nationale des Chartes. Completion of the project is scheduled for 2017.
Design for learning: developing the Sackler Centre for arts education at the V&A
Authors: Lang Caroline
Published: July 2016

London’s Victoria and Albert Museum, the UK’s national museum of art and design, recently created a new centre for public learning through creative design. The development process was key to the project, which has resulted in one of the most innovative and attractive learning spaces in any museum today. Research, consultation and collaboration, involving the people who are going to use the building and the architects/designers from the outset, has been an approach that has worked very successfully.
Weaving a knowledge tapestry of traditional crafts for modern fashion designers: an Indian experience
Authors: Kumar Sanjeev , Dutta Nandini
Published: July 2016

Design innovations in India’s fashion products result from a fusion of modern technologies and traditional craft skills. This paper highlights the role of the National Resource Centre and the network of resource centres of the National Institute of Fashion Technology in collecting and preserving heritage resources using computer technology. Plans for a National Design Repository and for Shilpakala Jnana Kosha, a digital repository for the tacit craft knowledge of artisans, share the objectives of preserving endangered traditional skills, supporting a process of revival and optimising the use of traditional crafts in contemporary fashion design.
Developing NYARC: the New York Art Resources Consortium
Authors: Bury Stephen
Published: July 2016

NYARC is a consortium of New York art resources, initially including the libraries of Brooklyn Museum, the Frick Collection, Metropolitan Museum of Art and the Museum of Modern Art. The Metropolitan was not part of the Arcade (integrated libraries system) programme funded by the Andrew W. Mellon Foundation, and withdrew its designation as a NYARC entity in December 2010. This article gives a brief history of NYARC and examines whether it achieved its aims of sharing resources, making them more accessible to the public, and saving money.
Classifying art with Bliss
Authors: Perkins Alex
Published: July 2016

The second edition of the Bliss Classification (BC2) is a faceted classification scheme which reworks the original Bliss Classification, devised a century ago. It compares favourably in terms of its wealth of detail, the fineness of its analysis, its flexibility and the conciseness of its notation with its main rivals, the Library of Congress Classification, the Dewey Decimal Classification and the Universal Decimal Classification. The Art class, W, is one of the most detailed and best organised of the BC2 schedules, with the caveat that the author did not find the giving of priority to place over period and the listing of individual artists separately from their periods and places to be the most helpful arrangement. However, room is left for alternative arrangements within the scheme.
Class N, or, Classifying the fine arts using the Library of Congress classification
Authors: Clarke Sherman
Published: July 2016

Class N is the schedule for the fine arts in the Library of Congress classification scheme. LCC reflects the needs of a general research library but number construction is flexible and the scheme is kept current. It has worked well for many art and architecture collections, but what are some of the issues with the scheme? Can a general scheme satisfy the needs of the focused collection in a special library? And there is the unasked and unanswered question: does shelf classification matter in the 21st century, especially for digital materials?
Changing places: some practical outcomes from a reclassification project using DDC22
Authors: Spalding Anne
Published: July 2016

Want to know about the practical steps involved in reclassifying an area of stock? What about some recommendations before undertaking such a task? This is the article for you as it provides answers developed from lessons learned during a real experience, in 2005, when the author completed a reclassification project during a six-month temporary contract at the Surrey Institute of Art and Design.
Classifying photography
Authors: Bunting Lynda , Matosian Ani
Published: July 2016

Photography has long been a part of the Library of Congress classification tables. At the time of its inclusion, photography was not considered an art form and thus was placed in the T – Technology schedule instead of the N – Fine Arts schedule. This article will discuss various aspects of photography classification, including its history, the reasons behind and development of alternative schedules, the challenges of classifying artists’ books with a photographic basis, and the feasibility of maintaining alternative schedules with the proliferation of shelf-ready books.
Copyright in art in the UK
Authors: Padfield Tim
Published: July 2016

Copyright is in essence terribly simple, but in application it can be extremely complex. This article considers what copyright is and how it applies to the materials handled by art librarians in the UK. Copyright is further complicated by perpetual change: there have been repeated reviews of copyright in the UK in recent years, the EU has issued eight directives to harmonise copyright and international bodies have come up with four different principal treaties. The article looks forward to further change around the corner.
Creative Commons licences: are they right for you?
Authors: Casey John
Published: July 2016

This article provides an introduction to the use of the Creative Commons licence system, and sets it in a historical, economic and political context. It is written from the perspective of involvement in open educational projects in an arts university that has used the licences. A description of the fundamental features of the licences and their uses is given, together with an outline of how the Creative Commons organisation works and its strategic aims. An assessment of the usefulness of these licences is provided, together with a description of the challenges faced in dealing with low levels of legal awareness amongst academics. Practical advice and sources of further information and guidance are offered to help readers implement the licences locally.
WATCHmaking: building a register of copyright holders
Authors: Sutton David C.
Published: July 2016

David Sutton was one of the founders of the WATCH project (Writers Artists & Their Copyright Holders) in 1994. In this article he outlines the historical background to why the project was needed, before telling the story of how WATCH developed. WATCH is now the principal source of information about copyright holders anywhere in the world, and it has expanded its remit to include artists as well as literary and other authors.
Artwork or document? Latin American materials at the Study Centre of the Museum of Contemporary Art of Barcelona (MACBA)
Authors: Freire Mela Dávila , Arancibia Pamela Sepúlveda
Published: July 2016

The Study Centre at the Museum of Contemporary Art of Barcelona has, since its inception in 2007, amassed a wealth of material relating to Latin American art. Its collecting policy addresses the relationship of contemporary works of art to their documentation and aims to compensate for the lack of a tradition of public collecting of documentary and bibliographic material relating to 20th-century contemporary art practices. The collection now includes influential artist publications such as concrete poetry, magazines, mail art, books of photography and even fiction written by artists, as well as special materials from letters to photographic negatives, alongside information from galleries, cultural spaces and artistic centres.
Resources for Latin American art in the Gulbenkian Art Library
Authors: Barata Ana
Published: July 2016

From its creation in 1968 the Gulbenkian Art Library has possessed a number of special collections, and these have been enriched through major bequests or through acquisition. Currently there are about 180 collections with relevance for the study of Portuguese art and culture: they include private libraries, the private archives of Portuguese artists and architects, and photographic archives. Material in the special collections is available through the library’s catalogue and some have already been digitised and are available on the internet, depending on their copyright terms and conditions. Among these special collections two have special relevance to the study of the history of Brazilian art and architecture: the collection of Portuguese tiles and the Robert Smith Collection.
Cultural heritage and creation: acquiring, cataloguing and promoting livres d’artistes in French public libraries
Authors: Graimprey Sonja
Published: July 2016

The term ‘livres d’artistes’ hides from view creative artworks, whose presence in special library collections is justified by their artistic and literary value but also by their value as witness of their times. After defining the content of these collections, this article analyses the way ‘livres d’artistes’ are managed. Because they are different from all other books, they struggle to find their public. Active promotion is thus an essential step in making them properly influential.
Creating a framework for internal change
Authors: Rodríguez Guillermo Cobo , Martínez Jose Antonio Majado , Palacios Bárbara Muñoz de Solano y
Published: July 2016

In situations characterised by complex and ambiguous economic conditions, it becomes necessary to structure organisations in ways that will meet the challenges. This paper introduces the innovative strategic plan currently being implemented at the Centro de Documentación y Biblioteca del Museo Nacional Centro de Arte Reina Sofía in Madrid. This is still in its early stages, but a contrast can already be drawn with the status quo five years ago when, despite being involved in various initiatives, the Library had no strategy of its own and no established reputation for contemporary art research.
Kyffin Williams online: creating a digital resource for an art collection at the National Library of Wales
Authors: Roderick Gareth Lloyd
Published: July 2016

When Sir Kyffin Williams, RA died in 2006 he bequeathed a large section of his estate to the National Library of Wales (NLW) – an institution with which the artist, most known for his landscape paintings of north-west Wales, had a long association. Combined with material already in the NLW’s collections, there are now over 200 works in oil, over 1200 works on paper and a comprehensive archive held at Aberystwyth. The collection’s presence in alibraryrather thanmuseumorgalleryraises questions of how the work can be displayed or exhibited. In this essay I will give some background to this collection and the wider art holdings of the National Library of Wales before discussing how geo-spatial approaches are being used to display this collection digitally. This work is being completed as a collaborative Knowledge Economy Skills Scholarship (KESS) PhD project between Aberystwyth University School of Art and the National Library of Wales. KESS is part-funded by the European Social Fund (ESF) through the European Union’s Convergence Programme (West Wales and the Valleys) administered by the Welsh Government.
The life and death of The Connoisseur
Authors: Uglow Luke
Published: July 2016

In February 1992 a magazine called The Connoisseur died. Born in September 1901, it had lived a long life, and was the oldest of the once great triumvirate of British art periodicals, alongside The Burlington Magazine (1903) and Apollo (1925). While the latter two have survived into the 21st century, in 1982 The Connoisseur went into retirement and moved to America. This paper will tell the story of the last 15 years of the magazine’s life, from its happy 75th birthday through to an ignominious final eight months.
Building archives through curatorial practice
Authors: Ciric Biljana
Published: July 2016

An understanding of the museum as an exhibiting space, rather than as a research-based organisation, has led to the current lack in China of institutions tasked with archiving and making art documentation public. A number of projects organised by the author in Shanghai and elsewhere, including History in the Making: Shanghai 1979-2009 and From a History of Exhibitions towards a Future of Exhibition-Making, have addressed the role of archives in exhibition making, while developing new documentary resources for curatorial and art historical research.
Collecting collections: The Research Centre for Artists’ Publications
Authors: Thurmann-Jajes Anne
Published: July 2016

Established in 1999 within the Weserburg Museum of Modern Art, in Bremen, the Studienzentrum für Künstlerpublikationen (Research Centre for Artists’ Publications) is today one of the most significant institutions worldwide in the field of artists’ publications, with holdings of more than 200,000 items, and important programmes of exhibitions and publications. The Research Centre traces its roots to the Archive for Small Press & Communication (ASPC), founded in 1974 by Anne Marsily and Guy Schraenen, and incorporates more than 40 individual archives and special collections, including the PLG Friesländer’s Mail Art Archive, the Klaus Groh Collection and the Kunstradio Archive.
Bernard V. Bothmer: a man of honour
Authors: Bergman Diane
Published: July 2016

Bernard V. Bothmer left his mark on the world of Egyptology in three of the United States’ great art institutions: the Museum of Fine Arts in Boston, the Brooklyn Museum and the Institute of Fine Arts, New York University. He created gallery displays, developed library collections and founded image collections that continue to influence scholars worldwide. One can wonder how the course of American Egyptology would have developed if circumstances had not driven him out of his native Germany. Despite hardship, fear and a career interrupted, he trained and profoundly influenced at least four generations of historians of Egyptian art. BVB, as he was affectionately known to those close to him, inspired all who worked with him to the highest level of achievement, a standard which came to be known as “Brooklyn Quality”.
Heresy and the pleasures of the hunt
Authors: Cieszkowski Krzysztof Z.
Published: July 2016

This conversation between the distinguished art historian, Professor Sir Ernst Gombrich, and Krzysztof Z. Cieszkowski of the Tate Gallery Library, took place in Professor Gombrich’s home late in 1990. Professor Gombrich recalls making use of a number of libraries, and offers some thoughts — from an art historian’s point of view — on librarians, who, it is suggested, tend to make too much of professional skills at the expense of knowledge.
The Design Archive at Brighton: serendipity and strategy
Authors: Woodham Jonathan M.
Published: July 2016

The Design Archive at Brighton University, until 2004 known as the Design History Research Centre Archives, houses a number of collections which are of great value to UK and international design historians. These include the Design Council Archive and that of ICOGRADA (the International Council of Graphic Design Associations), as well as material relating to two well-known designers, James Gardner and F. H. K. Henrion. These archives, which actually relate to one another very well, were acquired somewhat serendipitously, but future additions will be chosen as the result of a more strategic planning process.
Using and conserving artists’ books at the School of the Art Institute of Chicago
Authors: Boehme Doro
Published: July 2016

This article describes the Joan Flasch Artists’ Book Collection, a unique archive of experimental art forms from the 1960s to the present, and how students and the general public make use of its welcoming access policies. It further addresses conservation efforts as they apply to a setting that strongly emphasizes hands-on usage of materials.
The Dutch library in Paris
Authors: Kerkhof Anneke
Published: July 2016

Since its foundation by Frits Lugt the Fondation Custodia/Institut Néerlandais has been a well-known institution on the Paris scene. It is one of many foreign cultural institutes in Paris, some of which - and specifically their libraries - are described in this article. The unique character of the Dutch library is highlighted, as well as the way in which it is adapting to new techniques. Of particular interest are the plans for the development of special links with other art libraries, such as the Institut national d’histoire de l’art (INHA) in Paris and the Rijksbureau voor Kunsthistorische Documentatie (RKD) in the Hague.
New initiatives to solve old problems: collecting exhibition catalogues at the National Art Library
Authors: Rodgers Christine Love
Published: July 2016

Exhibition catalogues are a key resource for art and design research, but smaller and more ephemeral catalogues are difficult for art librarians to collect. In the late 1980s and early 1990s a period of interest in the UK in the problems of collecting and cataloguing exhibition catalogues sparked off research into fresh approaches to the problem. In line with the resulting recommendations the National Art Library, at the Victoria & Albert Museum in London, has developed two key initiatives. These are the Exhibition Catalogues Programme and a joint project with the British Library to increase access to smaller exhibition catalogues. Both are showing clear benefits for national access to published exhibition documentation.
Art books in World War Two: a view from the archive
Authors: Holman Valerie
Published: July 2016

Art books in the UK during the Second World War were highly visible and in great demand. Despite paper rationing, stocks destroyed by enemy bombing, and military demands on authors and artists, new types of art book were launched to great acclaim. The archives of Penguin and Phaidon reveal both the constraints under which publishers were forced to operate, and the ideas behind initiatives such as the Penguin Modern Painters series, or Phaidon’s early monographs. Both publishing houses sought to extend the market for art books by producing large quantities at low prices, and maintaining a reputation for high quality texts, design and reproductions.
Fine arts libraries in British Columbia: culture on the West Coast of Canada
Authors: Dwyer Melva J.
Published: July 2016

Fine arts and culture have existed in British Columbia from the time that the First Peoples came to the North Pacific coast of Canada. Vancouver’s first fine arts library was established in 1930 at the Vancouver Public Library; significant collections have subsequently been developed at the Vancouver Art Gallery, Emily Carr Institute of Art & Design and the University of British Columbia. They serve a diverse clientele: students, artists and researchers. Outlook, a province-wide network, provides access via the Internet to library catalogues of public, college and institution libraries throughout the Province.
‘Incentive to vision’: the Emma Lake Art Camp
Authors: Avery Cheryl
Published: July 2016

With the opening of its Murray Point Summer School of Art at Emma Lake in 1936, the University of Saskatchewan became the first Canadian university to establish an outdoor art school. Emma Lake is in northern Saskatchewan, and every attempt was made by the University to preserve the virgin forest in the area where the classes were held. Although primarily developed for the benefit of Saskatchewan residents, the workshops became nationally and internationally known, and acclaimed painters, sculptors and critics from across Canada, Europe and the United States made the trip north. For over twenty years students attending the school produced an annual scrapbook documenting their experience; the photographs and illustrations from those yearbooks provide both interesting social commentary and excellent documentation of a learning environment students considered ‘rich, deep and significant’.
Les bibliotheques de musees: leur richesse et leur rayonnement
Authors: Picot Nicole
Published: July 2016

Les bibliothèques des musées français possèdent un patrimoine considérable, divers, original qui doit sa spécificité à l’expertise de leurs conservateurs. Ils ont le souci constant de rassembler une documentation de haut niveau afin de mener leurs recherches. Ces trésors, et cette documentation, acquis sur des fonds publics, devraient-ils être mis à la disposition d’un plus large public, comme nous en avons de nombreux exemples en Europe, en Amérique du Nord? Malgré quelques réussites exemplaires, la plupart des bibliothèques et centres de documentation des musées français n’ont pas les équipements et le personnel nécessaires à cette mission plus large. Cet article suggère quelques pistes qui pourront leur permettre d’affirmer leur place essentielle dans le réseau des bibliothèques d’art, tout en restant des bibliothèques de recherche.
The London Institute’s i page: creating and maintaining an academic gateway website
Authors: Lawes Elizabeth , Crilly Jessica
Published: July 2016

This overview of the London Institute Library and Learning Resources website, the i page, focuses in particular on issues involved in selecting and evaluating high quality resources in an academic context. The article begins by detailing the philosophy, design and initial construction of the site, and gives an outline of the structure. The most heavily used section of the i page is the web guides and the evaluation criteria applied to web resources selected for inclusion are examined, with reference to the digital art web guide. The main criteria of content, structure, authority and subjectivity are looked at in detail. The process of user feedback is highlighted and, as the site is now over two years old, pertinent issues relating to its future growth and development are also discussed.
ArtSTOR: a digital library for the history of art
Authors: Marmor Max
Published: July 2016

ArtSTOR is a digital imaging initiative of The Andrew W. Mellon Foundation. ArtSTOR seeks to create digital image collections that respond to the needs of scholars, curators, teachers and students in the history of art and related fields of study. As a public utility, it also aims to create a secure, regulated, networked space, defined by a framework of licensing agreements that embraces content providers, subscribers and service administrators - a precinct in which educational and scholarly activities can flourish in ways that simultaneously respect intellectual property rights and encourage the ‘fair use’ of digital media.
How to run a picture library for pleasure (and sometimes profit)
Authors: Evans Hilary
Published: July 2016

Picture libraries exist in many shapes and sizes, within the broad categories of public collections, private and usually specialised collections, and photoagencies. Users of picture libraries range from students to professional picture researchers, though even the latter may need guidance. The picture librarian combines the roles of collectors and custodian while also making the collection available for use. The Mary Evans Picture Library, which comprises some two million prints mounted and filed under subject headings, provides ‘visual documentation of the past’ up to the late 1920s, with an emphasis on social conditions. Cross-references and photographic duplicates (retained for permanent reference) are interfiled with the prints, most of which are available for loan and any of which may be copied. The organisation of the library corresponds to its users’ needs rather than to a rigid system.
A new approach to art education? Dartington’s new DipHE
Authors: Trickey Michael
Published: July 2016

A new course in Art and Design in Social Contexts, offered by Dartington College of Arts, is founded on the premise that the creative process is the right of everyone, and that this process is important in its own right and need not be justified by the end product. The multi-media course will relate the art and design area to social situations, such as industry and schools, and to the performing arts. The demands of the course will require students to be able to make full use of a wide-ranging library and of inter-library facilities. The library’s attempts to acquire relevant material have been made difficult by the ‘alternative’ nature of the literature, and by deficiencies in its bibliographical control and in the literature itself.
Feeding During Pregnancy
Authors: Wallace L. R.
Published: July 2016

To show the importance of the level at which the pregnant ewe is fed in relation to :

(1)The birth weight of her offspring,

(2)The volume of milk which she produces during her lactation period,

(3)The influence of these two upon the rate of growth of the lambs,

two experiments were carried out. In the first, a group of 4-year-old Border Leicester × Cheviot ewes from the same flock were mated to the same Suffolk ram. They were then split into two uniform groups. The ewes were fed individually and after service both lots were fed just sufficient sainfoin hay to keep them at constant body weight. Then, six weeks before lambing, the members of one group were given ½ lb. of concentrate daily and as much hay as they would eat. Upon this ration these ewes gained an average of 44 lb. At the same time the amount of hay fed to the second group was reduced so that over the last six weeks these ewes lost on the average 11 lb. weight.
The Importance of Prosecuting the Study of Animal Behaviour and Suggestions for its Development as a Field of Veterinary Medicine
Authors: Edwards J. T.
Published: July 2016

During the year of my presidency of the Comparative Section of the Royal Society of Medicine, a continuous theme was selected for discussion, leading up, through the subjects which constituted the most rational means of appreciating its meaning and scope, to the culminating one, namely, that of Comparative Psychology and Animal Behaviour. Without such rational approach it would have been impossible, to my mind, for anyone not conversant with the immense and confusing literature that is now accumulating on the subject to grasp the transcending importance of animal behaviour study as a subject calling out for immediate exploitation, particularly by veterinary workers.
Meat Supplies
Authors: Warman Major W. H.
Published: July 2016

The time has not yet come when the absorbing story can be told of the way in which our oversea supplies of meat have come to us during the war. The Board of Trade for obvious reasons does not yet release particulars of its imports, so that I am severely limited in my remarks on world supplies. Yet the general picture is clear and will perhaps serve as a background for some more detailed examination of our home supplies.
The Food Value, Quality and Grading of Meat with Special Reference to Beef
Authors: Callow E. H.
Published: July 2016

During the war an investigation has been carried out at the Low Temperature Research Station, Cambridge, on the food value of beef. The beef animals were specially selected by Dr. J. Hammond, F.R.S. (School of Agriculture, University of Cambridge), and by the Meat and Livestock Division of the Ministry of Food, as being representative of the beef industry as a whole. The work on steers and heifers has already been published (Callow 1944), and that on cows will follow shortly.

When the data from these investigations came to be analysed, it was found that sex, age and breed have only secondary effects on the food value of beef. The important factor is the stage of growth of the animal. In the present paper it is proposed to use this new approach to the old problem of the relation between grading on the one hand, and the food value and quality of beef on the other.
Breeding Methods in Livestock Improvement—Poultry
Authors: Michael Pease
Published: July 2016

IN breeding for improved egg production, as in breeding for improved milk yield, measurement can be made only in one sex. The male is always unknown, and this unknown 50% of the inheritance in each generation on the average drags back the progeny of a good producer towards the mean of the breed. It was found in practice, as was shown by the classic experiments of Pearl and Surface, that starting with an ordinary farm flock of birds laying about 100 eggs per annum and breeding only from the best layers made initial improvement, but that a ceiling of about 160 eggs per annum average was soon reached, above which selection in one sex only made no appreciable improvement.
Breeding Methods in Animal Improvement—Larger Stock
Authors: Nichols J. E.
Published: July 2016

I Feel at a distinct disadvantage compared with the speakers this morning because the foundations on which to discuss breeding methods, and progress, are more clear-cut in the case of poultry than in larger farm stock. Poultry are fast-breeding—you can get a lot of offspring quickly if you want them—they can be, and to a great extent are, kept in fairly well-controlled conditions of husbandry, feeding, and management; and their performance is simply and accurately recordable. All these points are important—in contrast, for larger animals we lack a very, great deal of the factual information needed for a reasonable stocktaking of our assets, difficulties, and liabilities.

However, from what I know of the workings of our Executive Committee's minds, I believe I am expected to be provocative and to leave loose ends for open discussion. I propose therefore to try to outline the scope for breeding methods in improving our livestock and, if possible, to pick out some of the general principles that govern their use and effectiveness. In any case you will recall that some of the questions have been discussed at earlier meetings of this Society, such as the rôle of cross breeding in sheep, specialisation in pigbreeding, and recording systems in cattle. I ask you to allow me to generalize, and to note that the examples I quote are only examples—I make no pretensions at all to give a comprehensive or a detailed picture.
The Collection, Use And Interpretation Of Milk And Butterfat Records
Authors: Edwards Joseph
Published: July 2016

In the past few years a remarkable new interest in the breeding of dairy cattle has come to be shown in Great Britain and, as a result, renewed attention has been focussed on the subject down for discussion to-day. I think there are two main causes of this new interest. The first is the certainty—for as far ahead as we can see—that milk is likely to remain agricultural product No. 1. With this has come the conviction that to ensure efficient production at the source we have to introduce more certainty into our methods of breeding for milk. The poor level, by any standards of breeding efficiency, of a great number of our dairy herds has been one of the revelations of the war years; there is now factual evidence for what has been suspected for a long time.
The Collection, Use and Interpretation of Milk and Butterfat Records
Authors: Paterson James A.
Published: July 2016

Official Milk Recording has been operated in Scotland since 1904. The Association came into being in 1914. The objects of the Association as laid down by the Constitution and Rules are:

(1) To foster and improve the milking qualities of Cows in Scotland, and

(2) To institute on a public and reliable basis, the taking of daily or periodic tests of Cows for quantity and quality of milk.

To meet the terms of this Constitution a system has been evolved whereby a Recorder visits the farms of milk recording herd owners at intervals of 24-28 days, weighs the milk of all cows in milk in the herd, and tests for butterfat in respect of all cows which are to be included in the record. While the milk of all cows must be weighed, butterfat testing in respect of all cows is not essential.
Animals as Means of Evaluating Pasture Production
Authors: Watson S. J.
Published: July 2016

The use of the animal as a means of evaluating pasture is an obvious approach to the problem, since this is the form in which the practical man will ultimately measure the return from his grassland. If anything has to be sacrificed it is the sward and not the animal, a point too often overlooked in our grassland work generally. Though many grazing trials of an observational nature are to be found in the early agricultural literature, the earliest experimental work was most probably that of the late Sir William Somerville. When Professor of Agriculture at Newcastle in 1897, he commenced the world-famous experiment at Cockle Park Agricultural Experimental Station on pasture improvement. An effort was then made to measure the effect of various systems of manuring in terms of the live-weight increase of sheep grazing on the different plots. In this experiment on Tree Field the relative values of the different systems of manuring were measured by weighing the sheep before and after the experimental period. In the early years the plots were stocked with hoggs, but in order to get closer grazing lambs and ewes are now used and have shown greater increases per acre.
Store Cattle from the Scottish Hills
Authors: Stewart Duncan
Published: July 2016

In Scotland there is an area of nearly eleven million acres which is classed as “ Rough Grazing.” Not all of this vast acreage is suitable for the grazing of cattle, nor can the hand of man ever make it so; much is between 2,000-4,000 feet above sea-level where, by a combination of height, climate and lack of shelter, cattle do not normally range. Other parts consist mostly of rock and scree and grow such scanty herbage that even the blackface ewe visits them but occasionally. Nevertheless, there are vast areas in Scotland which can maintain large herds of breeding cows of a hardy type. As an incentive to farmers to stock such land with cattle, a yearly sum of £7 is paid for every cow kept throughout the year on this type of land. This same sum is also paid to Scottish farmers for every cow kept on what are classed as “ Upland “ farms. These farms may be said to embrace all those that are in receipt of assistance under the Marginal Production scheme. The total area of all farms so assisted during 1948 was 300,000 acres. Here then is another considerable area where the production of beef cattle should be developed to no small extent. It is a fact, however, that dairying has been, and will continue to be, one of the main operations on many of these upland or marginal farms. Some of them actually go in for the production and sale of milk, but the majority concentrate on the rearing of young dairy stock. There is a tendency for some of these farmers to turn from the dairy side of their business and develop to a greater extent the production of beef store cattle. The inducement of a yearly payment of £7 per cow is largely responsible for such a change, as no payment is made for any cows kept for the production and sale of milk, although a dairy type of animal rearing a calf or calves would be eligible.
Decline in Milk Yield from the East to the West
Authors: Sanders H. G.
Published: July 2016

It is very well known that milk records show a considerable downward trend in yield from the East to the West of England and Wales. The Bureau of Records of the Milk Marketing Board have produced some admirable maps, shaded by counties according to the average yield, and these bring out the trend very clearly ; roughly the yield declines from 730 to 630 gallons, a drop of 15 per cent. This trend in yield is not a new phenomenon. Twenty-five years ago Dr. Hammond and I found the same thing with 26 counties which by 1923 had had milk recording societies functioning for five years ; the decline was approximately from 700 to 600 gallons. We selected two societies which were at that time about at the extremes and extracted lactation figures from the milk record books of the members in an effort to probe a little deeper into the difference. I hope to refer to these two again and will only say now that Norfolk milk recorded cows gave 22.8 per cent, more milk than those of Penrith, and of this difference, 6 per cent, was due to higher yield at the start of the lactation and the rest to greater persistence of yield and to longer continued milk flow.
The Stratification of Scottish Sheep Farming
Authors: Symon J. A.
Published: July 2016

In the economy of Scottish agriculture, the two mountain breeds of sheep, the Blackface and the Cheviot, play a most important part. Not only do they convert the rough herbage of the hills into wool and store sheep for fattening, but they also provide low country farmers with these handsome Crossbred ewes that are to be found everywhere, and which in their turn produce the heavyweight fattening sheep favoured by crop-growing farmers for the double purpose of converting aftermath, grass and roots into mutton and of maintaining the fertility of their soils.
The Housing of Pigs
Authors: Soutar D. S.
Published: July 2016

The recent increase of some 40 per cent, in the country’s pig population has been instrumental in bringing about one of those periodic renaissances in pig housing which appear to be not uncommon in the history of agriculture. The importance of good pig housing as an essential factor to efficient pig production and subsequent pig profitability is probably more widely recognised today than ever before. We must have more home-produced food, therefore we must keep more pigs, and if we are to do so profitably we must have good pig housing.