Data Management Roles for Librarians

In this Chapter:● Looking at data through different lenses● Exploring the range of data use and data support ● Using data as the basis for informed decision making ● Treating data as a legitimate scholarly research produc

Why You Need Soft and Non-Technical Skills for Successful Data Librarianship

There are many courses available to teach research data management to librarians and researchers. While these courses can help with technical skills, like programming or statistics, and practical knowledge of data life cycles or data sharing policies, there are “soft skills” and non-technical skills that are needed to successfully start and run data services. While there are many important characteristics of a good data librarian, reference skills, relationship building, collaboration, listening, and facilitation are some of the most important. Giving consideration to these skills will help any data librarian with their multifaceted job

Sue Sheridan, The Fiction of Thea Astley

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Of Witches and Monsters, the Filth and the Fury: Two Australian Women’s Post-Punk Autobiographies

The last few years have seen a sudden upsurge in punk and post-punk memoirs and autobiographies by musicians, in Australia and internationally, both women and men. The 1970s cultural movement of punk and its immediate aftermath has been a particular focus of academic study and of the broader processes of social memory as in film, popular histories, documentaries, and life writing. We are, then, in a time where the historical record of punk and post-punk is being made. Similar to the critical neglect of the broader category of musical autobiography (Stein and Butler 115), there has been little scholarly attention to punk and post-punk life writing, even though its popularity, sense of authenticity and historical detail, and accessibility makes it a powerful element of punk and post-punk social memory.I discuss two recent autobiographies by post-punk Australian women musicians, Pleasure and Pain by Chrissy Amphlett, lead singer of 1980s band Divinyls, and The Naked Witch by Fiona Horne, lead singer of 1990s band, Def FX to explore questions of gender, music, literary genre, and cultural context.  By performing a feminist textual analysis of these two autobiographies, I examine the nature of the intersections between the putative liberations for women afforded by punk and post-punk music, and autobiography as a textual performance of the self. In addition, a reading of these autobiographies enables me to address questions of national context. I argue that, in an echo of Julian Temple’s ferocious documentary of the Sex Pistols, The Filth and the Fury, the characteristically punk thematics of filth and fury enable these autobiographies to narrate the narrators’ rejection of, and consequent sense of monstrosity in relation to, conventional Australian femininity and the rock industry. Filth, in terms of abject and excessive elements, personae, and processes characterising the punk self, and fury, as this subject’s central type of affect, are means to articulate the making and unmaking of the female musician’s self as monstrous. Analogous to their stage work, Amphlett’s and Horne’s textual selves recruit and exploit a typically masculine set of codes to perform a novel subject of music: the female post-punk singer. Both Amphlett and Horne thereby write in a fraught space—an industry just starting to admit women in less conventional terms—to write a liminal self: one partly created by myths—some self-created, others externally imposed

Studies in the Terpenoid Field

Abstract Not Provided

Virginia Data Management Bootcamp: A Collaborative Initiative in Data Education

Academic research libraries are quickly developing support for research data management, including both new services and infrastructures. In particular, libraries have actively engaged in providing data services through data training and workshops at their own institution and/or within inter-university collaborations. In this collaboration, two research university libraries in Virginia took the lead, and built partnerships, in designing and offering a bootcamp to educate early career researchers about issues and best practices in research data management. The first bootcamp in 2013 was held by University of Virginia and Virginia Tech. By 2015 there were five additional institutions: George Mason University, James Madison University, Old Dominion University, Virginia Commonwealth University, and the College of William & Mary. The bootcamp covers a range of topics, and currently includes: Finding and Reusing Data, Documentation and Metadata, Data Wrangling, Rights and Access, and Database Creation. This collaborative project highlights: 1) the prominent role of the library in data education; 2) the effective application of training to good data management practices; 3) the development of training materials and curriculum that speak to a variety of institutions with different constituents; and, 4) the benefit of a multi-institutional approach for sustaining a program

Day 2. Don\u27t Let Your Data Management Plan Kill Your Grant

The National Science Foundation has rejected grants with bad Data Management Plans (DMPs). And now, most Federal agencies, and some private funders, will require these plans with your grant application. You will also need to provide public aces to you digital data. Learn how to write a competitive plan and share your data so you don’t miss out on an award. This session will focus on writing DMPs for NSF, Department of Defense, Department of Energy, NASA, National Institute of Standards and Technology (NIST), and USDA grant applications

Kathy Acker

"This project is a feminist study of the idiosyncratic oeuvre of Kathy Acker and how her unique art and politics, located at the explosive intersection of punk, postmodernism, and feminism, critiques and exemplifies late twentieth-century capitalism. There is no female or feminist writer like Kathy Acker (and probably no male either). Her body of work—nine novels, novellas, essays, reviews, poetry, and film scripts, published in a period spanning the 1970s to the mid 1990s—is the most developed body of contemporary feminist postmodernist work and of the punk aesthetic in a literary form. Some 20 years after her death, Kathy Acker: Punk Writer gives a detailed and comprehensive analysis of how Acker melds the philosophy and poetics of the European avant-garde with the vernacular and ethos of her punk subculture to voice an idiosyncratic feminist radical politics in literary form: a punk feminism. With its aesthetics of shock, transgression, parody, Debordian détournement, caricature, and montage, her oeuvre reimagines the fin-de-siècle United States as a schlock horror film for her punk girl protagonist: Acker’s cipher for herself and other rebellious and nonconformist women. This approach will allow the reader to more fully understand Acker as a writer who inhabits an explosive and creative nexus of contemporary women’s writing, punk culture, and punk feminism’s reimagining of late capitalism. This vital work will be an important text at both undergraduate and graduate levels in gender and women’s studies, postmodern studies, and twentieth-century American literature.