Wednesday, 24 July 2019

Balanced Value Impact Model at #LibPMC

Image courtesy of @LIbPMC conference
I delivered a keynote on the Balanced Value Impact Model to the International Conference on Performance Measurement in Libraries, Aberystwyth, Wales on the 23rd July 2019.
See the conference hashtag #LibPMC and website for more information.

Monday, 3 September 2018

Keynote: Proposing the modes of digital value for a memory institution

Proposing the modes of digital value for a memory institution

Keynote delivered to the Museums and Digital Memory: from creation and curation to digital preservation - a British Museum conference:
Monday 3rd September 2018 #MADM2018

Sunday, 15 October 2017

BVI Model Version 2 Overview

The Balanced Value Impact Model (BVI Model) has been used and tested in many memory institutions since 2012. Here I publish the major modifications that make up BVI Model Version 2. The full Version 2 of the BVI Model will be published in my book: Delivering Impact with Digital Resources: Planning strategy in the attention economy due in 2019.

Friday, 14 July 2017

How much newspaper content is digitized?

There is a lot of digitized newspaper out there in the world but it still seems to be a small fraction of the total newspaper collections worldwide (possibly less than 5% of all English language content by my guesswork). This blog highlights some sources and seeks more information on how much newspaper is out there and yet to be digitized?

Monday, 26 June 2017

Elsevier losses questioned in SciHub case

This is a guest blog by Professor Charles Oppenheim which details some intriguing calculations from the Elsevier copyright case against Sci-Hub. Important questions are posed, will someone from Elsevier be willing to answer them?

Sunday, 18 June 2017

Gold is a dead model for Open Access Books

Book of the Dead
of the Priest of Horus, Imhotep (Imuthes),
ca. 332–200 B.C. The Metropolitan Museum of Art
The recent final reports for the Academic Book of the Future are a revealing, well balanced account of the current and future state of scholarly monograph publishing in the UK. One feature is the close attention given to Open Access in books (pages 175-195 in Michael Jubb's report) .

In this blog I want to unpack the consequences of Book Processing Charges in a Gold OA environment and how they would be utterly unsustainable in a future OA mandated REF environment.

Friday, 9 September 2016

Illustrating the special importance of books to the Arts and Humanities

The importance of books is clear for the Arts and Humanities in the UK as indicated by approximately ¼ of all submissions to the REF in book form and in addition book chapters remain an important factor in submission.

These heatmap visualisations for the Academic Book of the Future quickly illustrates the stark differences in forms of scholarly communication across UK HE.

Friday, 29 July 2016

Reshaping the REF balloon - the Stern Review


Trying to make a change to the REF whilst not breaking it is akin to squeezing a balloon. Press or reshape too much and it bursts, but solving a problem by squeezing in one area produces bulges elsewhere.

And so we come to the Stern Review - an independent review of the Research Excellence Framework (REF) - that was published this week. [link]

Tuesday, 3 May 2016

Open GLAM: The Rewards (and Some Risks) of Digital Sharing for the Public Good

Figure 1: img_japanese04, Bridgestone Museum of Art, 17.146 px/in, 2016. Fujishima Takeji, 1867-1943, Black Fan, 1908-1909, Oil on canvas, 63.7 x 42.4 cm, Bridgestone Museum of Art, Tokyo. This digital surrogate is © Bridgestone Museum of Art.

Open GLAM: The Rewards (and Some Risks) of Digital Sharing for the Public Good
by Simon Tanner

The research-led exhibition experiment Display at Your Own Risk provides an exciting opportunity to ask some fundamental questions regarding the behavioral gaps between ‘what we say’ and ‘what we do’ in regard to museum practice and with art/images. Sometimes this is driven, as the exhibition organizers point out, by the gap between institutional policies and public understanding. By selecting 100 digital surrogate images of public domain works for this exhibition and printing them to the underlying artwork’s original dimensions this exhibition poses some interesting questions.