Automated subject cataloging assigns controlledvocabulary headings to bibliographic records, but LCSH has no standard public benchmark. We introduce LCSHBench: 22,346 books in 15 languages from the openly licensed Harvard, Columbia, and Princeton catalogs. Records enter only when at least two independent cataloging agencies assigned LCSH; we release per-catalog provenance plus union and unanimous answer views. A concordance study of 465,187 works cataloged by all three libraries shows why this design matters: libraries usually agree on the underlying topic (93.3
Introduction. Digital tools have become ubiquitous in the process of music compasition and documentation of composers' lives and careers. This material and subsequent Scholarship are at risk due to the obsolescence of hardware and software, fragility and Variety of digital file formats, media prone to degradation. This paper presents survey results on composers' process and knowledge of preservation practices. Method. The survey was designed in Google Forms and distributed through entail to music theory and composition faculty at Big10 universities, major conservatories, and professional organization listservs. The survey assessed compositional workflows and Hespondents' knowledge and implementation of preservation practices through Quantitative and free-response qualitative questions. Analysis. The survey generated qualitative data, examined thematically; quantitative responses were analysed for trends. Results. The results demonstrate a need for a central, open resource to guide omposers through implementation of preservation practices to ensure longevity of heir work. Conclusion. This survey is the first to bridge the disjunction between composers' creative process and preservation practices. Results illustrate wide usage of digital tools and proprietary file types and indicate a concerning lack of preservation knowledge. It will inform a toolkit that offers guidance on long-term preservation, to bring composers into confident stewardship of their creative legacies.
Using Federal Writers’ Project oral histories, including Ralph Ellison’s, this article guides students in analyzing interview techniques, author perspective, and links to later literary works.
PurposeThis research paper investigates how information contributes to the creative processes of independent filmmakers, specifically how it influences their experience of having creative ideas that catalyze, change or evolve a film project.Design/methodology/approachUsing a qualitative research design, the study draws on semi-structured interviews with seven independent short-film filmmakers in the Washington, D.C. area. Participants visually mapped their creative processes and reflected on key moments when new ideas emerged. Applied thematic analysis was used to identify patterns in how information was encountered, generated and integrated.FindingsThe study identified six interrelated processes through which filmmakers engaged with information: attunement to the environment and project, drawing on tacit/prior knowledge, imagination, experimentation, social exchange and active information-seeking. A central theme was "resonance" - a felt sense that information was meaningful or creatively catalytic.Originality/valueThis research contributes to a more holistic understanding of information behavior in creative work, bridging information science, information philosophy and the philosophy of creativity. The study challenges traditional understandings of information, highlighting how creative practitioners encounter and generate information in intuitive, embodied and social ways. It also offers implications for how librarians and information professionals might better support artistic inquiry and creative discovery.
