The evolution of Web‐based peer‐review systems

Web‐based peer‐review systems are ubiquitous within scholarly publishing today, providing valuable efficiencies for authors, editors, and referees. These systems are the result of a general evolution from paper‐based workflows to electronic processes that began in the 1970s. DOS‐based systems paved the way for Windows desktop systems and, in the mid‐1990s, Web‐based peer review. Governmental, academic, and commercial stakeholders all participated in advancing the state of peer review by experimenting with different technologies, workflows, and features. These experiments have coalesced into a new steady state in which Web‐based peer‐review systems are the norm, and in which continued evolution tends to focus on incremental improvements to traditional workflow.     

Keeping up‐to‐date with current practice

Acknowledging the need for continuous improvement to keep health libraries at the forefront of patient care, Richard Bridgen considers the alternative ways in which library and knowledge services can be provided, from regional hubs to embedded services. Richard echo's the words of the CILIP Chief Executive Officer that services are likely to be judged on provision rather than breadth of collection and emphasises the need for a properly educated workforce to enable staff to keep up with changes in their professional domains.     

London Re‐cut: Reclaiming History through the Co‐curated Remixing of Film

Abstract Film archives offer unique opportunities for co‐curation between collections‐based institutions and members of the public. By making available source materials and the tools to manipulate them, institutions can work with the public to develop new interpretations of their collections as well as to tap into the remixing and sharing cultures of social and digital media. Digital co‐curation projects can develop relationships with audiences that many institutions find difficult to engage, developing alternative narratives and reclaimed histories. This paper describes the evolution of an approach to co‐curation and the tools and strategies needed to engage users. It focuses on London Re‐Cut, a project to remix London’s film history, drawing on material from 11 film archives across the city. Projects such as London Recut suggest that audiences have both the enthusiasm and the skills to open up this radical “remix” approach to interpretation.