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This paper aims to examine how interviews of learning commons partners were used to improve communication and collaboration between the library and its partners.

Interviews were conducted with representatives from each of the eight partners that have service desks in the library. The interviews’ transcripts were studied to search for ways communication and collaboration between the library and its partners could be improved.

The passing of time, addition of new library partners and the hiring of new employees since the opening of the learning commons at Draughon Library have created some gaps in communication between the library and its partners. Interviews with representatives from the library’s partners revealed ways communication needed to be improved and provided insight as to how the library and its partners might collaborate in the future.

Much of the literature on library partnerships focuses on the creation of collaborations, but does not elaborate on ways to keep lines of communication open and encourage continued collaborative work once partnerships are already in place. Information gleaned from the interviews highlights concerns that may occur at other libraries with learning commons, as new partnerships develop and time passes since the initial creation of the commons.

The tenets of Scholarship of Teaching and Learning (SoTL) allow librarians to assess their teaching effectiveness through an evaluation of student learning. For the author, the sudden reliance on digital primary source collections during the 2020 pandemic lockdown provided a catalyst to examine her digital primary source instruction as a research project. In this case study, the author aims to examine library instruction for a required course for third-year history majors.

The author collaborated with a history professor to identify “bottlenecks” related to digital primary source research, and to design two new library instruction sessions with in-class activities and assignments to address these bottlenecks. The professor and author then evaluated the assignments to determine if students had understood and incorporated the methods modeled during the research instruction classes.

Teaching undergraduate history majors digital primary source research skills that will lead to the habits of mind of historians cannot be done in one academic quarter, for it takes time to develop disciplinary ways of thinking. Providing select core concepts more systematically earlier in the history major curriculum could make the enculturation into the discipline less fraught and confusing later, so that students begin learning foundational skills in their third year to carry them forward into their senior year when they write their theses.

Little has been written on digital primary source library instruction, which intersects with a variety of other research literacies. Assessing library instruction through the lens of SoTL is relatively new for academic librarians and has not been used in evaluating student learning in the digital primary source environment.

Weblogs or “blogs” are a recent addition to the library professional's toolkit. They can be particularly useful to library managers, whether as a means of maintaining current awareness of managerial trends or as a cheap alternative to project management software.

As the role and uptake of digital media, devices and other technologies increases, so has their presence in our lives. Technology has revolutionised the speed, type and extent of communication and contact between individuals and groups, transforming temporal, geographic and personal boundaries. There have undoubtedly been benefits associated with such shifts, but technologies have also exacerbated existing patterns of gendered violence and introduced new forms of intrusion, abuse and surveillance. In order to understand and combat harm and, protect and empower women, criminologists must investigate these practices. This chapter discusses how technology has transformed the enactment of violence against women.

Typically, studies have focussed on particular types of technology-facilitated violence as isolated phenomenon. Here, the author examines, more holistically, a range of digital perpetration: by persons unknown, who may be known and are known to female targets. These digital harms should, the author contends, be viewed as part of what Kelly (1988) conceptualised as a ‘continuum of violence’ (and Stanko, 1985 as ‘continuums of unsafety’) to which women are exposed, throughout the course of our lives. These behaviours do not occur in a vacuum. Violence is the cause and effect of inequalities and social control, which manifests structurally and institutionally, offline and online. Technologies are shaped by these forces, and investigating the creation, governance and use of technologies provides insight how violence is enacted, fostered and normalised.

Wall Street hedge fund manager Kim Meyer is considering investing in an SFA (slate financing arrangement) in Hollywood. Dave Griffith, a Hollywood producer, is pitching for the investment and has conducted a broad analysis of recent movie data to determine the important drivers of a movie’s success. In order to convince Meyer to invest in an SFA, Griffith must anticipate possible questions to maximize his persuasiveness.

Students will analyze the factors driving a movie’s revenue using various statistical methods, including calculating point estimates, computing confidence intervals, conducting hypothesis tests, and developing regression models (in which they must both choose the relevant set of independent variables as well as determine an appropriate functional form for the regression equation). The case also requires the interpretation of the quantitative findings in the context of the application.

Mastering aesthetics is a precious source of competitive advantage in creative industries. In fashion, innovation is reflected by how and how much styles change. Elite designers claim to be the only endogenous force shaping fashion innovation season by season. Yet, each season, fashion critics vet the new collections these designers introduce, assessing what is original as opposed to reworked and uninspired, in this way playing a fundamental role as gatekeepers in setting taste within the industry. In this research, we document how stylistic innovation, vis-à-vis the styles premier design houses introduced each season, is impacted, among the others, by the specific exogenous force of critics' assessments of designers' past work. Our data, which include 61 measures detailing the styles introduced by 38 prestigious Italian and French design houses over a nine-year period, suggest designers move further away from styles reviewed less favourably while adhering more closely to styles reviewed more positively. Additionally, the styles a designer introduces are shown to depend on critical assessments of competing designers' styles, revealing how design houses attend to each other's work. This work documents the strong correlation between style dynamics and critics' feedback. It also has important implications for any company trying to find a balance between independence and conformity in setting its own unique positioning into the market.