37 research outputs found
We Deliver: Overcoming Microform Collection Access Issues with Electronic Delivery.
This post-peer review, pre-copyedit version of the article submitted to IUPUI ScholarWorks as part of the OASIS Project.This presentation described the problems library users experienced trying to scan and save or print microform images at Valparaiso University. Complex, difficult to use equipment and software, unfamiliar formats, and file management difficulties interfered with a good experience for the user. Working to remove barriers to obtaining information, Weare piloted a project for library staff to scan and deliver electronically to users content from the microform collection. Not only did the process work, but the project proved that staff could successfully provide such a service
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Final report on production of Pu-238 in commercial power reactors: target fabrication, postirradiation examination, and plutonium and neptunium recovery
Final report on production of Pu-238 in commercial power reactors: target fabrication, postirradiation examination, and plutonium and neptunium recovery
Re-reading the artist’s book : tracing the publishing practices of Ruth Buchanan, Michael Stevenson and Frances Stark.
Focusing on a small group of publications by Ruth Buchanan, Michael Stevenson and Frances
Stark, this thesis explores a space of practice around the contemporary artist’s book. Since the
term ‘artist’s book’ emerged in the late 1960s, critics and practitioners have emphasised the
fraught, in-between nature of the medium. Despite its continuing appeal, there has been little
critical discussion that considers how the idea and legacy of the artist’s book manifests in the
work of specific artists in the early twenty-first century, and, in turn, what this can articulate
about contemporary art publishing culture. Produced between 2003-2013, the works examined
provide insight into a period where there has been an unprecedented resurgence of print-based
artworks and independent publishing projects. By examining the books of these three artists, the
thesis charts an area of shared interest, discussing some recent modes of enquiry at the margins
of different fields, disciplines and knowledge economies. It positions the artist’s book as an even
more difficult and expansive concept than it once was. The thesis locates the objects in question
within a broader field of practice, excavating the politics and momentum of their production,
dissemination and the way they address future readers. In doing so, it reflects on how publishing
is playing a more discursive role in a global, digital art landscape, and is intertwined with the
complexities and ambiguities of contemporary practice itself