Investment in the library leads to grant funding

Elsevier conducted a research study to determine the value of an academic library to the institution and concluded that there is a strong correlation between investment and the ability to generate grant income (press release)

Of the 8 institutions participating from around the globe, 6 demonstrated a greater than one-to-one (1:1) return in grant funding, with results ranging from 15.54:1 to 0.64:1. Equally significant is the result that 2 institutions showed a significant positive correlation between an increase in library investment over time and an increase in grant funding to the university.

Dr. Carol Tenopir, Director of the Center for Information and Communication Studies at the University of Tennessee (http://www.cci.utk.edu/cics/), led a team of investigators over a 16-month period. "Libraries bring value and returns on institutional investments in many ways," explains Dr. Tenopir. "Although the exact monetary amount of the returns in grants varies with the mission of the institution, our research shows that the collections and services of all university libraries help faculty write better grant proposals and articles and help them do better research."

The results of the study, funded by Elsevier, are available through a newly published Elsevier Connect white paper, University Investment in the Library, Phase II: An International Study of the Library's Value to the Grants Process (http://libraryconnect.elsevier.com/whitepapers/roi2/lcwp021001.html) (http://libraryconnect.elsevier.com).

"The results reinforce the contribution of libraries and information to the research enterprise," notes Chrysanne Lowe, Elsevier's Vice President of Customer Development and Engagement. "Universities have always known this, but it's useful to see value articulated in terms of grant income ROI as well."

MediaWeek (Vol 3, No 32): End of Print, Education, Dom DeLillo, Quercus, Changing Libraries,

Contemplating the end of print books in Newsweek:

Paperbacks and public libraries made books cheap or free but certainly available to millions who might otherwise not have been able to afford them, and all that happened long before I was born. Nevertheless, I was brought up by people who had been taught—and who taught me—that books were valuable things, things to be cared for and cherished, and I have owned some volumes for close to half a century (almost none of them, I should point out, qualify as “collectible” or valuable to an antiquarian book collector; owning a rare book makes me nervous. I like books I can hold, read, and even—here my mother is spinning in her grave—write in). I come from a generation for whom the books and records on the shelf signaled, in some way, who you were (starting with the fact that you were a person who owned books or records or CDs). If you visited a friend, you took the first chance you had to surreptitiously scan that friend’s shelves to get a handle on the person. I suppose I could sneak a peek at a friend’s Kindle, but is that the same? And try that kind of snooping on a bus or in a coffee shop and you’ll probably get arrested. For a sense of the diminution of this sort of information gathering, click through this Tumblr of covers (scroll until you get to the e-reader included in the mix, to fully plumb the difference).

Looking at course (learning) management systems in higher ed (Gartner):

Campus Technology recently spoke with Gartner Research Director Marti Harris, who focuses on the higher education market, about an annual report from Gartner, "Gartner Higher Education E-Learning Survey 2007: Clear Movements in the Market," by Harris and two other Gartner higher education research analysts. Campus Technology: In the survey, Gartner found "clear movement in the market" toward more open-source platforms in 2007--26 percent of platforms on surveyed campuses were on open source e-learning system such as Moodle or Sakai, and Gartner projects that number will grow to 35 percent by the end of 2008. .....

CT: What is it about open source in general that appeals in higher education? Harris: There are several things. For one, there is sometimes the perception that open source is cheaper. But we really don't know that's the case yet, other than the fact that [institutions] are not paying a license fee. Certainly, unless it's something that's turnkey or ready out-of-the-box, [any system] will require additional resources to keep development going. You do have to determine how you're going to handle service and support in any case. Some of the open source products, like Moodle, have third-party providers that you can contract for service, support, and even for further development. We've yet to really know how much cheaper these open source apps are. We haven't been doing this long enough to really know the total price tag on migration, for one thing, and then the ongoing total cost of ownership.

From Australia but of relevance to all markets - Libraries and ebooks: tough issues that it’s time to debate (ABS&P):

So far, libraries’ digital activity has mostly been confined to research uses. The prevalence of the cumbersome PC as the main reading platform means the bread and butter of the book trade, fiction and general non-fiction, has barely been touched. But mobile reading devices and a surge in availability of popular ebooks are pushing libraries into the digital mainstream. The few libraries experimenting today with ebook downloads typically have very thin collections. This is partly due to tight budgets but also stems from concerns by publishers and authors about how—indeed whether—libraries should lend digital editions of their books. It’s the latter that has prompted the UK government to legislate so that patrons in libraries can download digital editions to their ebook readers without libraries infringing copyright. At the same time, it will issue an order under legislation “preventing libraries from charging for ebooks lending of any sort, including remotely.”

From OCLC a series of videos from ALA on The Future of Publishing: Libraries and the changing role of consumers and creators (OCLC)

From scholarly journals to eBooks to print-on-demand “vending” machines, publishing is more complicated than it once was. Thousands of individuals, companies, schools and businesses have taken the tools of literary and scholarly production into their own hands. How does the role of the library change when our users go from consumers of content to creators? What do these changes mean for academic activities such as peer-review, collection development and inventory management? How will new publishing platforms—from Amazon to the iPad—alter the public’s expectations for reading, writing and sharing?

Don DeLillo, in a rare interview, talks about living the American dream (Observer)

DeLillo has devoted his writing to the shadow side of American life, painting a dysfunctional freaks' gallery of the wrecked (David Bell in Americana), the sick (Bill Gray in Mao II), the mad (Lee Harvey Oswald in Libra) and the suicidal (Eric Packer in Cosmopolis). In White Noise, the protagonist, Jack, who teaches Hitler studies, riffs hilariously on death and mass murder. It is said that DeLillo used to keep two files on his writing table, labelled "Art" and "Terror". In Mao II, he writes: "I used to think it was possible for an artist to alter the inner life of the culture. Now bomb-makers and gunmen have taken that territory." On some readings, his characters occupy this no-man's-land. His vision has been described as "paranoid" in the sense that it connects everything about his society.

In the process of exploring America, DeLillo has become credited with extraordinary powers of literary clairvoyance. The war on terror is said to be foreshadowed in Mao II. The planes that flew into the Twin Towers are possibly alluded to on the cover of Underworld. Parts of White Noise are echoed in the anthrax scare of 2001, and so on.

Fellow writers talk with admiration of DeLillo's creative radar. The truth is that DeLillo is wired into contemporary America from the ground up, spookily attuned to the weird vibrations of popular culture and the buzz of everyday, ordinary conversations on bus and subway. According to Joyce Carol Oates, he is "a man of frightening perception", an all-American writer who sees and hears his country like no other.

The publishing house that Stieg Larsson built (Independent)

Quercus started life modestly in 2004 after Mark Smith and Wayne Davies defected from Orion Publishing Group. Suitably, for a company that would later publish a phenomenon in crime fiction, they rented a small office round the corner from the fictional premises of Sherlock Holmes on Baker Street. "I wanted to start my own business and foolishly thought it would be easy," Smith recalls. The company focused on non-fiction books that could be nicely illustrated. Its first success was Universe, followed by Speeches that Changed the World. But Smith had an appetite for risk and two years after launch moved into fiction, signing 10 titles from first-time authors. One of its early successes was The Tenderness of Wolves by Stef Penney, a mystery set in the snowy wastes of Canada in 1867. The novel won the Costa Book Award in 2007, driving it up the bestseller charts and allowing its publisher to expand. What had been a staff of 15 people has since grown to 40. The turning point for Smith came when he recruited Christopher MacLehose, who had a reputation as a master at finding foreign fiction by writers such as Henning Mankell and Haruki Murakami and turning them into English language hits.

On the twitter this week (@personanondata) Some Colleges to Test Dual-Screen E-Reader Devices - Wired Campus Chronicle New IEEE Standards Initiative Aims at “Digital Personal Property” Copyright and Technology And comments 'Hollywood: A Third Memoir' by Larry McMurtry First class, private planes, cash what's not to like? LATimes Why The Next Big Pop-Culture Wave After Cupcakes Might Be Libraries NPR Random House CEO on the E-Book Age: 'The Printed Book Will Still Dominate for a Long Time to Come' Spiegel Online Frankfurt SPARKS "conferences and events on the future of media and the creative industries" Frankfurt Book Fair In arts this week: Photography. New York City’s Waterfronts, Covered - NYTimes. This is my contribution.

Inside Google Books: Books of the world, stand up and be counted! All 129,864,880 of you.

Google takes a stab at counting all the books in the world: Google.

Our definition is very close to what ISBNs (International Standard Book Numbers) are supposed to represent, so why can’t we just count those? First, ISBNs (and their SBN precursors) have been around only since the mid 1960s, and were not widely adopted until the early-to-mid seventies. They also remain a mostly western phenomenon. So most books printed earlier, and those not intended for commercial distribution or printed in other regions of the world, have never been assigned an ISBN.

The other reason we can’t rely on ISBNs alone is that ever since they became an accepted standard, they have been used in non-standard ways. They have sometimes been assigned to multiple books: we’ve seen anywhere from two to 1,500 books assigned the same ISBN. They are also often assigned to things other than books. Even though they are intended to represent “books and book-like products,” unique ISBNs have been assigned to anything from CDs to bookmarks to t-shirts.

What about other well-known identifiers, for example those assigned by Library of Congress (Library of Congress Control Numbers) or OCLC (WorldCat accession numbers)? Rather than identifying books, these identify records that describe bibliographic entities. For example the bibliographic record for Lecture Notes in Mathematics (a monographic series with thousands of volumes) is assigned a single OCLC number. This makes sense when organizing library catalogs, but does not help us to count individual volumes. This practice also causes duplication: a particular book can be assigned one number when cataloged as part of a series or a set and another when cataloged alone. The duplication is further exacerbated by the difficulty of aggregating multiple library catalogs that use different cataloging rules. For example, a single Italian edition of “Angels and Demons” has been assigned no fewer than 5 OCLC numbers.

So what does Google do? We collect metadata from many providers (more than 150 and counting) that include libraries, WorldCat, national union catalogs and commercial providers. At the moment we have close to a billion unique raw records. We then further analyze these records to reduce the level of duplication within each provider, bringing us down to close to 600 million records.

Repost: Digital Platforms & Distribution

Originally posted April 12, 2007

Over the last 100 years (probably) US publishers have dithered over whether to use their facilities for the exclusive warehouse, fulfillment and distribution of their books or to offer 'publisher services' to other publishers. In recent years we have seen as many large publishers give up publisher services as adopt them. Some publishers think the headaches out weigh the potential marginal income and others in turn believe these publisher service functions to be core strengths and tasks they can leverage.

Recent announcements by Random House and Harpercollins indicate that there will be an application of the physical 'publisher services' model in the digital world. Clearly here the opportunity and the economics will be significantly different than in the physical world. Other players are entering the market as well: Both Ingram and Gardners (UK) have or are entering this segment. Gardners announced today, and will expand on this business opportunity at London Bookfair, a 'digital warehouse' which is "designed to provide a comprehensive range of e-commerce services for booksellers and publishers." Further,

Gardners Digital Warehouse will supply the capability for Publishers to link their existing digital files, eBooks, Audio Downloads, and extended bibliographic content such as ‘search inside’ to Gardners Books range of Internet and high street retailers. Publishers can also utilise a range of digitisation services designed to enable any size of Publisher to create digital content economically and to use it for publicity and eBook sales with all of Gardners customers.

The vast majority of publishers in the UK and US are small and do not have the depth of experience or financial capacity to support their own back office functions which is why 'publisher service' programs by larger publishers and companies like NBS and PGW exist. Similar issues will exist in the digital world and perhaps the financial aspects and the knowledge gap will be even more stark as processes and applications become more technology driven. Regrettably, as digital distribution becomes a basic service it will simply be out of the reach of the less sophisticated publisher. And this is where Harpercollins, Random House and others will step in to offer a range of digital services to support this market.

The issues these publishers will face will be different than those they faced as physical distributors but intuitively I have to believe the margins will be greater and the services they can offer the publishers and authors will be materially better. It is early days yet and the current offerings are fairly basic (not to be critical) but there are some tantalizing possibilities.

Other than the big fiction authors who get loads of attention, marketing money and have brand equity the vast majority of titles go unsupported almost immediately after launch. Successful titles in this environment are often driven by the desire and resourcefulness of the author. Imagine in a digital world where the author can use the digital platform to create their own marketing program, interact with stores and buyers, build communities with consumers and in many ways manage the sales and marketing for their own titles. It will happen. Adding social networking and other interactive 'modules' to the platforms offered by Harpercollins, Random House, Ingram and others will achieve this and I suspect some derivation of these ideas are in the works. The advantages for smaller publishers and authors is the scale that these platforms will offer both in terms of financial considerations and that they will become destination sites for consumers of books.

OCLC Respond to Skyriver Suit

Sent to OCLC members this afternoon:

On July 29, SkyRiver Technology Solutions and Innovative Interfaces, Inc. filed suit against OCLC, alleging anticompetitive practices. We at OCLC believe the lawsuit is without merit, and we will vigorously defend the policies and practices of the cooperative.

OCLC’s General Counsel, working with trial counsel, will respond to this regrettable action by SkyRiver and Innovative Interfaces following procedures and timetables dictated by the court. This process will likely take months or even years, not days.

In the meantime, we want to assure the OCLC membership and all 72,000 libraries that use one or more OCLC services that these spurious allegations will not divert us from our current plans and activities. These include maintaining and enhancing existing services, pursuing an ambitious agenda in library research and advocacy, and introducing new Web-scale (cloud) services. Indeed, OCLC has been a global leader in providing cloud-based services for libraries since 1971, and the next generation of these services holds great promise for reducing member library costs.

It is worth noting that our current strategy represents a collective effort by librarians around the world, developed through ongoing dialogue and consultation with the Board of Trustees, Global Council, and Regional Councils in the Americas, Asia Pacific, and Europe, the Middle East and Africa. We will continue our active engagement with OCLC members and governance participants as, together, we move our cooperative forward.

Inclusion, reciprocity, trust and the highest standard of ethical conduct have guided the OCLC cooperative in the past and will guide us in the future. As always, OCLC’s public purposes of furthering access to the world’s information and reducing the rate of rise of library costs remain paramount.

—Larry Alford, Chair, OCLC Board of Trustees

—Jay Jordan, OCLC President and CEO

Beirut: Overhead 1972

Beirut Overhead, 1972

A weekly image from my archive. Click on the image to make it larger.

This photo was taken in 1972 from yet another Pan Am plane window and clearly shows the famous corniche that fronts the city. Beirut was referred to as the Paris of the middle east in the 1950s and 60s because it was so cosmopolitan. On this journey we only stopped for fuel but in 1968, the family spent two days here on the way to our first overseas home in Bangkok. If my navigation is correct one of those hotels in the center of the image was the famous Phoenicia Intercontinental which is where we stayed in 1968. I am fairly certain it and some of the buildings in the image were destroyed during the civil war. I would like to visit Beirut again some day. A few more on Flickr.

PND Technology: Parse.ly

Frequent readers will recall that I occasionally report on my attendance at the New York Tech meet-up which is a once a month showcase of new and interesting technology and applications in early development (mostly). I also recently attended a similar group meeting in Hoboken and I am considering reporting on what I find interesting at these meetings on a more regular basis. So here goes.

I am interested in curated content and Parse.ly is a product that helps content owners curate content for their users. At a recent meeting I attended one of the founders of the company took the audience through their product showing how users on traditional media sites are treated like strangers even though they may be frequent visitors to the website. The parse.ly product "connects users with content they’ll love through personalized recommendations. Our technology gives publishers the power to quickly and easily recommend relevant content to users based on what they’ve read in the past and what other, similar users are reading now." It is a cool and elegant application.

By understanding what the user has looked at and interacted with over time and what other users with similar habits have also viewed the parse.ly tool is able to serve up a more concentrated and particular set of content that the user will find interesting. Perhaps a good example of how this process works and how it could be implemented is represented in a current test the company is running with a major newspaper. Parse.ly has suggested that pre-packaged topic-based email subscriptions are too generic and that the Parse.ly tool can craft topic collections based expressly on the needs/interests of a particular individual. So do away with the generic email subscriptions and implement a parse.ly solution that is more relevant to the user.

Parse.ly is available in various forms with the most powerful being full integration with a clients' content. The company is working with some major media clients on enterprise level contracts but is also available to general users so check it out.