Journal articles on the topic 'Glasgow. University. Zavertal collection'

This article deals with a handwritten, hitherto unexplored copy of a printed text, The Secrets of Reverend Alexis of Piedmont, held in Glasgow University Library, MS Ferguson 7, which dates to 1565. The manuscript includes a collection of secrets by an anonymous compiler from the English translation of De’ Secreti del reverendo donno Alessio de Piemontese, a highly popular book of secrets published in Venice in 1555 and immediately rendered into other languages, including English. The handwritten compilation proves to be a dynamic artifact which is personalized to suit the compiler’s needs and ultimately becomes an independent new product. KEYWORDS: early modern manuscript studies; Books of Secrets; MS Ferguson 7; Secrets of Alexis of Piedmont; Girolamo Ruscelli; William Warde.

Directions for the future. Issues in English for Academic Purposes is a collection of articles based on the 2001 conference of the British Association of Lecturers for Academic Purposes (BALEAP) held at the University of Strathclyde in Glasgow.

In the context of Africa detailed descriptions of collecting insects during the eighteenth century from Dru Drury's archive in The Natural History Museum, London, can be used to provenance insect specimens in William Hunter's collections in the Hunterian Museum, University of Glasgow. The demand and supply of insects during this period resulted in the issue of instructions to collectors. Improved methods for preserving and transporting insects from overseas evolved as the result of field experience. The link between explorers, professional collectors in the field, and private museums in London is described in relation to Hunter's cabinets.

The University of Glasgow has a long tradition of scientific endeavour in the Gregory Rift Valley. This paper details some of the history and inspiration behind current hydrological efforts and details results from a 2016 field excursion to this region. A range of surface and ground waters were sampled and analysed for physical, chemical, and stable isotope composition as scoping investigation into geothermal-related hydrological systems. The results allow us to make some initial observations that will be followed up by additional multi-seasonal data collection. Our initial results show clear chemical and isotopic signals for river, lake, hot spring and Menengai geothermal well waters.

From the manuscript to the screen: Implementing electronic editions of mediaeval handwritten material This paper describes the electronic editing of the Middle English material housed in the Hunterian Collection at Glasgow University Library (GUL), a joint project undertaken by the universities of Málaga, Glasgow, Oviedo, Murcia and Jaén which pursues the compilation of an electronic corpus of mediaeval Fachprosa in the vernacular (http://hunter.filosofia.uma.es/manuscripts). The paper therefore addresses the concept of electronic editing as applied to The corpus of Late Middle English scientific prose with the following objectives: (a) to describe the editorial principles and the theoretical implications adopted; and (b) to present the digital layout and the tool implemented for data retrieval. A diplomatic approach is then proposed wherein the editorial intervention is kept to a minimum. Accordingly, features such as lineation, punctuation and emendations are every now and then accurately reproduced as by the scribe's hand whilst abbreviations are yet expanded in italics. GUL MS Hunter 497, holding a 15th-century English version of Aemilius Macer's De viribus herbarum, will be used as a sample demonstration (Calle-Martín - Miranda-García, forthcoming).

John Rae, a Scottish antiquarian collector and spirit merchant, played a highly prominent role in the local natural history societies and exhibitions of nineteenth-century Aberdeen. While he modestly described his collection of archaeological lithics and other artefacts, principally drawn from Aberdeenshire but including some items from as far afield as the United States, as a mere ‘routh o’ auld nick-nackets' (abundance of old knick-knacks), a contemporary singled it out as ‘the best known in private hands' (Daily Free Press 4/5/91). After Rae's death, Glasgow Museums, National Museums Scotland, the University of Aberdeen Museum and the Pitt Rivers Museum in Oxford, as well as numerous individual private collectors, purchased items from the collection. Making use of historical and archive materials to explore the individual biography of Rae and his collection, this article examines how Rae's collecting and other antiquarian activities represent and mirror wider developments in both the ‘amateur’ antiquarianism carried out by Rae and his fellow collectors for reasons of self-improvement and moral education, and the ‘professional’ antiquarianism of the museums which purchased his artefacts. Considered in its wider nineteenth-century context, this is a representative case study of the early development of archaeology in the wider intellectual, scientific and social context of the era.

In linguistics the concept of complexity has been analysed from various perspectives, among them language typology and the speech/writing distinction. Within intralinguistic studies, certain key linguistic features associated with reduced or increased complexity have been identified. These features occur in different patterns across various registers and their frequency is an indicator of the level of complexity of different kinds of texts. The concept of complexity has not, to date, been evaluated in early English medical writing, especiallyin terms of different text types. Thus, the present article analyses linguistic complexity in two Early Modern English medical texts, a surgical treatise (ff. 34r-73v) and a collection of medical recipes (ff. 74r-121v) housed as MS Hunter 135 in Glasgow University Library. Since they represent two different types of medical text, they can be productively compared in terms of linguistic complexity. The results obtained confirm that the surgical treatise is more complex than the collection of medical recipes owing to the higher presence of linguistic features denoting increased complexity in the former and of those indicating reduced linguistic complexity in the latter.

SynopsisThis brief biography summarizes the life of Scots-born Robert Kidston (1852–1924), who was arguably the best and most influential palaeobotanist of his day. In over 180 scientific papers he laid the foundations for a modern understanding of the taxonomy and palaeobiology of Devonian and Carboniferous plants. His expertise was critical to the research and curation of the Geological Survey and British Museum (Natural History) and excavations of Glasgow's Fossil Grove introduced the great Carboniferous forests into the public imagination. Despite their age, his meticulously documented collections of slides (deposited in the Botany collection University of Glasgow) and hand specimens and notebooks (deposited in the collections of the British Geological Survey, Nottingham) provide a wealth of important scientific data with modern applications in plant taxonomy, biostratigraphy and palaeoclimatic reconstruction.

In this article Anselm Heinrich argues for a renewed interest in and critical investigation of theatre in Britain during the Second World War, a period neglected by researchers despite the radical changes in the cultural landscape instigated during the war. Concentrating on CEMA (the Council for Encouragement of Music and the Arts) and the introduction of subsidies, the author discusses and evaluates the importance and effects of state intervention in the arts, with a particular focus on the demands put on theatre and its role in society in relation to propaganda, nation-building, and education. Anselm Heinrich is Lecturer in Theatre Studies at the University of Glasgow. He is the author of Entertainment, Education, Propaganda: Regional Theatres in Germany and Britain between 1918 and 1945 (2007), and with Kate Newey and Jeffrey Richards has co-edited a collection of essays on Ruskin, the Theatre, and Victorian Visual Culture (2009). Other research interests include émigrés from Nazi-occupied Europe, contemporary German theatre and drama, and national theatres.

AbstractAmong the different topics studied by palaeography, punctuation has traditionally been disregarded by scholars for being considered arbitrary and unsystematic (Salmon 1988: 285). However, some studies carried out over the last few decades have demonstrated that the English punctuation system underwent a process of standardisation which started in the Middle English period, from a purely rhetorical to a grammatical function. Moreover, it was towards the sixteenth century when a set of punctuation marks was introduced (i.e. the semicolon), a fact that restricted the functions of major punctuation marks up to that time, such as the period and the comma (Salmon 1999: 40). The present paper analyses the punctuation system in Glasgow University Library, MS Hunter 135 (ff. 34r–121v), a volume that is most suitable for such a study as it contains two different text types belonging to the genre of medical writing: a surgical treatise and a collection of medical recipes. The results confirm that the different punctuation marks are unevenly distributed in the texts under study and, more importantly, their main functions are found at different levels within the text.

In the 'fifties Brecht undertook an examination of Stanislavski's theatre which in terms of breadth and intensity was unprecedented in his career – and rehearsal documentation from that period testifies that he incorporated some of Stanislavski's methods into the stage practice of the Berliner Ensemble. The seriousness of his study is attested by the organized collection of notes on the production of Katzgraben recently discovered in Elizabeth Hauptmann's estate. Brecht's preoccupation with Stanislavski at this time has been seen as an attempt to protect his theatre's existence in an environment where Stanislavski, socialist realism, and the communist cause were regarded as interlinked. In this paper, Meg Mumford, recently appointed to a lectureship in theatre in the University of Glasgow, outlines the nature of Brecht's study of Stanislavski, and draws upon the records of the ensuing theatre practice, the Katzgraben notes in particular, to illuminate Brecht's growing recognition of affinities with Stanislavski's methods, which he found useful in fostering the young Berliner Ensemble and in creating performances he viewed as appropriate to audiences in the GDR.

That the Nazis tried to claim Shakespeare as a Germanic playwright has been well documented, but recently theatre historians have claimed that their ‘success’ was rather limited. Instead, commentators have asserted that plays such as Othello, Antony and Cleopatra, and The Merchant of Venice offended National Socialist precepts and were sidelined. This article attempts a re-evaluation and shows that the effect of the Nazi claims on Shakespeare was substantial, and the official efforts that went into realizing these in productions were considerable. It is also argued that the Nazis established a particular reading of Shakespeare, which lasted well into the 1960s and dominated the aesthetics of West German productions of his drama. Anselm Heinrich is Lecturer and Head of Theatre Studies at the University of Glasgow. He is the author of Entertainment, Education, Propaganda: Regional Theatres in Germany and Britain Between 1918 and 1945 (2007), and has co-edited a collection of essays on Ruskin, the Theatre, and Victorian Visual Culture (2009). His new monograph on theatre in Westphalia and Yorkshire for the German publishers Schoeningh is forthcoming.

Background: Despite growing interest from policy makers, researchers and activists in the global development of palliative care, there is still little science to underpin it. This study presents the methods deployed in the creation of a ‘world map’ of palliative care development. Building on two previous iterations, with improved rigour and taking into account reviewers’ feedback, the aim of this recalibrated version of the study is to determine the level of palliative care development in 198 United Nations recognised countries in 2017, whilst ensuring comparability with previous versions. We present methods of data collection and analysis. Methods and analysis: Primary data on the level of palliative care development in 2017 was collected from in-country experts through an online questionnaire and, where required, supplemented by published documentary sources and grey literature. Data relating to the total population of each country as well as per capita opioid consumption were derived from independent sources. Data analysis was conducted according to a new scoring system and algorithm developed by the research team. Ethics and dissemination: The study was approved by the University of Glasgow College of Social Sciences Research Ethics Committee. Findings of the study will be disseminated in peer-reviewed journals, as a contribution to the second edition of the Global Atlas of Palliative Care at the End-of-Life, and via social media, including the Glasgow End of Life Studies Group blog and the project website. Limitations of the study: There are potential biases associated with self-reporting by key in-country experts. In some countries, the identified key expert failed to complete the questionnaire in whole or part and data limitations were potentially compounded by language restrictions, as questionnaires were available only in three European languages. The study relied in part on data from independent sources, the accuracy of these data could not be verified.

Background: Despite growing interest from policy makers, researchers and activists, there is still little science to underpin the global development of palliative care. This study presents the methods deployed in the creation of a ‘world map’ of palliative care development. Building on two previous iterations, with improved rigour and taking into account reviewers’ feedback, the aim of the study is to determine the level of palliative care development in 198 countries in 2017, whilst ensuring comparability with previous versions. We present methods of data collection and analysis. Methods and analysis: Primary data on the level of palliative care development in 2017 was collected from in-country experts through an online questionnaire and, where required, supplemented by published documentary sources and grey literature. Population and per capita opioid consumption data were derived from independent sources. Data analysis was conducted according to a new scoring system and algorithm developed by the research team. Ethics and dissemination: The study was approved by the University of Glasgow College of Social Sciences Research Ethics Committee. Findings of the study will be disseminated in peer-reviewed journals, as a contribution to the second edition of the Global Atlas of Palliative Care at the End-of-Life, and via social media, including the Glasgow End of Life Studies Group blog and the project website. Limitations of the study: There are potential biases associated with self-reporting by key in-country experts. In some countries, the identified key expert failed to complete the questionnaire in whole or part and data limitations were potentially compounded by language restrictions, as questionnaires were available only in three European languages. The study relied in part on data from independent sources, the accuracy of which could not be verified.

More than a hundred countries implement freedom of information laws. In the UK, the Freedom of Information Act 2000 [1] (FOIA) states that the government's documents must be made freely available, or opened , to the public. Moreover, all central UK government departments' documents that have a historic value must be transferred to the The National Archives (TNA) within twenty years of the document's creation. However, government documents can contain sensitive information, such as personal information or information that would likely damage international relations if it was opened. Therefore, all government documents that are to be publicly archived must be sensitivity reviewed to identify and redact the sensitive information. However, the lack of structure in digital document collections and the volume of digital documents that are to be sensitivity reviewed mean that the traditional manual sensitivity review process is not practical for digital sensitivity review. In this thesis, we argue that sensitivity classification can be deployed to assist government departments and human reviewers to sensitivity review born-digital government documents. However, classifying sensitive information is a complex task, since sensitivity is context-dependent and can require a human to judge on the likely effect of releasing the information into the public domain. Moreover, sensitivity is not necessarily topic-oriented, i.e., it is usually dependent on a combination of what is being said and about whom. Through a thorough empirical evaluation, we show that a text classification approach is effective for sensitivity classification and can be improved by identifying the vocabulary, syntactic and semantic document features that are reliable indicators of sensitive or nonsensitive text [2]. Furthermore, we propose to reduce the number of documents that have to be reviewed to learn an effective sensitivity classifier through an active learning strategy in which a sensitivity reviewer redacts any sensitive text in a document as they review it, to construct a representation of the sensitivities in a collection [3]. With this in mind, we propose a novel framework for technology-assisted sensitivity review that can prioritise the most appropriate documents to be reviewed at specific stages of the sensitivity review process. Furthermore, our framework can provide the reviewers with useful information to assist them in making their reviewing decisions. We conduct two user studies to evaluate the effectiveness of our proposed framework for assisting with two distinct digital sensitivity review scenarios, or user models. Firstly, in the limited review user model, which addresses a scenario in which there are insufficient reviewing resources available to sensitivity review all of the documents in a collection, we show that our proposed framework can increase the number of documents that can be reviewed and released to the public with the available reviewing resources [4]. Secondly, in the exhaustive review user model, which addresses a scenario in which all of the documents in a collection will be manually sensitivity reviewed, we show that providing the reviewers with useful information about the documents that contain sensitive information can increase the reviewers' accuracy, reviewing speed and agreement [5]. This is the first thesis to investigate automatically classifying FOIA sensitive information to assist digital sensitivity review. The central contributions are our proposed framework for technology-assisted sensitivity review and our sensitivity classification approaches. Our contributions are validated using a collection of government documents that are sensitivity reviewed by expert sensitivity reviewers to identify two FOIA sensitivities, namely international relations and personal information. Our results demonstrate that our proposed framework is a viable technology for assisting digital sensitivity review. Supervisors Prof. Iadh Ounis (University of Glasgow), Dr. Craig Macdonald (University of Glasgow) Available from: http://theses.gla.ac.uk/41076

The 22nd International Congress on Heterocyclic Chemistry (ICHC-22) was held 2-7 August 2009 in St. John's, Newfoundland and Labrador, Canada. St. John's, the capital of Canada's youngest Province, Newfoundland and Labrador, is also Canada’s oldest and North America’s most easterly city. The Conference was chaired by Prof. Mohsen Daneshtalab (School of Pharmacy, Memorial University of Newfoundland) and was organized by the School of Pharmacy and the Chemistry Department at Memorial University of Newfoundland.Approximately 260 participants from over 30 different countries attended. The scientific program consisted of 10 plenary lectures, 19 invited lectures, 52 short communications, and 115 posters. Prof. Samuel Danishefsky (Sloan-Kettering Institute for Cancer Research, Columbia University) was honored with the 2009 ISHC Senior Award in Heterocyclic Chemistry, and Prof. John Wood (Colorado State University) was the 2009 Katritzky Junior Award winner. A special symposium entitled "Focus on heterocycles in organic synthesis today and tomorrow" was held during the Congress as a tribute to Prof. Victor Snieckus (Queen's University, Kingston) for his research accomplishments and long-time contribution to the International Society of Heterocyclic Chemistry (ISHC).The five Congress themes were:- New Methods in Heterocyclic Chemistry- Biologically Active Heterocycles (Pharmaceuticals/Agrochemicals)- Heterocyclic Natural Products and their Analogues- Applications of Heterocycles in Organic Synthesis- Heterocycles in Materials ScienceBesides the collection of 9 papers that are based on the plenary and invited lectures included in this issue of Pure and Applied Chemistry, the ICHC-22 Book of Abstracts is available online and can be downloaded for free from http://www.ichc2009.ca/abstract_book.pdf in pdf format.ICHC-23 will be held in Glasgow, Scotland, 31 July to 5 August 2011 with the following five main themes of heterocyclic chemistry: synthetic methodology, natural products and complex molecule synthesis, materials, medicinal chemistry, and nanochemistry. The conference will be chaired by Prof. Colin Suckling (University of Strathclyde).The organizers are grateful to all who contributed to a successful scientific program, especially to the speakers and to our public and private sponsors: City of St. John's, Memorial University of Newfoundland, IUPAC, Thieme, Wiley-Blackwell, Elsevier, Taiho Pharmaceutical Co., ChemRoutres Corporation, and American Diagnostica, Inc.Paris E. GeorghiouConference Editor

Background. Traumatic brain injury (TBI) is the most common cause of death/disability in children. The Glasgow coma scale and other parameters are used for treatment/follow-up of TBI. Childhood TBI data are scarce from sub-Saharan Africa. The study aimed to determine the pattern and predictors of the TBI outcome in Southern Ethiopia. Methods. An observational cross-sectional study was conducted from September 2017 to September 2018 at Hawassa University Hospital. Structured questionnaires were used for data collection. Significant associations were declared at a P value of <0.05. Results. There were 4,258 emergency room (ER) visits during the study period, and TBI contributed to 317 (7.4%) cases. The mean age of study subjects was 7.66 ± 3.88 years. Boys, predominantly above 5 years of age, comprise 218 (68.8%) of the study subjects with a male to female ratio of 2.2 : 1. Pedestrian road traffic accidents (RTA), 120 (37.9%), and falls, 104 (32.8%), were the commonest causes of TBI. Mild, moderate, and severe TBI were documented in 231 (72.9%), 61 (19.2%), and 25 (7.9%) of cases, respectively. Most of the TBI cases presented within 24 hrs of injury, 258 (81.4%). Recovery with no neurologic deficit, 267 (84.2%); focal neurologic deficit, 30 (9.5%); depressed mentation, 10 (3.2%); and death, 10 (3.2%), were documented. Signs of increased intracranial pressure (ICP) at admission [AOR: 1.415 (95% CI: 1.4058–9.557)], severe TBI [AOR: 2.553 (95% CI: 1.965–4.524)], presence of hyperglycemia [AOR: 2.318 (95% CI: 1.873–7.874)], and presence of contusion, diffuse axonal injury (DAI), or intracranial bleeding on the head computed tomography (CT) scan [AOR: 2.45 (95% CI: 1.811–7.952)] predicted poor TBI outcome. Conclusion. TBI contributed to 7.4% of pediatric ER visits. Pedestrian RTA and falls, early presentation (<24 hours of injury), and mild form of TBI among boys were the most common documented patterns. ICP, hyperglycemia, severe TBI, and presence of contusion, DAI, or intracranial bleeding on head CT predicted poor outcome. Strategies to ensure road safety and to prevent falls and animal-related injuries and TBI follow-up for ICP and glycemic controls are recommended.

Physician clinical clearance of the cervical spine after blunt trauma is practiced in many trauma centers. Prehospital clinical clearance of the cervical spine (c-spine) performed by emergency medical services (EMS) personnel can decrease cost, improve patient comfort, decrease complications, and decrease prehospital time. The purpose of this study was to assess whether EMS personnel can effectively clinically clear the c-spine of injury in the prehospital setting. All paramedics from a single urban fire department were trained in clinical clearance of the c-spine. During the 14-month period from January 2008 through March 2009, clinical examination of the c-spine was performed by paramedics on blunt trauma patients in the prehospital setting. Paramedics immobilized the c-spine and delivered the patients to the University of South Alabama Medical Center. After trauma center arrival, paramedics documented their clinical examination of the c-spine in a computerized data collection form. Paramedic clinical findings were compared with trauma surgeon clinical examination findings and computed tomographic findings of the c-spine. All patients had prehospital Glasgow Coma Score 14 or greater. Patients were not excluded for distracting injuries. One hundred ninety-three blunt trauma patients were entered. Sixty-five (34%) c-spines were clinically cleared by EMS. There were no known missed injuries in this patient group. Eight (6%) patients who were not clinically cleared by EMS were diagnosed with c-spine injury. Trauma surgeons clinically cleared 135 (70%) of the patients with no known missed injury. EMS personnel in the prehospital setting may reliably and effectively perform clinical clearance of the c-spine. Further prospective study for prehospital c-spine clinical clearance is warranted.

The International Conference on Organometallic Chemistry Directed Towards Organic Synthesis (OMCOS) traditionally brings together chemists from industry and academia from all over the world to present and discuss the latest advances in new metal-catalyzed and -mediated reactions, novel preparations and reactions of organometallic reagents, mechanistic insight into important metal-based reactions, and new or improved methods for the synthesis of functional molecules and materials, in which the metal plays a key role.The symposium came to the UK for the first time, following the successful series of OMCOS meetings held in Fort Collins (1981), Dijon (1983), Kyoto (1985), Vancouver (1987), Florence (1989), Utrecht (1991), Kobe (1993), Santa Barbara (1995), Göttingen (1997), Versailles (1999), Taipei (2001), Toronto (2003), Geneva (2005), and Nara (2007). Since Glasgow is the hometown of Peter Pauson, who can be regarded as the founding father of the OMCOS agenda, one can even say that OMCOS came home, after so many years. The symposium was held in the modern Royal Concert Hall in the heart of Glasgow, the largest city in Scotland and the birthplace of the industrial revolution. About 500 participants attended the symposium; particularly large delegations arrived from Japan, Germany, China, and the UK.The symposium program featured 5 plenary lectures, 18 invited lectures, 15 short communications, and one OMCOS Award Lecture (sponsored by Springer Verlag). The topics spanned the broadest area of the OMCOS agenda; particularly interesting was the direct comparison of the two approaches to metathesis, as illustrated by the key players themselves, Profs. Bob Grubbs and Richard Schrock. A number of contributions were focused on C–H activation, which culminated in the lecture delivered by Prof. Keith Fagnou of the University of Ottawa, Canada, the recipient of the OMCOS Award. Those who attended the symposium, as well as the international chemistry community, were then shocked a few months later by learning that this brilliant young scientist became a victim of the swine flu; he will be remembered by all of us.About 350 poster presentations further contributed to this exciting event and highlighted the strength, diversity, and novelty with which this science is being practiced. On the basis of the assessment by a distinguished international jury, 12 posters were selected for OMCOS-15 Poster Awards, sponsored by Springer Verlag.This issue of Pure and Applied Chemistry comprises a collection of 19 papers based on the lectures delivered at OMCOS-15, thereby offering the readers a glimpse of the fascinating chemical achievements communicated at the symposium.The series will continue with OMCOS-16, which will be held in Shanghai, China, 24-28 July 2011, under the chairmanship of Profs. Shengming Ma and Kuiling Ding (www.omcos16.org).Pavel KočovskýConference Chair

Purpose The inability of cultural institutions to make available digital reproductions of collected material highlights a shortcoming with the existing copyright framework in a number of national jurisdictions. Overlapping efforts to remedy the situation were recently undertaken in the form of EU Directive 2012/28/EU, the “Orphan Works” directive, and a new licensing scheme introduced by the UK Intellectual Property Office (UKIPO). The purpose of this paper is to empirically evaluate both the EU and UK policy approaches, drawing on data collected during a live rights clearance simulation. Design/methodology/approach The authors attempted to clear rights in a sample of 432 items contained in the mixed-media Edwin Morgan Scrapbooks collection held by the University of Glasgow Library. Data were collected on the resource costs incurred at each stage of the rights clearance process, from initial audit of the collection, through to compliance with diligent search requirements under EU Directive 2012/28/EU and the UKIPO licensing procedures. Findings Comparing results against the two current policy options for the use of orphan works, the authors find that the UKIPO licensing scheme offers a moderate degree of legal certainty but also the highest cost to institutions (the cost of diligent search in addition to licence fees). The EU exception to copyright provides less legal certainty in the case of rightsholder re-emergence, but also retains high diligent search costs. Both policy options may be suitable for institutions wishing to make use of a small number of high-risk works, but neither approach is currently suitable for mass digitisation. Research limitations/implications This rights clearance exercise is focussed on a single case study with unique properties (with a high proportion of partial works embedded in a work of bricolage). Consequently, the results obtained in this study reflect differences from simulation studies on other types of orphan works. However, by adopting similar methodological and reporting standards to previous empirical studies, the authors can compare rights clearance costs between collections of different works. Originality/value This study is the first to empirically assess the 2014 UK orphan works licensing scheme from an institutional perspective. The authors hope that it will contribute to an understanding of how policy could more effectively assist libraries and archives in their digitisation efforts.

The 16th International Symposium on Organometallic Chemistry Directed Towards Organic Synthesis (OMCOS 16) was held in Shanghai, China during the period of 24-28 July 2011. It was jointly organized by the Shanghai Institute of Organic Chemistry (SIOC), the Chinese Academy of Sciences (CAS), and East China Normal University under the auspices of the International Union of Pure and Applied Chemistry. It was held at the Shanghai International Convention Center, located in the heart of the Lujiazui-Shanghai Financial and Trade zone, adjacent to the Oriental Pearl TV Tower and facing the multinational styles of architecture along the Bund across the Huangpu River, nicely showing part of the history and the dynamic nature of China at this moment.It was the first time for mainland China to host the OMCOS meeting following the successful series of symposia held at Fort Collins (1981), Dijon (1983), Kyoto (1985), Vancouver (1987), Florence (1989), Utrecht (1991), Kobe (1993), Santa Barbara (1995), Gottingen (1997), Versailles (1999), Taipei (2001), Toronto (2003), Geneva (2005), Nara (2007), and Glasgow (2009).The symposium program featured 11 plenary lectures, 13 invited lectures, 12 oral presentations, one OMCOS Award Lecture (sponsored by Springer Verlag and the Yen-Chuang Foundation), and one OBC Award Lecture (sponsored by the Royal Society of Chemistry). Notably, the plenary lecture given by the Nobel laureate, Prof. Ei-ichi Negishi, was delivered right after the reception dinner on 24 July. Prof. Frank Glorius from Universität Münster received the OMCOS Award, and Prof. Michael C. Willis from the University of Oxford received the OBC Award.The symposium was attended by 993 participants from 21 countries and areas. The scientific program also presented well-supported poster sessions comprising 507 posters of remarkably high quality. On the basis of assessment by the distinguished international committee, 20 posters were awarded with the OMCOS-16 Poster Prizes, sponsored by Henkel, John Wiley, IUPAC, Thieme, the Royal Society of Chemistry, and Elsevier.This issue of Pure and Applied Chemistry comprises a collection of 9 papers based upon lectures delivered at OMCOS-16 (Conference Editor, Shuli You), offering the readers a glimpse of the fascinating achievements in this area communicated at the symposium.The series will continue with OMCOS-17, which will be held in Fort Collins, Colorado, USA (www.omcos17.com), 28 July-1 August 2013, under the chairmanship of Prof. Tomislav Rovis.Shengming Ma and Kuiling DingConference Chairs

The 42nd IUPAC Congress was held in Glasgow on 2-7 August 2009, under the patronage of the Royal Society of Chemistry (RSC). More than 2200 delegates convened in the Scottish Exhibition and Conference Centre for this biennial event, evocatively subtitled “Chemistry Solutions” for the occasion. The Organizing Committee, chaired by Prof. Paul O’Brien (Manchester University), was responsible for overall planning and compilation of an outstanding scientific program, and orchestration by the RSC conference team and their management of facilities and activities during the Congress week were widely acclaimed as indispensable factors in ensuring a memorable international celebration of chemistry. For many delegates, this was also an opportunity to discover or renew acquaintance with the proud history and distinctive ambience of this great city, and to enjoy its progressive modern image.The scientific program of the Congress was highlighted by nine inspiring plenary lectures by leading luminaries in various aspects of the chemical sciences. In addition, multi-themed parallel sessions provided a platform for presentation of no less than about 600 lectures, under the following theme titles:- Analysis and Detection- Chemistry for Health- Communication and Education- Energy and Environment- Industry and Innovation- Materials- Synthesis and MechanismA program of symposia was presented in each of these themes, and catered for all interests from the most fundamental insights and interpretation of current advances in chemistry to the role of chemistry in meeting the growing technological challenges and aspirations of modern society. The scientific program was enriched by the display of over 1200 posters dealing in every imaginable area of pure and applied chemistry, and handsomely representing the contributions of a great number of the young scientists who attended the Congress.Publication coverage of events such as the 42nd IUPAC Congress is challenging. Invited participants are often confronted with competing commitments, and a large multidisciplinary scientific program militates against reconciling a fully representative publication record with the readership appeal of a thematically coherent collection of works. This addition to the illustrious publication record of the Congress series in Pure and Applied Chemistry (PAC) (www.iupac.org/publications/pac/conferences/family/CONGRESS/) adheres to the recent practice of concentrating on more selective publication of certain themes. It is thus a pleasure to introduce a representative collection of works, based upon a seminal plenary presentation by Sir Fraser Stoddart and lectures by a distinguished group of invited contributors to the themes of “Chemistry for Health” and “Synthesis and Mechanism”. The organizers are particularly grateful to these presenters for ensuring that readers of PAC have an opportunity to relive or engage vicariously in an outstanding IUPAC Congress.James R. BullScientific Editor

The 14th IUPAC International Symposium on Organometallic Chemistry Directed Towards Organic Synthesis (OMCOS-14) was held in Nara, Japan, 2-6 August 2007, under the auspices of IUPAC, and with cosponsorship of the Science Council of Japan and the Chemical Society of Japan. OMCOS-14 was held at Nara Centennial Hall, surrounded by National Treasures including eight World Heritage assets.This symposium is a continuation of the successful series of OMCOS meetings, previously held at Geneva (2005), Toronto (2003), Taipei (2001), Versailles (1999), Göttingen (1997), Santa Barbara (1995), Kobe (1993), Utrecht (1991), Florence (1989), Vancouver (1987), Kyoto (1985), Dijon (1983), and Fort Collins (1981). The event once again brought together industrial and academic chemists from all over the world to discuss the latest advances in new metal-mediated and -catalyzed reactions, mechanistic insights into important reactions, new preparations and applications of organometallic reagents, as well as ingenious methods for the synthesis of pharmaceuticals, agrochemicals, and materials using metals.Almost 1000 participants attended from 34 countries, one-third of them from abroad. Particularly strong representation from Asian countries such as China, Taiwan, and Korea underscores the remarkable growth of interest and development in organometallic research in these countries.The scientific program of OMCOS-14 featured 6 plenary lectures, 20 invited lectures, 28 short oral presentations, and one OMCOS Award lecture. The lectures were uniformly outstanding and held the attention of an audience fascinated by the excellent chemistry. One sensed that the warmth of the weather was matched by the warm enthusiasm that prevailed at the venue throughout the meeting. Themes that attracted attention included metal-catalyzed direct functionalization of alkenes, alkynes, and arenes, environmentally benign processes and gold-catalyzed reactions. In a particular highlight, Prof. F. Dean Toste from the University of California, Berkeley received the OMCOS-14 Award (sponsored by the Yen Chuang Foundation and Springer Verlag) for his glorious research on gold-catalyzed reactions.The scientific program also presented well-supported poster sessions comprising 546 posters of remarkably high quality. On the basis of assessments by distinguished juries, 27 posters were selected for awards of OMCOS-14 Poster Prizes, two of which included free registration for students to participate in the 23rd International Conference on Organometallic Chemistry (ICOMC-2008, co-chaired by Profs. Dixneuf and Bruneau at Rennes, France, 13ñ18 July 2008).This issue of Pure and Applied Chemistry comprises a collection of 40 papers based upon lectures delivered at OMCOS-14. It therefore offers readers an enduring and representative record of the great achievements announced during the symposium. The series continues with OMCOS-15, which will be held in Glasgow, UK (<http://www.omcos15.com/>), 26-30 July 2009, under the chairmanship of Prof. Pavel Kočovský.Koichiro OshimaConference Chairman

Background: Tazemetostat, a first-in-class, oral, enhancer of zeste homolog 2 (EZH2) inhibitor was recently approved by the US Food and Drug Administration in patients with relapsed/refractory (R/R) follicular lymphoma (FL) after demonstrating single-agent, antitumor activity in patients with wild-type (WT) or mutant (MT) EZH2. Progression of disease within 24 months (POD24), exposure to multiple lines of prior therapy, and refractoriness to rituximab therapy have been shown to adversely affect the prognosis of patients receiving second- or third-line regimens for R/R FL, including chemoimmunotherapy. We performed a post hoc exploratory analysis to better understand how these factors impact the outcomes in patients receiving tazemetostat. Methods: This open-label, multicenter study (NCT01897571) evaluated tazemetostat 800 mg administered orally twice daily in patients with MT or WT EZH2 R/R FL. The primary endpoint was objective response rate (ORR; complete response + partial response) as assessed by an independent review committee (IRC); secondary efficacy endpoints included duration of response (DOR) by IRC, progression-free survival (PFS) by IRC, and overall survival (OS) by investigator assessment. Predictive modeling using baseline demographic and disease characteristic variables combined from patients with MT or WT EZH2 R/R FL was performed to identify variables predictive of response (ORR, DOR, PFS, and OS). Models were fitted for variables that were categorical and had no missing observations; they also were fitted with/without Groupe d'Etude des Lymphomes Folliculaires (GELF) criteria and with the number of prior lines of therapy (1, 2, or &gt;2, and 1 or 2 vs &gt;2). Due to incomplete data collection, GELF criteria were analyzed with missing observations (n=28) set to "no." Stepwise logistic and Cox regression was used to determine possible predictors; inclusion at a specified step was based on P≤0.40. Final model inclusion was based on P≤0.20. A final model was run using the possible predictors identified from the previous stepwise regressions. Contingency tables and Kaplan-Meier plots were used to examine significant variables (P≤0.05). Results: In the phase 2 study, the efficacy outcomes by IRC in combined WT and MT EZH2 populations (N=99) were: ORR, 51% (n=50); median DOR, 11 months (95% CI: 7, 19); and median PFS, 12 months (95% CI: 8, 15). Median OS was not reached (95% CI: 38.2, not estimable). Predictive modeling using 17 baseline variables identified possible predictors of efficacy outcome. For ORR, the number (1 or 2 vs &gt;2) of prior lines of therapy was identified as possibly predictive (Table). Patients with 1 line of prior therapy had an ORR of 66% (n=27) vs 40% (n=23) in patients with 2 prior lines of therapy. Disease refractory to rituximab and number (1, 2, or &gt;2) of prior lines of therapy (Table) were identified as possible predictors for DOR. Disease refractory to rituximab, GELF criteria, disease refractory to any treatment, and sex (Table) were possibly predictive for PFS. However, the percentage of subjects that met GELF criteria may be underestimated due to retrospective collection of qualifying data points; therefore, the translation of GELF criteria as a predictive factor for PFS should be interpreted with caution. Other baseline demographic and disease characteristics, including patient age (≤65 y, &gt;65 y), double refractory disease, ECOG performance status, myelosuppression, POD24, disease refractory to last therapy, prior stem cell transplant, and time since last therapy, were not found to be predictive of response, as measured by ORR, DOR, PFS, and OS. Conclusions: In this post hoc exploratory analysis of patients with R/R FL (WT and MT EZH2 cohorts combined), variables associated with heavily pretreated patients (ie, refractory to rituximab, treatment-refractory disease, and number of prior treatments) were identified as possible predictors of response. However, in these analyses other high-risk disease characteristics, such as POD24, were not predictive, although the results may be confounded by the small number of patients in some of the groups. In addition to reinforcing the efficacy of tazemetostat in heavily pretreated patients, these data also suggest that ORR is greater in patient populations who receive treatment as an earlier line of therapy. Prospective confirmatory studies are warranted to confirm these post hoc observations. Disclosures Salles: Kite: Consultancy, Honoraria, Other; Gilead: Consultancy, Honoraria, Other: Participation in educational events; Bristol Myers Squibb: Consultancy, Other; F. Hoffman-La Roche Ltd: Consultancy, Honoraria, Other; Takeda: Consultancy, Honoraria, Other; Janssen: Consultancy, Honoraria, Other: Participation in educational events; Amgen: Honoraria, Other: Participation in educational events; Celgene: Consultancy, Honoraria, Other: Participation in educational events; Autolus: Consultancy; Abbvie: Consultancy, Honoraria, Other: Participation in educational events; Genmab: Consultancy; Epizyme: Consultancy; Debiopharm: Consultancy; MorphoSys: Consultancy, Honoraria, Other; Karyopharm: Consultancy; Novartis: Consultancy, Honoraria, Other. Tilly:BMS: Honoraria. McKay:Greater Glasgow and Clyde Health Board: Current Employment; Roche, Gilead, Takeda, Janssen: Other: For lectures etc; TAKEDA: Membership on an entity's Board of Directors or advisory committees, Other: TRAVEL, ACCOMMODATIONS, EXPENSES (paid by any for-profit health care company), Speakers Bureau; Janssen: Other: TRAVEL, ACCOMMODATIONS, EXPENSES (paid by any for-profit health care company), Speakers Bureau; BeiGene: Membership on an entity's Board of Directors or advisory committees; Gilead: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Celgene: Membership on an entity's Board of Directors or advisory committees; Roche: Membership on an entity's Board of Directors or advisory committees. Phillips:Beigene: Consultancy; Karyopharm: Consultancy; AstraZeneca: Consultancy; Incyte: Consultancy, Other: travel expenses; Seattle Genetics: Consultancy; BMS: Consultancy; Bayer: Consultancy, Research Funding; Abbvie: Consultancy, Research Funding; Pharmacyclics: Consultancy; Cardinal Health: Consultancy. Assouline:Pfizer: Consultancy, Honoraria; Janssen: Consultancy, Honoraria, Speakers Bureau; BeiGene: Consultancy, Honoraria, Research Funding; F. Hoffmann-La Roche Ltd: Consultancy, Honoraria, Research Funding; Takeda: Research Funding; AbbVie: Consultancy, Honoraria, Speakers Bureau; AstraZeneca: Consultancy, Honoraria, Speakers Bureau. Batlevi:Janssen, Novartis, Epizyme, Xynomics, Bayer, Autolus, Roche/Genentech: Research Funding; Life Sci, GLG, Juno/Celgene, Seattle Genetics, Kite: Consultancy. Campbell:Amgen, Novartis, Roche, Janssen, Celgene (BMS): Research Funding; AstraZeneca, Janssen, Roche, Amgen, CSL Behring, Novartis: Consultancy. Ribrag:BAY1000394 studies on MCL: Patents & Royalties; Gilead: Honoraria, Membership on an entity's Board of Directors or advisory committees; Epizyme: Consultancy, Current equity holder in publicly-traded company, Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; argenX: Current equity holder in publicly-traded company, Research Funding; Institut Gustave Roussy: Current Employment; Immune Design: Consultancy, Membership on an entity's Board of Directors or advisory committees; F. Hoffmann-La Roche: Honoraria, Membership on an entity's Board of Directors or advisory committees, Other: Travel Expenses; arGEN-X-BVBA: Research Funding; Nanostring: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees; AstraZeneca: Honoraria, Membership on an entity's Board of Directors or advisory committees; Gilead: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees; Roche/Genentech: Consultancy, Membership on an entity's Board of Directors or advisory committees; Incyte: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees; Eisai: Honoraria; Servier: Consultancy, Honoraria; Pharmamar: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees; AZD: Honoraria, Other; MSD: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees; BMS: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Other: Travel Expenses; Infinity: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees. Damaj:Roche, Takeda, Accord: Honoraria; Roche, Takeda, Iqone, Accord: Consultancy; Abbevie, Pfizer, Takeda, Roche: Other: Travel. Dickinson:Roche: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Janssen: Consultancy, Honoraria, Speakers Bureau; Gilead: Consultancy, Honoraria, Research Funding, Speakers Bureau; Merck Sharp & Dohme: Consultancy; Novartis: Consultancy, Honoraria, Research Funding, Speakers Bureau. Jurczak:BeiGene: Consultancy, Research Funding; Celgene: Research Funding; Epizyme: Consultancy; Gilead Sciences: Research Funding; MorphoSys: Research Funding; Nordic Nanovector: Research Funding; Servier: Research Funding; Maria Sklodowska-Curie National Research Institute of Oncology, Krakow, Poland: Current Employment; Jagiellonian University, Krakow, Poland: Ended employment in the past 24 months; Sandoz-Novartis: Consultancy; European Medicines Agency,: Consultancy; AstraZeneca: Consultancy; Takeda: Research Funding; Roche: Research Funding; Pharmacyclics: Research Funding; Merck: Research Funding; Afimed: Research Funding; Janssen China R&D: Consultancy, Research Funding; MEI Pharma: Research Funding; Acerta: Consultancy, Research Funding; Bayer: Research Funding; TG Therapeutics, Inc.: Research Funding. Kaźmierczak:Department of Hematology and Bone Marrow Transplantation Poznan University of Medical Sciences: Current Employment. Opat:Janssen: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; AbbVie: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Merck: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; AstraZenca: Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; Beigene: Research Funding; Gilead: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding; CSL: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees; Mundipharma: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees; Amgen: Research Funding; Epizyme: Research Funding; F. Hoffman-La Roche Ltd: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Other: Travel accomodations, Research Funding. Radford:GlaxoSmithKline: Current equity holder in publicly-traded company, Other: Spouse; Seattle Genetics: Honoraria, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Novartis: Consultancy, Honoraria; BMS: Consultancy, Honoraria, Speakers Bureau; ADCT: Consultancy, Membership on an entity's Board of Directors or advisory committees, Research Funding; Pfizer: Research Funding; Takeda: Consultancy, Honoraria, Membership on an entity's Board of Directors or advisory committees, Research Funding, Speakers Bureau; AstraZeneca: Current equity holder in publicly-traded company, Other: Spouse. Schmitt:Celgene: Membership on an entity's Board of Directors or advisory committees; Roche, Janssen: Honoraria. Whalen:TESARO (ended employment Nov 2018): Ended employment in the past 24 months; Epizyme, Inc.: Current Employment, Current equity holder in publicly-traded company. Hamlett:Epizyme, Inc.: Current Employment, Research Funding; Sanofi: Ended employment in the past 24 months. Kamp:Karyopharm: Consultancy; Epizyme, Inc.: Current Employment, Current equity holder in publicly-traded company. Adib:Epizyme, Inc.: Consultancy; Alacrita: Current Employment. Morschhauser:Janssen: Honoraria; Genentech, Inc.: Consultancy; F. Hoffmann-La Roche: Consultancy, Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Epizyme: Membership on an entity's Board of Directors or advisory committees; Abbvie: Membership on an entity's Board of Directors or advisory committees; Gilead: Membership on an entity's Board of Directors or advisory committees, Speakers Bureau; Servier: Consultancy; Celgene: Membership on an entity's Board of Directors or advisory committees.

Manuscript Ferguson MS 147, a fifteenth-century volume written in Middle English and housed in Glasgow University Library, contains a copy of the Antidotarium Nicholai, a sarum calendar and a medical compilation which includes medical recipes, prognostic texts, and healing charms. Our interest is placed on the charms in the medical recipe collection found in folios 63r–159v. Following earlier studies on the charm genre, we will characterise the medical charms found in Ferguson MS 147 from a linguistic standpoint. This touches upon the use of language and other technical features, such as the presence of code-switching, the use of specialised symbols and characters, and the terminology used by the scribe to refer to the genre, among others. Concerning textual tradition, we also aim to examine whether the healing charms present variation, even if small, with earlier described charms. From a methodological point of view, the comparison includes contrasting our material with other edited compilations of charms.

An important philological question is how to edit texts. An edition always entails interpretation of the text and also of the sociocultural context in which the manuscript was created and used. In new philological theory, and contrary to more traditional approaches, the individual manuscript versions, i.e., the textual witnesses, are regarded as valuable in their own right, as every textual witness tells us something about the culture of manuscripts (Carlquist, 2004: 112). This is the approach followed for the digital editing of Early Modern English scientific writing in The Malaga Corpus of Early Modern English Scientific Prose. In this paper, we discuss the challenges that producing such type of edition pose. We will particularly focus on the issue of scribal errors and corrections and how the editor can treat and capture them in the edition. MS Wellcome 213, one of the texts included in the above-mentioned corpus, will be analysed for the purpose. The corpus consists of manuscripts from the Hunterian Collection (Glasgow University Library), the Wellcome Collection (London Wellcome Library) and the Rylands Collection (University of Manchester Library). With regard to text types, these manuscripts hold specialized texts, surgical and anatomical treatises, as well as recipe collections and materia medica

In this brief research note I discuss and share from, Stir (2020): a collection of poems that were written while I was the research associate on the Distant Voices project based at the University of Glasgow (2017–2021). These poems reflect on my experience of doing ethnographic research in carceral spaces, and are written from the perspective of an outsider with a pass that allowed access for a limited time only. The collection is open access and available to read online. The note situates my project within the context of poetic practice in the social sciences. Inspired primarily by feminist scholarship, I also draw on actor-network theory to describe my research process as one of ‘translation’. The note also touches on historical anxieties about the legitimacy of the approach and the sociological preference for ‘found poetry’. I reflect on some ethical and creative questions that arose for me in writing poetry as social research, including representing research participants, use of pronouns and authorial voice, and emotions and research. I also discuss the affordances of working creatively with ethnographic materials, and the role of poetry in pursuing social change.

The OAPEN Open Access Books Toolkit is a brand new free resource for researchers, created through a collaborative writing process by global and diverse members of the academic community and scholarly communications organisations. The toolkit aims to help authors better understand open access (OA) for books, to increase trust in OA book publishing, to provide reliable and easy-to-find answers to questions from authors, and to provide guidance in the process of publishing an OA book. The toolkit was developed in a series of workshops for authors, hosted by the university libraries at Oxford, Glasgow and Utrecht, in collaboration with Springer Nature and OAPEN. The idea for this toolkit came about in a Researcher to Reader workshop where discussions concluded that a trusted single resource was needed to tackle the lack of awareness and understanding amongst authors about OA book publishing, and common misconceptions about licensing and quality which form important barriers in the transition to OA books. This poster describes the content and layout of the toolkit, and the journey in developing it. We want the academic community to get involved by spreading the word about this toolkit and providing feedback for further development. The OAPEN Foundation is a not-for-profit organisation that works with publishers to build a quality-controlled collection of open access books through the OAPEN Library and the Directory of Open Access Books, and provides services for publishers, libraries and research funders in the areas of deposit, quality assurance, dissemination, and digital preservation.

Abstract Objectives 1- To compare the effectiveness of 1% Hydrogen peroxide, 0.2% Povidone-Iodine, 2% hypertonic saline and a novel solution Neem extract (Azardirachta indica) in reducing intra-oral viral load in COVID-19 positive patients. 2- To determine the salivary cytokine profiles of IL-2, IL-4, IL-6, IL-10, TNF-α, IFN-γ and IL- 17 among COVID-19 patients subjected to 1% Hydrogen peroxide, 0.2% Povidone-Iodine, 2% hypertonic saline or Neem extract (Azardirachta indica) based gargles. Trial design This will be a parallel group, quadruple blind-randomised controlled pilot trial with an add on laboratory based study. Participants A non-probability, purposive sampling technique will be followed to identify participants for this study. The clinical trial will be carried out at the Aga Khan University Hospital (AKUH), Karachi, Pakistan. The viral PCR tests will be done at main AKUH clinical laboratories whereas the immunological tests (cytokine analysis) will be done at the Juma research laboratory of AKUH. The inclusion criteria are laboratory-confirmed COVID-19 positive patients, male or female, in the age range of 18-65 years, with mild to moderate disease, already admitted to the AKUH. Subjects with low Glasgow coma score, with a history of radiotherapy or chemotherapy, who are more than 7 days past the onset of COVID- 19 symptoms, or intubated or edentulous patients will be excluded. Patients who are being treated with any form of oral or parenteral antiviral therapy will be excluded, as well as patients with known pre-existing chronic mucosal lesions such as lichen planus. Intervention and comparator Group A (n=10) patients on 10 ml gargle and nasal lavage using 0.2% Povidone-Iodine (Betadiene® by Aviro Health Inc./ Pyodine® by Brooks Pharma Inc.) for 20-30 seconds, thrice daily for 6 days. Group B (n=10) patients will be subjected to 10 ml gargle and nasal lavage using 1% Hydrogen peroxide (HP® by Karachi Chemicals Products Inc./ ActiveOxy® by Boumatic Inc.) for 20-30 seconds, thrice daily for 6 days. Group C will comprised of (n=10) subjects on 10ml gargle and nasal lavage using Neem extract solution (Azardirachta indica) formulated by Karachi University (chemistry department laboratories) for 20-30 seconds, thrice daily for 6 days. Group D (n=10) patients will use 2% hypertonic saline (Plabottle® by Otsuka Inc.) gargle and nasal lavage for a similar time period. Group E (n=10) will serve as positive controls. These will be given simple distilled water gargles and nasal lavage for 20-30 seconds, thrice daily for six days. For nasal lavage, a special douche syringe will be provided to each participant. Its use will be thoroughly explained by the data collection officer. After each use, the patient is asked not to eat, drink, or rinse their mouth for the next 30 minutes. Main outcomes The primary outcome is the reduction in the intra-oral viral load confirmed with real time quantitative PCR. Randomisation The assignment to the study group/ allocation will be done using the sealed envelope method under the supervision of Clinical Trial Unit (CTU) of Aga Khan University, Karachi, Pakistan. The patients will be randomised to their respective study group (1:1:1:1:1 allocation ratio) immediately after the eligibility assessment and consent administration is done. Blinding (masking) The study will be quadruple-blinded. Patients, intervention provider, outcome assessor and the data collection officer will be blinded. The groups will be labelled as A, B, C, D or E. The codes of the intervention will be kept in lock & key at the CTU and will only be revealed at the end of study or if the study is terminated prematurely. Numbers to be randomised (sample size) As there is no prior work on this research question, so no assumptions for the sample size calculation could be made. The present study will serve as a pilot trial. We intend to study 50 patients in five study groups with 10 patients in each study group. For details, please refer to Fig. 1 for details. Trial Status Protocol version is 7.0, approved by the department and institutional ethics committees and clinical trial unit of the university hospital. Recruitment is planned to start as soon as the funding is sanctioned. The total duration of the study is expected to be 6 months i.e. August 2020-January 2021. Trial registration This study protocol was registered at www.clinicaltrials.gov on 10 April 2020 NCT04341688. Full protocol The full protocol is attached as an additional file, accessible from the Trials website (Additional file 1). In the interest in expediting dissemination of this material, the familiar formatting has been eliminated; this Letter serves as a summary of the key elements of the full protocol. The study protocol has been reported in accordance with the Standard Protocol Items: Recommendations for Clinical Interventional Trials (SPIRIT) guidelines (Additional file 2).

Committed to the Biodiversity Heritage Library (BHL) since 2016, the National Natural History Museum (MNHN) library encountered opportunities and new challenges during the COVID-19 pandemic. The origins of MNHN date back to 1635, with the foundation of a royal garden for medicinal and teaching purposes, by King Louis XIII. It became the National Natural History Museum in 1793 during the French Revolution. The MNHN collections today include about seventy million specimens. These collections constitute a global archive and a major research infrastructure. Being a very important center of research and teaching, the institution groups together several entities at thirteen different locations. It is deeply committed to preserving biodiversity and to sharing knowledge with the public through its galleries, botanical gardens, zoos and libraries. The library, consisting of a main library and several specialized libraries, is one of the world’s largest natural history libraries. The collection contains more than two million documents of all kinds: printed and electronic books and periodicals; manuscripts and archives; maps, drawings, photographs and art collections. The library takes part in the French higher education libraries network and is associated with the French national library, which offers many opportunities for collaboration at a national level. The MNHN library launched its first digitization program twenty years ago, beginning with the academic publications the MNHN has been releasing since 1802 and including the publications of the related learned societies. A second program devoted to taxonomic documentation began in 2014. It is a research-driven digitization program built in collaboration with the MNHN researchers. A third program shares the treasures of the library, e.g., precious books, manuscripts and archives; iconography (such as the famous velum collection), scientific objects or artworks. The MNHN digital library is harvested by Gallica, the digital library of the French national library. After participating in the BHL-Europe project from 2009 to 2012, the MNHN library became a BHL Member in 2016 and started uploading content in September 2017. The complete collection of MNHN academic publications from 1802 to 2000 is now available on BHL. The publications of the learned societies related to the MNHN are to be the library’s next contribution. During the first lockdown, from March to May 2020, librarians in charge of content uploading to BHL were able to pursue this task full-time, which increased the production. The last BHL-Europe files were loaded during this period of time. More than 100,000 pages were added in 2020. As the production increased, so did the museum's outreach in 2020, by more than 70%, both in number of visitors and in number of pages viewed. It seems that the MNHN library is now better identified as the French access point to BHL, both by learned societies and by researchers who ask for information or for help. But beyond an increased production and a better outreach, the pandemic also provided new tasks for remote workers. The first lockdown was a very difficult time, especially for people who had no remote work and felt deprived of their professional identity. So progressively new tasks were established for people for whom no remote tasks were yet defined. Among these new activities, a workflow for the creation of article-level metadata was set up with the help of Roderic Page (University of Glasgow, Scotland). Thanks to this work, users can easily search and browse individual articles within several MNHN publications, such as Adansonia. The pandemic turned out to be an accelerator of digital awareness and transformation, not only at the management level, but more widely for the whole library staff as well. By providing new remote tasks, BHL reduced inequalities within the library team and offered new opportunities. This greater involvement also strengthened the sense of belonging to BHL, which is definitely not only a resource but also a community, helping us get through this difficult period. Our goal now is to continue to perpetuate these projects. The MNHN library also intends to capitalize on all this work in its own digital library, by assigning digital object identifiers (DOI). This work on articles is indeed a driver for the evolution of the information systems. The Museum is currently redesigning its whole IT infrastructure for collections, helping the library be part of a larger movement. The objectives of this new system are to better connect library collections and naturalist collections and to face the challenge of interoperability in the European and international ecosystem in which the MNHN and BHL participates.

Refereed publications (also known as peer-reviewed) are the currency of academia, yet many PhD theses in Australia result in only one or two such papers. Typically, a doctoral thesis requires the candidate to present (and pass) a public Confirmation Seminar, around nine to twelve months into candidacy, in which a panel of the candidate’s supervisors and invited experts adjudicate upon whether the work is likely to continue and ultimately succeed in the goal of a coherent and original contribution to knowledge. A Final Seminar, also public and sometimes involving the traditional viva voce or oral defence of the thesis, is presented two or three months before approval is given to send the 80,000 to 100,000 word tome off for external examination. And that soul-destroying or elation-releasing examiner’s verdict can be many months in the delivery: a limbo-like period during which the candidate’s status as a student is ended and her or his receipt of any scholarship or funding guerdon is terminated with perfunctory speed. This is the only time most students spend seriously writing up their research for publication although, naturally, many are more involved in job hunting as they pin their hopes on passing the thesis examination.There is, however, a slightly more palatable alternative to this nail-biting process of the traditional PhD, and that is the PhD by Published Papers (also known as PhD by Publications or PhD by Published Works). The form of my own soon-to-be-submitted thesis, it permits the submission for examination of a collection of papers that have been refereed and accepted (or are in the process of being refereed) for publication in academic journals or books. Apart from the obvious benefits in getting published early in one’s (hopefully) burgeoning academic career, it also takes away a lot of the stress come final submission time. After all, I try to assure myself, the thesis examiners can’t really discredit the process of double-blind, peer-review the bulk of the thesis has already undergone: their job is to examine how well I’ve unified the papers into a cohesive thesis … right? But perhaps they should at least be wary, because, unfortunately, the requirements for this kind of PhD vary considerably from institution to institution and there have been some cases where the submitted work is of questionable quality compared to that produced by graduates from more demanding universities. Hence, this paper argues that in my subject area of interest—film and television studies—there is a huge range in the set requirements for doctorates, from universities that award the degree to film artists for prior published work that has undergone little or no academic scrutiny and has involved little or no on-campus participation to at least three Australian universities that require candidates be enrolled for a minimum period of full-time study and only submit scholarly work generated and published (or submitted for publication) during candidature. I would also suggest that uncertainty about where a graduate’s work rests on this continuum risks confusing a hard-won PhD by Published Papers with the sometimes risible honorary doctorate. Let’s begin by dredging the depths of those murky, quasi-academic waters to examine the occasionally less-than-salubrious honorary doctorate. The conferring of this degree is generally a recognition of an individual’s body of (usually published) work but is often conferred for contributions to knowledge or society in general that are not even remotely academic. The honorary doctorate does not usually carry with it the right to use the title “Dr” (although many self-aggrandising recipients in the non-academic world flout this unwritten code of conduct, and, indeed, Monash University’s Monash Magazine had no hesitation in describing its 2008 recipient, musician, screenwriter, and art-school-dropout Nick Cave, as “Dr Cave” (O’Loughlin)). Some shady universities even offer such degrees for sale or ‘donation’ and thus do great damage to that institution’s credibility as well as to the credibility of the degree itself. Such overseas “diploma mills”—including Ashwood University, Belford University, Glendale University and Suffield University—are identified by their advertising of “Life Experience Degrees,” for which a curriculum vitae outlining the prospective graduand’s oeuvre is accepted on face value as long as their credit cards are not rejected. An aspiring screen auteur simply specifies film and television as their major and before you can shout “Cut!” there’s a degree in the mail. Most of these pseudo-universities are not based in Australia but are perfectly happy to confer their ‘titles’ to any well-heeled, vanity-driven Australians capable of completing the online form. Nevertheless, many academics fear a similarly disreputable marketplace might develop here, and Norfolk Island-based Greenwich University presents a particularly illuminating example. Previously empowered by an Act of Parliament consented to by Senator Ian Macdonald, the then Minister for Territories, this “university” had the legal right to confer honorary degrees from 1998. The Act was eventually overridden by legislation passed in 2002, after a concerted effort by the Australian Universities Quality Agency Ltd. and the Australian Vice-Chancellors’ Committee to force the accreditation requirements of the Australian Qualifications Framework upon the institution in question, thus preventing it from making degrees available for purchase over the Internet. Greenwich University did not seek re-approval and soon relocated to its original home of Hawaii (Brown). But even real universities flounder in similarly muddy waters when, unsolicited, they make dubious decisions to grant degrees to individuals they hold in high esteem. Although meaning well by not courting pecuniary gain, they nevertheless invite criticism over their choice of recipient for their honoris causa, despite the decision usually only being reached after a process of debate and discussion by university committees. Often people are rewarded, it seems, as much for their fame as for their achievements or publications. One such example of a celebrity who has had his onscreen renown recognised by an honorary doctorate is film and television actor/comedian Billy Connolly who was awarded an Honorary Doctor of Letters by The University of Glasgow in 2006, prompting Stuart Jeffries to complain that “something has gone terribly wrong in British academia” (Jeffries). Eileen McNamara also bemoans the levels to which some institutions will sink to in search of media attention and exposure, when she writes of St Andrews University in Scotland conferring an honorary doctorate to film actor and producer, Michael Douglas: “What was designed to acknowledge intellectual achievement has devolved into a publicity grab with universities competing for celebrity honorees” (McNamara). Fame as an actor (and the list gets even weirder when the scope of enquiry is widened beyond the field of film and television), seems to be an achievement worth recognising with an honorary doctorate, according to some universities, and this kind of discredit is best avoided by Australian institutions of higher learning if they are to maintain credibility. Certainly, universities down under would do well to follow elsewhere than in the footprints of Long Island University’s Southampton College. Perhaps the height of academic prostitution of parchments for the attention of mass media occurred when in 1996 this US school bestowed an Honorary Doctorate of Amphibious Letters upon that mop-like puppet of film and television fame known as the “muppet,” Kermit the Frog. Indeed, this polystyrene and cloth creation with an anonymous hand operating its mouth had its acceptance speech duly published (see “Kermit’s Acceptance Speech”) and the Long Island University’s Southampton College received much valuable press. After all, any publicity is good publicity. Or perhaps this furry frog’s honorary degree was a cynical stunt meant to highlight the ridiculousness of the practice? In 1986 a similar example, much closer to my own home, occurred when in anticipation and condemnation of the conferral of an honorary doctorate upon Prince Philip by Monash University in Melbourne, the “Members of the Monash Association of Students had earlier given a 21-month-old Chihuahua an honorary science degree” (Jeffries), effectively suggesting that the honorary doctorate is, in fact, a dog of a degree. On a more serious note, there have been honorary doctorates conferred upon far more worthy recipients in the field of film and television by some Australian universities. Indigenous film-maker Tracey Moffatt was awarded an honorary doctorate by Griffith University in November of 2004. Moffatt was a graduate of the Griffith University’s film school and had an excellent body of work including the films Night Cries: A Rural Tragedy (1990) and beDevil (1993). Acclaimed playwright and screenwriter David Williamson was presented with an Honorary Doctorate of Letters by The University of Queensland in December of 2004. His work had previously picked up four Australian Film Institute awards for best screenplay. An Honorary Doctorate of Visual and Performing Arts was given to film director Fred Schepisi AO by The University of Melbourne in May of 2006. His films had also been earlier recognised with Australian Film Institute awards as well as the Golden Globe Best Miniseries or Television Movie award for Empire Falls in 2006. Director George Miller was crowned with an Honorary Doctorate in Film from the Australian Film, Television, and Radio School in April 2007, although he already had a medical doctor’s testamur on his wall. In May of this year, filmmaker George Gittoes, a fine arts dropout from The University of Sydney, received an honorary doctorate by The University of New South Wales. His documentaries, Soundtrack to War (2005) and Rampage (2006), screened at the Sydney and Berlin film festivals, and he has been employed by the Australian Government as an official war artist. Interestingly, the high quality screen work recognised by these Australian universities may have earned the recipients ‘real’ PhDs had they sought the qualification. Many of these film artists could have just as easily submitted their work for the degree of PhD by Published Papers at several universities that accept prior work in lieu of an original exegesis, and where a film is equated with a book or journal article. But such universities still invite comparisons of their PhDs by Published Papers with honorary doctorates due to rather too-easy-to-meet criteria. The privately funded Bond University, for example, recommends a minimum full-time enrolment of just three months and certainly seems more lax in its regulations than other Antipodean institution: a healthy curriculum vitae and payment of the prescribed fee (currently AUD$24,500 per annum) are the only requirements. Restricting my enquiries once again to the field of my own research, film and television, I note that Dr. Ingo Petzke achieved his 2004 PhD by Published Works based upon films produced in Germany well before enrolling at Bond, contextualized within a discussion of the history of avant-garde film-making in that country. Might not a cynic enquire as to how this PhD significantly differs from an honorary doctorate? Although Petzke undoubtedly paid his fees and met all of Bond’s requirements for his thesis entitled Slow Motion: Thirty Years in Film, one cannot criticise that cynic for wondering if Petzke’s films are indeed equivalent to a collection of refereed papers. It should be noted that Bond is not alone when it comes to awarding candidates the PhD by Published Papers for work published or screened in the distant past. Although yet to grant it in the area of film or television, Swinburne University of Technology (SUT) is an institution that distinctly specifies its PhD by Publications is to be awarded for “research which has been carried out prior to admission to candidature” (8). Similarly, the Griffith Law School states: “The PhD (by publications) is awarded to established researchers who have an international reputation based on already published works” (1). It appears that Bond is no solitary voice in the academic wilderness, for SUT and the Griffith Law School also apparently consider the usual milestones of Confirmation and Final Seminars to be unnecessary if the so-called candidate is already well published. Like Bond, Griffith University (GU) is prepared to consider a collection of films to be equivalent to a number of refereed papers. Dr Ian Lang’s 2002 PhD (by Publication) thesis entitled Conditional Truths: Remapping Paths To Documentary ‘Independence’ contains not refereed, scholarly articles but the following videos: Wheels Across the Himalaya (1981); Yallambee, People of Hope (1986); This Is What I Call Living (1988); The Art of Place: Hanoi Brisbane Art Exchange (1995); and Millennium Shift: The Search for New World Art (1997). While this is a most impressive body of work, and is well unified by appropriate discussion within the thesis, the cynic who raised eyebrows at Petzke’s thesis might also be questioning this thesis: Dr Lang’s videos all preceded enrolment at GU and none have been refereed or acknowledged with major prizes. Certainly, the act of releasing a film for distribution has much in common with book publishing, but should these videos be considered to be on a par with academic papers published in, say, the prestigious and demanding journal Screen? While recognition at awards ceremonies might arguably correlate with peer review there is still the question as to how scholarly a film actually is. Of course, documentary films such as those in Lang’s thesis can be shown to be addressing gaps in the literature, as is the expectation of any research paper, but the onus remains on the author/film-maker to demonstrate this via a detailed contextual review and a well-written, erudite argument that unifies the works into a cohesive thesis. This Lang has done, to the extent that suspicious cynic might wonder why he chose not to present his work for a standard PhD award. Another issue unaddressed by most institutions is the possibility that the publications have been self-refereed or refereed by the candidate’s editorial colleagues in a case wherein the papers appear in a book the candidate has edited or co-edited. Dr Gillian Swanson’s 2004 GU thesis Towards a Cultural History of Private Life: Sexual Character, Consuming Practices and Cultural Knowledge, which addresses amongst many other cultural artefacts the film Lawrence of Arabia (David Lean 1962), has nine publications: five of which come from two books she co-edited, Nationalising Femininity: Culture, Sexuality and Cinema in Britain in World War Two, (Gledhill and Swanson 1996) and Deciphering Culture: Ordinary Curiosities and Subjective Narratives (Crisp et al 2000). While few would dispute the quality of Swanson’s work, the persistent cynic might wonder if these five papers really qualify as refereed publications. The tacit understanding of a refereed publication is that it is blind reviewed i.e. the contributor’s name is removed from the document. Such a system is used to prevent bias and favouritism but this level of anonymity might be absent when the contributor to a book is also one of the book’s editors. Of course, Dr Swanson probably took great care to distance herself from the refereeing process undertaken by her co-editors, but without an inbuilt check, allegations of cronyism from unfriendly cynics may well result. A related factor in making comparisons of different university’s PhDs by Published Papers is the requirements different universities have about the standard of the journal the paper is published in. It used to be a simple matter in Australia: the government’s Department of Education, Science and Training (DEST) held a Register of Refereed Journals. If your benefactor in disseminating your work was on the list, your publications were of near-unquestionable quality. Not any more: DEST will no longer accept nominations for listing on the Register and will not undertake to rule on whether a particular journal article meets the HERDC [Higher Education Research Data Collection] requirements for inclusion in publication counts. HEPs [Higher Education Providers] have always had the discretion to determine if a publication produced in a journal meets the requirements for inclusion in the HERDC regardless of whether or not the journal was included on the Register of Refereed Journals. As stated in the HERDC specifications, the Register is not an exhaustive list of all journals which satisfy the peer-review requirements (DEST). The last listing for the DEST Register of Refereed Journals was the 3rd of February 2006, making way for a new tiered list of academic journals, which is currently under review in the Australian tertiary education sector (see discussion of this development in the Redden and Mitchell articles in this issue). In the interim, some university faculties created their own rankings of journals, but not the Faculty of Creative Industries at the Queensland University of Technology (QUT) where I am studying for my PhD by Published Papers. Although QUT does not have a list of ranked journals for a candidate to submit papers to, it is otherwise quite strict in its requirements. The QUT University Regulations state, “Papers submitted as a PhD thesis must be closely related in terms of subject matter and form a cohesive research narrative” (QUT PhD regulation 14.1.2). Thus there is the requirement at QUT that apart from the usual introduction, methodology and literature review, an argument must be made as to how the papers present a sustained research project via “an overarching discussion of the main features linking the publications” (14.2.12). It is also therein stated that it should be an “account of research progress linking the research papers” (4.2.6). In other words, a unifying essay must make an argument for consideration of the sometimes diversely published papers as a cohesive body of work, undertaken in a deliberate journey of research. In my own case, an aural auteur analysis of sound in the films of Rolf de Heer, I argue that my published papers (eight in total) represent a journey from genre analysis (one paper) to standard auteur analysis (three papers) to an argument that sound should be considered in auteur analysis (one paper) to the major innovation of the thesis, aural auteur analysis (three papers). It should also be noted that unlike Bond, GU or SUT, the QUT regulations for the standard PhD still apply: a Confirmation Seminar, Final Seminar and a minimum two years of full-time enrolment (with a minimum of three months residency in Brisbane) are all compulsory. Such milestones and sine qua non ensure the candidate’s academic progress and intellectual development such that she or he is able to confidently engage in meaningful quodlibets regarding the thesis’s topic. Another interesting and significant feature of the QUT guidelines for this type of degree is the edict that papers submitted must be “published, accepted or submitted during the period of candidature” (14.1.1). Similarly, the University of Canberra (UC) states “The articles or other published material must be prepared during the period of candidature” (10). Likewise, Edith Cowan University (ECU) will confer its PhD by Publications to those candidates whose thesis consists of “only papers published in refereed scholarly media during the period of enrolment” (2). In other words, one cannot simply front up to ECU, QUT, or UC with a résumé of articles or films published over a lifetime of writing or film-making and ask for a PhD by Published Papers. Publications of the candidate prepared prior to commencement of candidature are simply not acceptable at these institutions and such PhDs by Published Papers from QUT, UC and ECU are entirely different to those offered by Bond, GU and SUT. Furthermore, without a requirement for a substantial period of enrolment and residency, recipients of PhDs by Published Papers from Bond, GU, or SUT are unlikely to have participated significantly in the research environment of their relevant faculty and peers. Such newly minted doctors may be as unfamiliar with the campus and its research activities as the recipient of an honorary doctorate usually is, as he or she poses for the media’s cameras en route to the glamorous awards ceremony. Much of my argument in this paper is built upon the assumption that the process of refereeing a paper (or for that matter, a film) guarantees a high level of academic rigour, but I confess that this premise is patently naïve, if not actually flawed. Refereeing can result in the rejection of new ideas that conflict with the established opinions of the referees. Interdisciplinary collaboration can be impeded and the lack of referee’s accountability is a potential problem, too. It can also be no less nail-biting a process than the examination of a finished thesis, given that some journals take over a year to complete the refereeing process, and some journal’s editorial committees have recognised this shortcoming. Despite being a mainstay of its editorial approach since 1869, the prestigious science journal, Nature, which only publishes about 7% of its submissions, has led the way with regard to varying the procedure of refereeing, implementing in 2006 a four-month trial period of ‘Open Peer Review’. Their website states, Authors could choose to have their submissions posted on a preprint server for open comments, in parallel with the conventional peer review process. Anyone in the field could then post comments, provided they were prepared to identify themselves. Once the usual confidential peer review process is complete, the public ‘open peer review’ process was closed and the editors made their decision about publication with the help of all reports and comments (Campbell). Unfortunately, the experiment was unpopular with both authors and online peer reviewers. What the Nature experiment does demonstrate, however, is that the traditional process of blind refereeing is not yet perfected and can possibly evolve into something less problematic in the future. Until then, refereeing continues to be the best system there is for applying structured academic scrutiny to submitted papers. With the reforms of the higher education sector, including forced mergers of universities and colleges of advanced education and the re-introduction of university fees (carried out under the aegis of John Dawkins, Minister for Employment, Education and Training from 1987 to 1991), and the subsequent rationing of monies according to research dividends (calculated according to numbers of research degree conferrals and publications), there has been a veritable explosion in the number of institutions offering PhDs in Australia. But the general public may not always be capable of differentiating between legitimately accredited programs and diploma mills, given that the requirements for the first differ substantially. From relatively easily obtainable PhDs by Published Papers at Bond, GU and SUT to more rigorous requirements at ECU, QUT and UC, there is undoubtedly a huge range in the demands of degrees that recognise a candidate’s published body of work. The cynical reader may assume that with this paper I am simply trying to shore up my own forthcoming graduation with a PhD by Published papers from potential criticisms that it is on par with a ‘purchased’ doctorate. Perhaps they are right, for this is a new degree in QUT’s Creative Industries faculty and has only been awarded to one other candidate (Dr Marcus Foth for his 2006 thesis entitled Towards a Design Methodology to Support Social Networks of Residents in Inner-City Apartment Buildings). But I believe QUT is setting a benchmark, along with ECU and UC, to which other universities should aspire. In conclusion, I believe further efforts should be undertaken to heighten the differences in status between PhDs by Published Papers generated during enrolment, PhDs by Published Papers generated before enrolment and honorary doctorates awarded for non-academic published work. Failure to do so courts cynical comparison of all PhD by Published Papers with unearnt doctorates bought from Internet shysters. References Brown, George. “Protecting Australia’s Higher Education System: A Proactive Versus Reactive Approach in Review (1999–2004).” Proceedings of the Australian Universities Quality Forum 2004. Australian Universities Quality Agency, 2004. 11 June 2008 ‹http://www.auqa.edu.au/auqf/2004/program/papers/Brown.pdf>. Campbell, Philip. “Nature Peer Review Trial and Debate.” Nature: International Weekly Journal of Science. December 2006. 11 June 2008 ‹http://www.nature.com/nature/peerreview/> Crisp, Jane, Kay Ferres, and Gillian Swanson, eds. Deciphering Culture: Ordinary Curiosities and Subjective Narratives. London: Routledge, 2000. Department of Education, Science and Training (DEST). “Closed—Register of Refereed Journals.” Higher Education Research Data Collection, 2008. 11 June 2008 ‹http://www.dest.gov.au/sectors/research_sector/online_forms_services/ higher_education_research_data_ collection.htm>. Edith Cowan University. “Policy Content.” Postgraduate Research: Thesis by Publication, 2003. 11 June 2008 ‹http://www.ecu.edu.au/GPPS/policies_db/tmp/ac063.pdf>. Gledhill, Christine, and Gillian Swanson, eds. Nationalising Femininity: Culture, Sexuality and Cinema in Britain in World War Two. Manchester: Manchester UP, 1996. Griffith Law School, Griffith University. Handbook for Research Higher Degree Students. 24 March 2004. 11 June 2008 ‹http://www.griffith.edu.au/centre/slrc/pdf/rhdhandbook.pdf>. Jeffries, Stuart. “I’m a celebrity, get me an honorary degree!” The Guardian 6 July 2006. 11 June 2008 ‹http://education.guardian.co.uk/higher/comment/story/0,,1813525,00.html>. Kermit the Frog. “Kermit’s Commencement Address at Southampton Graduate Campus.” Long Island University News 19 May 1996. 11 June 2008 ‹http://www.southampton.liu.edu/news/commence/1996/kermit.htm>. McNamara, Eileen. “Honorary senselessness.” The Boston Globe 7 May 2006. ‹http://www. boston.com/news/local/articles/2006/05/07/honorary_senselessness/>. O’Loughlin, Shaunnagh. “Doctor Cave.” Monash Magazine 21 (May 2008). 13 Aug. 2008 ‹http://www.monash.edu.au/pubs/monmag/issue21-2008/alumni/cave.html>. Queensland University of Technology. “Presentation of PhD Theses by Published Papers.” Queensland University of Technology Doctor of Philosophy Regulations (IF49). 12 Oct. 2007. 11 June 2008 ‹http://www.mopp.qut.edu.au/Appendix/appendix09.jsp#14%20Presentation %20of%20PhD%20Theses>. Swinburne University of Technology. Research Higher Degrees and Policies. 14 Nov. 2007. 11 June 2008 ‹http://www.swinburne.edu.au/corporate/registrar/ppd/docs/RHDpolicy& procedure.pdf>. University of Canberra. Higher Degrees by Research: Policy and Procedures (The Gold Book). 7.3.3.27 (a). 15 Nov. 2004. 11 June 2008 ‹http://www.canberra.edu.au/research/attachments/ goldbook/Pt207_AB20approved3220arp07.pdf>.

augmentvb [ɔːgˈmɛnt]1. to make or become greater in number, amount, strength, etc.; increase2. Music: to increase (a major or perfect interval) by a semitone (Collins English Dictionary 107) Almost everything associated with Robert Johnson has been subject to some form of augmentation. His talent as a musician and songwriter has been embroidered by myth-making. Johnson’s few remaining artefacts—his photographic images, his grave site, other physical records of his existence—have attained the status of reliquary. Even the integrity of his forty-two surviving recordings is now challenged by audiophiles who posit they were musically and sonically augmented by speeding up—increasing the tempo and pitch. This article documents the promulgation of myth in the life and music of Robert Johnson. His disputed photographic images are cited as archetypal contested artefacts, augmented both by false claims and genuine new discoveries—some of which suggest Johnson’s cultural magnetism is so compelling that even items only tenuously connected to his work draw significant attention. Current challenges to the musical integrity of Johnson’s original recordings, that they were “augmented” in order to raise the tempo, are presented as exemplars of our on-going fascination with his life and work. Part literature review, part investigative history, it uses the phenomenon of augmentation as a prism to shed new light on this enigmatic figure. Johnson’s obscurity during his lifetime, and for twenty-three years after his demise in 1938, offered little indication of his future status as a musical legend: “As far as the evolution of black music goes, Robert Johnson was an extremely minor figure, and very little that happened in the decades following his death would have been affected if he had never played a note” (Wald, Escaping xv). Such anonymity allowed those who first wrote about his music to embrace and propagate the myths that grew around this troubled character and his apparently “supernatural” genius. Johnson’s first press notice, from a pseudonymous John Hammond writing in The New Masses in 1937, spoke of a mysterious character from “deepest Mississippi” who “makes Leadbelly sound like an accomplished poseur” (Prial 111). The following year Hammond eulogised the singer in profoundly romantic terms: “It still knocks me over when I think of how lucky it is that a talent like his ever found its way to phonograph records […] Johnson died last week at precisely the moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall” (19). The visceral awe experienced by subsequent generations of Johnson aficionados seems inspired by the remarkable capacity of his recordings to transcend space and time, reaching far beyond their immediate intended audience. “Johnson’s music changed the way the world looked to me,” wrote Greil Marcus, “I could listen to nothing else for months.” The music’s impact originates, at least in part, from the ambiguity of its origins: “I have the feeling, at times, that the reason Johnson has remained so elusive is that no one has been willing to take him at his word” (27-8). Three decades later Bob Dylan expressed similar sentiments over seven detailed pages of Chronicles: From the first note the vibrations from the loudspeaker made my hair stand up … it felt like a ghost had come into the room, a fearsome apparition …When he sings about icicles hanging on a tree it gives me the chills, or about milk turning blue … it made me nauseous and I wondered how he did that … It’s hard to imagine sharecroppers or plantation field hands at hop joints, relating to songs like these. You have to wonder if Johnson was playing for an audience that only he could see, one off in the future. (282-4) Such ready invocation of the supernatural bears witness to the profundity and resilience of the “lost bluesman” as a romantic trope. Barry Lee Pearson and Bill McCulloch have produced a painstaking genealogy of such a-historical misrepresentation. Early contributors include Rudi Blesch, Samuel B Charters, Frank Driggs’ liner notes for Johnson’s King of the Delta Blues Singers collection, and critic Pete Welding’s prolific 1960s output. Even comparatively recent researchers who ostensibly sought to demystify the legend couldn’t help but embellish the narrative. “It is undeniable that Johnson was fascinated with and probably obsessed by supernatural imagery,” asserted Robert Palmer (127). For Peter Guralnick his best songs articulate “the debt that must be paid for art and the Faustian bargain that Johnson sees at its core” (43). Contemporary scholarship from Pearson and McCulloch, James Banninghof, Charles Ford, and Elijah Wald has scrutinised Johnson’s life and work on a more evidential basis. This process has been likened to assembling a complicated jigsaw where half the pieces are missing: The Mississippi Delta has been practically turned upside down in the search for records of Robert Johnson. So far only marriage application signatures, two photos, a death certificate, a disputed death note, a few scattered school documents and conflicting oral histories of the man exist. Nothing more. (Graves 47) Such material is scrappy and unreliable. Johnson’s marriage licenses and his school records suggest contradictory dates of birth (Freeland 49). His death certificate mistakes his age—we now know that Johnson inadvertently founded another rock myth, the “27 Club” which includes fellow guitarists Brian Jones, Jimi Hendrix and Kurt Cobain (Wolkewitz et al., Segalstad and Hunter)—and incorrectly states he was single when he was twice widowed. A second contemporary research strand focuses on the mythmaking process itself. For Eric Rothenbuhler the appeal of Johnson’s recordings lies in his unique “for-the-record” aesthetic, that foreshadowed playing and song writing standards not widely realised until the 1960s. For Patricia Schroeder Johnson’s legend reveals far more about the story-tellers than it does the source—which over time has become “an empty center around which multiple interpretations, assorted viewpoints, and a variety of discourses swirl” (3). Some accounts of Johnson’s life seem entirely coloured by their authors’ cultural preconceptions. The most enduring myth, Johnson’s “crossroads” encounter with the Devil, is commonly redrawn according to the predilections of those telling the tale. That this story really belongs to bluesman Tommy Johnson has been known for over four decades (Evans 22), yet it was mistakenly attributed to Robert as recently as 1999 in French blues magazine Soul Bag (Pearson and McCulloch 92-3). Such errors are, thankfully, becoming less common. While the movie Crossroads (1986) brazenly appropriated Tommy’s story, the young walking bluesman in Oh, Brother, Where Art Thou? (2000) faithfully proclaims his authentic identity: “Thanks for the lift, sir. My name's Tommy. Tommy Johnson […] I had to be at that crossroads last midnight. Sell my soul to the devil.” Nevertheless the “supernatural” constituent of Johnson’s legend remains an irresistible framing device. It inspired evocative footage in Peter Meyer’s Can’t You Hear the Wind Howl? The Life and Music of Robert Johnson (1998). Even the liner notes to the definitive Sony Music Robert Johnson: The Centennial Edition celebrate and reclaim his myth: nothing about this musician is more famous than the word-of-mouth accounts of him selling his soul to the devil at a midnight crossroads in exchange for his singular mastery of blues guitar. It has become fashionable to downplay or dismiss this account nowadays, but the most likely source of the tale is Johnson himself, and the best efforts of scholars to present this artist in ordinary, human terms have done little to cut through the mystique and mystery that surround him. Repackaged versions of Johnson’s recordings became available via Amazon.co.uk and Spotify when they fell out of copyright in the United Kingdom. Predictable titles such as Contracted to the Devil, Hellbound, Me and the Devil Blues, and Up Jumped the Devil along with their distinctive “crossroads” artwork continue to demonstrate the durability of this myth [1]. Ironically, Johnson’s recordings were made during an era when one-off exhibited artworks (such as his individual performances of music) first became reproducible products. Walter Benjamin famously described the impact of this development: that which withers in the age of mechanical reproduction is the aura of the work of art […] the technique of reproduction detaches the reproduced object from the domain of tradition. By making many reproductions it substitutes a plurality of copies for a unique existence. (7) Marybeth Hamilton drew on Benjamin in her exploration of white folklorists’ efforts to document authentic pre-modern blues culture. Such individuals sought to preserve the intensity of the uncorrupted and untutored black voice before its authenticity and uniqueness could be tarnished by widespread mechanical reproduction. Two artefacts central to Johnson’s myth, his photographs and his recorded output, will now be considered in that context. In 1973 researcher Stephen LaVere located two pictures in the possession of his half–sister Carrie Thompson. The first, a cheap “dime store” self portrait taken in the equivalent of a modern photo booth, shows Johnson around a year into his life as a walking bluesman. The second, taken in the Hooks Bros. studio in Beale Street, Memphis, portrays a dapper and smiling musician on the eve of his short career as a Vocalion recording artist [2]. Neither was published for over a decade after their “discovery” due to fears of litigation from a competing researcher. A third photograph remains unpublished, still owned by Johnson’s family: The man has short nappy hair; he is slight, one foot is raised, and he is up on his toes as though stretching for height. There is a sharp crease in his pants, and a handkerchief protrudes from his breast pocket […] His eyes are deep-set, reserved, and his expression forms a half-smile, there seems to be a gentleness about him, his fingers are extraordinarily long and delicate, his head is tilted to one side. (Guralnick 67) Recently a fourth portrait appeared, seemingly out of nowhere, in Vanity Fair. Vintage guitar seller Steven Schein discovered a sepia photograph labelled “Old Snapshot Blues Guitar B. B. King???” [sic] while browsing Ebay and purchased it for $2,200. Johnson’s son positively identified the image, and a Houston Police Department forensic artist employed face recognition technology to confirm that “all the features are consistent if not identical” (DiGiacomo 2008). The provenance of this photograph remains disputed, however. Johnson’s guitar appears overly distressed for what would at the time be a new model, while his clothes reflect an inappropriate style for the period (Graves). Another contested “Johnson” image found on four seconds of silent film showed a walking bluesman playing outside a small town cinema in Ruleville, Mississippi. It inspired Bob Dylan to wax lyrical in Chronicles: “You can see that really is Robert Johnson, has to be – couldn’t be anyone else. He’s playing with huge, spiderlike hands and they magically move over the strings of his guitar” (287). However it had already been proved that this figure couldn’t be Johnson, because the background movie poster shows a film released three years after the musician’s death. The temptation to wish such items genuine is clearly a difficult one to overcome: “even things that might have been Robert Johnson now leave an afterglow” (Schroeder 154, my italics). Johnson’s recordings, so carefully preserved by Hammond and other researchers, might offer tangible and inviolate primary source material. Yet these also now face a serious challenge: they run too rapidly by a factor of up to 15 per cent (Gibbens; Wilde). Speeding up music allowed early producers to increase a song’s vibrancy and fit longer takes on to their restricted media. By slowing the recording tempo, master discs provided a “mother” print that would cause all subsequent pressings to play unnaturally quickly when reproduced. Robert Johnson worked for half a decade as a walking blues musician without restrictions on the length of his songs before recording with producer Don Law and engineer Vincent Liebler in San Antonio (1936) and Dallas (1937). Longer compositions were reworked for these sessions, re-arranging and edited out verses (Wald, Escaping). It is also conceivable that they were purposefully, or even accidentally, sped up. (The tempo consistency of machines used in early field recordings across the South has often been questioned, as many played too fast or slow (Morris).) Slowed-down versions of Johnson’s songs from contributors such as Angus Blackthorne and Ron Talley now proliferate on YouTube. The debate has fuelled detailed discussion in online blogs, where some contributors to specialist audio technology forums have attempted to decode a faintly detectable background hum using spectrum analysers. If the frequency of the alternating current that powered Law and Liebler’s machine could be established at 50 or 60 Hz it might provide evidence of possible tempo variation. A peak at 51.4 Hz, one contributor argues, suggests “the recordings are 2.8 per cent fast, about half a semitone” (Blischke). Such “augmentation” has yet to be fully explored in academic literature. Graves describes the discussion as “compelling and intriguing” in his endnotes, concluding “there are many pros and cons to the argument and, indeed, many recordings over the years have been speeded up to make them seem livelier” (124). Wald ("Robert Johnson") provides a compelling and detailed counter-thesis on his website, although he does acknowledge inconsistencies in pitch among alternate master takes of some recordings. No-one who actually saw Robert Johnson perform ever called attention to potential discrepancies between the pitch of his natural and recorded voice. David “Honeyboy” Edwards, Robert Lockwood Jr. and Johnny Shines were all interviewed repeatedly by documentarians and researchers, but none ever raised the issue. Conversely Johnson’s former girlfriend Willie Mae Powell was visibly affected by the familiarity in his voice on hearing his recording of the tune Johnson wrote for her, “Love in Vain”, in Chris Hunt’s The Search for Robert Johnson (1991). Clues might also lie in the natural tonality of Johnson’s instrument. Delta bluesmen who shared Johnson’s repertoire and played slide guitar in his style commonly used a tuning of open G (D-G-D-G-B-G). Colloquially known as “Spanish” (Gordon 2002, 38-42) it offers a natural home key of G major for slide guitar. We might therefore expect Johnson’s recordings to revolve around the tonic (G) or its dominant (D) -however almost all of his songs are a full tone higher, in the key of A or its dominant E. (The only exceptions are “They’re Red Hot” and “From Four Till Late” in C, and “Love in Vain” in G.) A pitch increase such as this might be consistent with an increase in the speed of these recordings. Although an alternative explanation might be that Johnson tuned his strings particularly tightly, which would benefit his slide playing but also make fingering notes and chords less comfortable. Yet another is that he used a capo to raise the key of his instrument and was capable of performing difficult lead parts in relatively high fret positions on the neck of an acoustic guitar. This is accepted by Scott Ainslie and Dave Whitehill in their authoritative volume of transcriptions At the Crossroads (11). The photo booth self portrait of Johnson also clearly shows a capo at the second fret—which would indeed raise open G to open A (in concert pitch). The most persuasive reasoning against speed tampering runs parallel to the argument laid out earlier in this piece, previous iterations of the Johnson myth have superimposed their own circumstances and ignored the context and reality of the protagonist’s lived experience. As Wald argues, our assumptions of what we think Johnson ought to sound like have little bearing on what he actually sounded like. It is a compelling point. When Son House, Skip James, Bukka White, and other surviving bluesmen were “rediscovered” during the 1960s urban folk revival of North America and Europe they were old men with deep and resonant voices. Johnson’s falsetto vocalisations do not, therefore, accord with the commonly accepted sound of an authentic blues artist. Yet Johnson was in his mid-twenties in 1936 and 1937; a young man heavily influenced by the success of other high pitched male blues singers of his era. people argue that what is better about the sound is that the slower, lower Johnson sounds more like Son House. Now, House was a major influence on Johnson, but by the time Johnson recorded he was not trying to sound like House—an older player who had been unsuccessful on records—but rather like Leroy Carr, Casey Bill Weldon, Kokomo Arnold, Lonnie Johnson, and Peetie Wheatstraw, who were the big blues recording stars in the mid–1930s, and whose vocal styles he imitated on most of his records. (For example, the ooh-well-well falsetto yodel he often used was imitated from Wheatstraw and Weldon.) These singers tended to have higher, smoother voices than House—exactly the sound that Johnson seems to have been going for, and that the House fans dislike. So their whole argument is based on the fact that they prefer the older Delta sound to the mainstream popular blues sound of the 1930s—or, to put it differently, that their tastes are different from Johnson’s own tastes at the moment he was recording. (Wald, "Robert Johnson") Few media can capture an audible moment entirely accurately, and the idea of engineering a faithful reproduction of an original performance is also only one element of the rationale for any recording. Commercial engineers often aim to represent the emotion of a musical moment, rather than its totality. John and Alan Lomax may have worked as documentarians, preserving sound as faithfully as possible for the benefit of future generations on behalf of the Library of Congress. Law and Liebler, however, were producing exciting and profitable commercial products for a financial gain. Paradoxically, then, whatever the “real” Robert Johnson sounded like (deeper voice, no mesmeric falsetto, not such an extraordinarily adept guitar player, never met the Devil … and so on) the mythical figure who “sold his soul at the crossroads” and shipped millions of albums after his death may, on that basis, be equally as authentic as the original. Schroeder draws on Mikhail Bakhtin to comment on such vacant yet hotly contested spaces around the Johnson myth. For Bakhtin, literary texts are ascribed new meanings by consecutive generations as they absorb and respond to them. Every age re–accentuates in its own way the works of its most immediate past. The historical life of classic works is in fact the uninterrupted process of their social and ideological re–accentuation [of] ever newer aspects of meaning; their semantic content literally continues to grow, to further create out of itself. (421) In this respect Johnson’s legend is a “classic work”, entirely removed from its historical life, a free floating form re-contextualised and reinterpreted by successive generations in order to make sense of their own cultural predilections (Schroeder 57). As Graves observes, “since Robert Johnson’s death there has seemed to be a mathematical equation of sorts at play: the less truth we have, the more myth we get” (113). The threads connecting his real and mythical identity seem so comprehensively intertwined that only the most assiduous scholars are capable of disentanglement. Johnson’s life and work seem destined to remain augmented and contested for as long as people want to play guitar, and others want to listen to them. Notes[1] Actually the dominant theme of Johnson’s songs is not “the supernatural” it is his inveterate womanising. Almost all Johnson’s lyrics employ creative metaphors to depict troubled relationships. Some even include vivid images of domestic abuse. In “Stop Breakin’ Down Blues” a woman threatens him with a gun. In “32–20 Blues” he discusses the most effective calibre of weapon to shoot his partner and “cut her half in two.” In “Me and the Devil Blues” Johnson promises “to beat my woman until I get satisfied”. However in The Lady and Mrs Johnson five-time W. C. Handy award winner Rory Block re-wrote these words to befit her own cultural agenda, inverting the original sentiment as: “I got to love my baby ‘til I get satisfied”.[2] The Gibson L-1 guitar featured in Johnson’s Hooks Bros. portrait briefly became another contested artefact when it appeared in the catalogue of a New York State memorabilia dealership in 2006 with an asking price of $6,000,000. The Australian owner had apparently purchased the instrument forty years earlier under the impression it was bona fide, although photographic comparison technology showed that it couldn’t be genuine and the item was withdrawn. “Had it been real, I would have been able to sell it several times over,” Gary Zimet from MIT Memorabilia told me in an interview for Guitarist Magazine at the time, “a unique item like that will only ever increase in value” (Stewart 2010). References Ainslie, Scott, and Dave Whitehall. Robert Johnson: At the Crossroads – The Authoritative Guitar Transcriptions. Milwaukee: Hal Leonard Publishing, 1992. Bakhtin, Mikhail M. The Dialogic Imagination. Austin: University of Texas Press, 1982. Banks, Russell. “The Devil and Robert Johnson – Robert Johnson: The Complete Recordings.” The New Republic 204.17 (1991): 27-30. Banninghof, James. “Some Ramblings on Robert Johnson’s Mind: Critical Analysis and Aesthetic in Delta Blues.” American Music 15/2 (1997): 137-158. Benjamin, Walter. The Work of Art in the Age of Mechanical Reproduction. London: Penguin, 2008. Blackthorne, Angus. “Robert Johnson Slowed Down.” YouTube.com 2011. 1 Aug. 2013 ‹http://www.youtube.com/user/ANGUSBLACKTHORN?feature=watch›. Blesh, Rudi. Shining Trumpets: A History of Jazz. New York: Knopf, 1946. Blischke, Michael. “Slowing Down Robert Johnson.” The Straight Dope 2008. 1 Aug. 2013 ‹http://boards.straightdope.com/sdmb/showthread.php?t=461601›. Block, Rory. The Lady and Mrs Johnson. Rykodisc 10872, 2006. Charters, Samuel. The Country Blues. New York: De Capo Press, 1959. Collins UK. Collins English Dictionary. Glasgow: Harper Collins Publishers, 2010. DiGiacomo, Frank. “A Disputed Robert Johnson Photo Gets the C.S.I. Treatment.” Vanity Fair 2008. 1 Aug. 2013 ‹http://www.vanityfair.com/online/daily/2008/10/a-disputed-robert-johnson-photo-gets-the-csi-treatment›. DiGiacomo, Frank. “Portrait of a Phantom: Searching for Robert Johnson.” Vanity Fair 2008. 1 Aug. 2013 ‹http://www.vanityfair.com/culture/features/2008/11/johnson200811›. Dylan, Bob. Chronicles Vol 1. London: Simon & Schuster, 2005. Evans, David. Tommy Johnson. London: November Books, 1971. Ford, Charles. “Robert Johnson’s Rhythms.” Popular Music 17.1 (1998): 71-93. Freeland, Tom. “Robert Johnson: Some Witnesses to a Short Life.” Living Blues 150 (2000): 43-49. Gibbens, John. “Steady Rollin’ Man: A Revolutionary Critique of Robert Johnson.” Touched 2004. 1 Aug. 2013 ‹http://www.touched.co.uk/press/rjnote.html›. Gioia, Ted. Delta Blues: The Life and Times of the Mississippi Masters Who Revolutionised American Music. London: W. W. Norton & Co, 2008. Gioia, Ted. "Robert Johnson: A Century, and Beyond." Robert Johnson: The Centennial Collection. Sony Music 88697859072, 2011. Gordon, Robert. Can’t Be Satisfied: The Life and Times of Muddy Waters. London: Pimlico Books, 2002. Graves, Tom. Crossroads: The Life and Afterlife of Blues Legend Robert Johnson. Spokane: Demers Books, 2008. Guralnick, Peter. Searching for Robert Johnson: The Life and Legend of the "King of the Delta Blues Singers". London: Plume, 1998. Hamilton, Marybeth. In Search of the Blues: Black Voices, White Visions. London: Jonathan Cape, 2007. Hammond, John. From Spirituals to Swing (Dedicated to Bessie Smith). New York: The New Masses, 1938. Johnson, Robert. “Hellbound.” Amazon.co.uk 2011. 1 Aug. 2013 ‹http://www.amazon.co.uk/Hellbound/dp/B0063S8Y4C/ref=sr_1_cc_2?s=aps&ie=UTF8&qid=1376605065&sr=1-2-catcorr&keywords=robert+johnson+hellbound›. ———. “Contracted to the Devil.” Amazon.co.uk 2002. 1 Aug. 2013. ‹http://www.amazon.co.uk/Contracted-The-Devil-Robert-Johnson/dp/B00006F1L4/ref=sr_1_cc_1?s=aps&ie=UTF8&qid=1376830351&sr=1-1-catcorr&keywords=Contracted+to+The+Devil›. ———. King of the Delta Blues Singers. Columbia Records CL1654, 1961. ———. “Me and the Devil Blues.” Amazon.co.uk 2003. 1 Aug. 2013 ‹http://www.amazon.co.uk/Me-Devil-Blues-Robert-Johnson/dp/B00008SH7O/ref=sr_1_16?s=music&ie=UTF8&qid=1376604807&sr=1-16&keywords=robert+johnson›. ———. “The High Price of Soul.” Amazon.co.uk 2007. 1 Aug. 2013 ‹http://www.amazon.co.uk/High-Price-Soul-Robert-Johnson/dp/B000LC582C/ref=sr_1_39?s=music&ie=UTF8&qid=1376604863&sr=1-39&keywords=robert+johnson›. ———. “Up Jumped the Devil.” Amazon.co.uk 2005. 1 Aug. 2013 ‹http://www.amazon.co.uk/Up-Jumped-Devil-Robert-Johnson/dp/B000B57SL8/ref=sr_1_2?s=music&ie=UTF8&qid=1376829917&sr=1-2&keywords=Up+Jumped+The+Devil›. Marcus, Greil. Mystery Train: Images of America in Rock ‘n’ Roll Music. London: Plume, 1997. Morris, Christopher. “Phonograph Blues: Robert Johnson Mastered at Wrong Speed?” Variety 2010. 1 Aug. 2013 ‹http://www.varietysoundcheck.com/2010/05/phonograph-blues-robert-johnson-mastered-at-wrong-speed.html›. Oh, Brother, Where Art Thou? DVD. Universal Pictures, 2000. Palmer, Robert. Deep Blues: A Musical and Cultural History from the Mississippi Delta to Chicago’s South Side to the World. London: Penguin Books, 1981. Pearson, Barry Lee, and Bill McCulloch. Robert Johnson: Lost and Found. Chicago: University of Illinois Press, 2003. Prial, Dunstan. The Producer: John Hammond and the Soul of American Music. New York: Farrar, Straus and Giroux, 2006. Rothenbuhler, Eric W. “For–the–Record Aesthetics and Robert Johnson’s Blues Style as a Product of Recorded Culture.” Popular Music 26.1 (2007): 65-81. Rothenbuhler, Eric W. “Myth and Collective Memory in the Case of Robert Johnson.” Critical Studies in Media Communication 24.3 (2007): 189-205. Schroeder, Patricia. Robert Johnson, Mythmaking and Contemporary American Culture (Music in American Life). Chicago: University of Illinois Press, 2004. Segalstad, Eric, and Josh Hunter. The 27s: The Greatest Myth of Rock and Roll. Berkeley: North Atlantic Books, 2009. Stewart, Jon. “Rock Climbing: Jon Stewart Concludes His Investigation of the Myths behind Robert Johnson.” Guitarist Magazine 327 (2010): 34. The Search for Robert Johnson. DVD. Sony Pictures, 1991. Talley, Ron. “Robert Johnson, 'Sweet Home Chicago', as It REALLY Sounded...” YouTube.com 2012. 1 Aug. 2013. ‹http://www.youtube.com/watch?v=LCHod3_yEWQ›. Wald, Elijah. Escaping the Delta: Robert Johnson and the Invention of the Blues. London: HarperCollins, 2005. ———. The Robert Johnson Speed Recording Controversy. Elijah Wald — Writer, Musician 2012. 1 Aug. 2013. ‹http://www.elijahwald.com/johnsonspeed.html›. Wilde, John . “Robert Johnson Revelation Tells Us to Put the Brakes on the Blues: We've Been Listening to the Immortal 'King of the Delta Blues' at the Wrong Speed, But Now We Can Hear Him as He Intended.” The Guardian 2010. 1 Aug. 2013 ‹http://www.theguardian.com/music/musicblog/2010/may/27/robert-johnson-blues›. Wolkewitz, M., A. Allignol, N. Graves, and A.G. Barnett. “Is 27 Really a Dangerous Age for Famous Musicians? Retrospective Cohort Study.” British Medical Journal 343 (2011): d7799. 1 Aug. 2013 ‹http://www.bmj.com/content/343/bmj.d7799›.

The digital revolution has been characterized by the overlapping of different media technologies and platforms which reshaped both traditional forms of audiovisual consumption and older conceptions of place and space. John Agnew claims that, traditionally, the notion of place has been associated with two different meanings: ‘the first is a geometric conception of place as a mere part of space and the second is a phenomenological understanding of a place as a distinctive coming together in space’ (317). Both of the dominant meanings have been challenged by the idea that the world itself is increasingly “placeless” as space-spanning connections and flows of information, things, and people undermine the rootedness of a wide range of processes anywhere in particular (Friedman). On the one hand, by obliterating physical distance, new technologies such as the Internet and the cell phone are making places obsolete, on the other hand, the proliferation of media representations favoured by these technologies are making places more relevant than ever. These increasing mediatisation processes, in fact, generate what Urry and Larsen call ‘imaginative geographies’, namely the conflation of representational spaces and physical spaces that substitute and enhance each other in contingent ways (116). The smartphone as a new hybrid media platform that combines different technological features such as digital screens, complex software applications, cameras, tools for online communication and GPS devices, has played a crucial role in the construction of new notions of place. This article examines a specific type of phone applications: mobile, digital mapping tools that allow users to identify film-locations. In doing so it will assess how new media platforms can potentially reconfigure notions of both media consumption, and (physical and imagined) mobility. Furthermore, the analysis of digital movie maps and their mediation of film locations will shed light on the way in which contemporary leisure activities reshape the cultural, social and geographic meaning of place. Digital, Mobile Movie MapsDigital movie maps can be defined as software applications, conceived for smart phones or other mobile devices, which enable users to identify the geographical position of film locations. These applications rely on geotagging which is the process of adding geospatial metadata (usually latitudinal and longitudinal coordinates) to texts or images. From this point of view these phone apps belong to a broader category of media that Tristan Thielmann calls geomedia: converging applications of interactive, digital, mapping tools and mobile and networked media technologies. According to Hjorth, recent studies on mobile media practices show a trend toward “re-enacting the importance of place and home as both a geo-imaginary and socio-cultural precept” (Hjorth 371). In 2008 Google announced that Google Maps and Google Earth will become the basic platform for any information search. Similarly, in 2010 Flickr started georeferencing their complete image stock (Thielmann 8). Based on these current developments media scholars such as Thielmann claim that geomedia will emerge in the future as one of the most pervasive forms of digital technology (8).In my research I identified 44 phone geomedia apps that offered content variously related to film locations. In every case the main functionality of the apps consisted in matching geographic data concerning the locations with visual and written information about the corresponding film production. ‘Scene Seekers’, the first app able to match the title of a film with the GPS map of its locations, was released in 2009. Gradually, subsequent film-location apps incorporated a number of other functions including:Trivia and background information about films and locationsSubmission forms which allow users to share information about their favourite film locatiosLocation photosLinks to film downloadFilm-themed itinerariesAudio guidesOnline discussion groupsCamera/video function which allow users to take photos of the locations and share them on social mediaFilm stills and film clipsAfter identifying the movie map apps, I focused on the examination of the secondary functions they offered and categorized the applications based on both their main purpose and their main target users (as explicitly described in the app store). Four different categories of smart phone applications emerged. Apps conceived for:Business (for location scouts and producers)Entertainment (for trivia and quiz buffs)Education (for students and film history lovers)Travel (for tourists)‘Screen New South Wales Film Location Scout’, an app designed for location scouts requiring location contact information across the state of New South Wales, is an example of the first category. The app provides lists, maps and images of locations used in films shot in the region as well as contact details for local government offices. Most of these types of apps are available for free download and are commissioned by local authorities in the hope of attracting major film productions, which in turn might bring social and economic benefits to the region.A small number of the apps examined target movie fans and quiz buffs. ‘James Bond and Friends’, for example, focuses on real life locations where spy/thriller movies have been shot in London. Interactive maps and photos of the locations show their geographical position. The app also offers a wealth of trivia on spy/thriller movies and tests users’ knowledge of James Bond films with quizzes about the locations. While some of these apps provide information on how to reach particular film locations, the emphasis is on trivia and quizzes rather than travel itself.Some of the apps are explicitly conceived for educational purposes and target film students, film scholars and users interested in the history of film more broadly. The Italian Ministry for Cultural Affairs, for example, developed a number of smartphone apps designed to promote knowledge about Italian Cinema. Each application focuses on one Italian city, and was designed for users wishing to acquire more information about the movie industry in that urban area. The ‘Cinema Roma’ app, for example, contains a selection of geo-referenced film sets from a number of famous films shot in Rome. The film spots are presented via a rich collection of historical images and texts from the Italian National Photographic Archive.Finally, the majority of the apps analysed (around 60%) explicitly targets tourists. One of the most popular film-tourist applications is the ‘British Film Locations’ app with over 100,000 downloads since its launch in 2011. ‘British Film Locations’ was commissioned by VisitBritain, the British tourism agency. Visit Britain has attempted to capitalize on tourists’ enthusiasm around film blockbusters since the early 2000s as their research indicated that 40% of potential visitors would be very likely to visit the place they had seen in films or on TV (VisitBritain). British Film Locations enables users to discover and photograph the most iconic British film locations in cinematic history. Film tourists can search by film title, each film is accompanied by a detailed synopsis and list of locations so users can plan an entire British film tour. The app also allows users to take photos of the location and automatically share them on social networks such as Facebook or Twitter.Movie Maps and Film-TourismAs already mentioned, the majority of the film-location phone apps are designed for travel purposes and include functionalities that cater for the needs of the so called ‘post-tourists’. Maxine Feifer employed this term to describe the new type of tourist arising out of the shift from mass to post-Fordist consumption. The post-tourist crosses physical and virtual boundaries and shifts between experiences of everyday life, either through the actual or the simulated mobility allowed by the omnipresence of signs and electronic images in the contemporary age (Leotta). According to Campbell the post-tourist constructs his or her own tourist experience and destination, combining these into a package of overlapping and disjunctive elements: the imagined (dreams and screen cultures), the real (actual travels and guides) and the virtual (myths and internet) (203). More recently a number of scholars (Guttentag, Huang et al., Neuhofer et al.) have engaged with the application and implications of virtual reality on the planning, management and marketing of post-tourist experiences. Film-induced tourism is an expression of post-tourism. Since the mid-1990s a growing number of scholars (Riley and Van Doren, Tooke and Baker, Hudson and Ritchie, Leotta) have engaged with the study of this phenomenon, which Sue Beeton defined as “visitation to sites where movies and TV programmes have been filmed as well as to tours to production studios, including film-related theme parks” (11). Tourists’ fascination with film sets and locations is a perfect example of Baudrillard’s theory of hyperreality. Such places are simulacra which embody the blurred boundaries between reality and representation in a world in which unmediated access to reality is impossible (Baudrillard).Some scholars have focused on the role of mediated discourse in preparing both the site and the traveller for the process of tourist consumption (Friedberg, Crouch et al.). In particular, John Urry highlights the interdependence between tourism and the media with the concept of the ‘tourist gaze’. Urry argues that the gaze dominates tourism, which is primarily concerned with the commodification of images and visual consumption. According to Urry, movies and television play a crucial role in shaping the tourist gaze as the tourist compares what is gazed at with the familiar image of the object of the gaze. The tourist tries to reproduce his or her own expectations, which have been “constructed and sustained through a variety of non-tourist practices, such as film, TV, literature, records, and videos” (Urry 3). The inclusion of the camera functionality in digital movie maps such as ‘British Film Locations’ fulfils the need to actually reproduce the film images that the tourist has seen at home.Film and MapsThe convergence between film and (virtual) travel is also apparent in the prominent role that cartography plays in movies. Films often allude to maps in their opening sequences to situate their stories in time and space. In turn, the presence of detailed geographical descriptions of space at the narrative level often contributes to establish a stronger connection between film and viewers (Conley). Tom Conley notes that a number of British novels and their cinematic adaptations including Tolkien’s The Lord of the Rings (LOTR) and Stevenson’s Treasure Island belong to the so called ‘cartographic fiction’ genre. In these stories, maps are deployed to undo the narrative thread and inspire alternative itineraries to the extent of legitimising an interactive relation between text and reader or viewer (Conley 225).The popularity of LOTR locations as film-tourist destinations within New Zealand may be, in part, explained by the prominence of maps as both aesthetic and narrative devices (Leotta). The authenticity of the LOTR geography (both the novel and the film trilogy) is reinforced, in fact, by the reoccurring presence of the map. Tolkien designed very detailed maps of Middle Earth that were usually published in the first pages of the books. These maps play a crucial role in the immersion into the imaginary geography of Middle Earth, which represents one of the most important pleasures of reading LOTR (Simmons). The map also features extensively in the cinematic versions of both LOTR and The Hobbit. The Fellowship of the Ring opens with several shots of a map of Middle Earth, anticipating the narrative of displacement that characterizes LOTR. Throughout the trilogy the physical dimensions of the protagonists’ journey are emphasized by the foregrounding of the landscape as a map.The prominence of maps and geographical exploration as a narrative trope in ‘cartographic fiction’ such as LOTR may be responsible for activating the ‘tourist imagination’ of film viewers (Crouch et al.). The ‘tourist imagination’ is a construct that explains the sense of global mobility engendered by the daily consumption of the media, as well as actual travel. As Crouch, Jackson and Thompson put it, “the activity of tourism itself makes sense only as an imaginative process which involves a certain comprehension of the world and enthuses a distinctive emotional engagement with it” (Crouch et al. 1).The use of movie maps, the quest for film locations in real life may reproduce some of the cognitive and emotional pleasures that were activated while watching the movie, particularly if maps, travel and geographic exploration are prominent narrative elements. Several scholars (Couldry, Hills, Beeton) consider film-induced tourism as a contemporary form of pilgrimage and movie maps are becoming an inextricable part of this media ritual. Hudson and Ritchie note that maps produced by local stakeholders to promote the locations of films such as Sideways and LOTR proved to be extremely popular among tourists (391-392). In their study about the impact of paper movie maps on tourist behaviour in the UK, O’Connor and Pratt found that movie maps are an essential component in the marketing mix of a film location. For example, the map of Pride and Prejudice Country developed by the Derbyshire and Lincolnshire tourist boards significantly helped converting potential visitors into tourists as almost two in five visitors stated it ‘definitely’ turned a possible visit into a certainty (O’Connor and Pratt).Media Consumption and PlaceDigital movie maps have the potential to further reconfigure traditional understandings of media consumption and place. According to Nana Verhoeff digital mapping tools encourage a performative cartographic practice in the sense that the dynamic map emerges and changes during the users’ journey. The various functionalities of digital movie maps favour the hybridization between film reception and space navigation as by clicking on the movie map the user could potentially watch a clip of the film, read about both the film and the location, produce his/her own images and comments of the location and share it with other fans online.Furthermore, digital movie maps facilitate and enhance what Nick Couldry, drawing upon Claude Levi Strauss, calls “parcelling out”: the marking out as significant of differences in ritual space (83). According to Couldry, media pilgrimages, the visitation of TV or film locations are rituals that are based from the outset on an act of comparison between the cinematic depiction of place and its physical counterpart. Digital movie maps have the potential to facilitate this comparison by immediately retrieving images of the location as portrayed in the film. Media locations are rife with the marking of differences between the media world and the real locations as according to Couldry some film tourists seek precisely these differences (83).The development of smart phone movie maps, may also contribute to redefine the notion of audiovisual consumption. According to Nanna Verhoeff, mobile screens of navigation fundamentally revise the spatial coordinates of previously dominant, fixed and distancing cinematic screens. One of the main differences between mobile digital screens and larger, cinematic screens is that rather than being surfaces of projection or transmission, they are interfaces of software applications that combine different technological properties of the hybrid screen device: a camera, an interface for online communication, a GPS device (Verhoeff). Because of these characteristics of hybridity and intimate closeness, mobile screens involve practices of mobile and haptic engagement that turn the classical screen as distanced window on the world, into an interactive, hybrid navigation device that repositions the viewer as central within the media world (Verhoeff).In their discussion of the relocation of cinema into the iPhone, Francesco Casetti and Sara Sampietro reached similar conclusions as they define the iPhone as both a visual device and an interactive interface that mobilizes the eye as well as the hand (Casetti and Sampietro 23). The iPhone constructs an ‘existential bubble’ in which the spectator can find refuge while remaining exposed to the surrounding environment. When the surrounding environment is the real life film location, the consumption or re-consumption of the film text allowed by the digital movie map is informed by multi-sensorial and cognitive stimuli that are drastically different from traditional viewing experiences.The increasing popularity of digital movie maps is a phenomenon that could be read in conjunction with the emergence of innovative locative media such as the Google glasses and other applications of Augmented Reality (A.R.). Current smart phones available in the market are already capable to support A.R. applications and it appears likely that this will become a standard feature of movie apps within the next few years (Sakr). Augmented reality refers to the use of data overlays on real-time camera view of a location which make possible to show virtual objects within their spatial context. The camera eye on the device registers physical objects on location, and transmits these images in real time on the screen. On-screen this image is combined with different layers of data: still image, text and moving image.In a film-tourism application of augmented reality tourists would be able to point their phone camera at the location. As the camera identifies the location images from the film will overlay the image of the ‘real location’. The user, therefore, will be able to simultaneously see and walk in both the real location and the virtual film set. The notion of A.R. is related to the haptic aspect of engagement which in turn brings together the doing, the seeing and the feeling (Verhoeff). In film theory the idea of the haptic has come to stand for an engaged look that involves, and is aware of, the body – primarily that of the viewer (Marx, Sobchack). The future convergence between cinematic and mobile technologies is likely to redefine both perspectives on haptic perception of cinema and theories of film spectatorship.The application of A.R. to digital, mobile maps of film-locations will, in part, fulfill the prophecies of René Barjavel. In 1944, before Bazin’s seminal essay on the myth of total cinema, French critic Barjavel, asserted in his book Le Cinema Total that the technological evolution of the cinematic apparatus will eventually result in the total enveloppement (envelopment or immersion) of the film-viewer. This enveloppement will be characterised by the multi-sensorial experience and the full interactivity of the spectator within the movie itself. More recently, Thielmann has claimed that geomedia such as movie maps constitute a first step toward the vision that one day it might be possible to establish 3-D spaces as a medial interface (Thielmann).Film-Tourism, Augmented Reality and digital movie maps will produce a complex immersive and inter-textual media system which is at odds with Walter Benjamin’s famous thesis on the loss of ‘aura’ in the age of mechanical reproduction (Benjamin), as one of the pleasures of film-tourism is precisely the interaction with the auratic place, the actual film location or movie set. According to Nick Couldry, film tourists are interested in the aura of the place and filming itself. The notion of aura is associated here with both the material history of the location and the authentic experience of it (104).Film locations, as mediated by digital movie maps, are places in which people have a complex sensorial, emotional, cognitive and imaginative involvement. The intricate process of remediation of the film-locations can be understood as a symptom of what Lash and Urry have called the ‘re-subjectification of space’ in which ‘locality’ is re-weighted with a more subjective and affective charge of place (56). According to Lash and Urry the aesthetic-expressive dimensions of the experience of place have become as important as the cognitive ones. By providing new layers of cultural meaning and alternative modes of affective engagement, digital movie maps will contribute to redefine both the notion of tourist destination and the construction of place identity. These processes can potentially be highly problematic as within this context the identity and meanings of place are shaped and controlled by the capital forces that finance and distribute the digital movie maps. Future critical investigations of digital cartography will need to address the way in which issues of power and control are deeply enmeshed within new tourist practices. 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