Academic libraries seek to engage people with information resources and maximize use of library spaces. When users increasingly rely on digital rather than print resources, libraries respond by shifting space usage from stacks to user working and reading spaces. How then do we, as academic library professionals, best keep print collections on public view and maximize user engagement?

In this whitepaper, we focus on fostering engagement with print resources among\nlibrary users, particularly with open stack print collections and users within the local community. We advocate moving toward a more flexible, more user-focused service that makes library collections easier to understand and to use. Libraries need to work with their surrounding communities in the further development and presentation of their collections. We offer a flexible, a la carte approach to transforming open stack academic library print collection management. We have developed a three-tiered system of potential approaches and actions for academic libraries to foster engagement with their collections. We also include materials and tools to help guide individual libraries towards a data-driven approach to print curation that may be tailored to their local context. We hope that these approaches and tools aid academic libraries in helping users engage in meaningful dialogues with print resources.

As part of a $50,000 planning grant from the Andrew W. Mellon Foundation, the analysis is aimed at fostering engagement with print resources among library users, particularly with open stack print collections and users within the local community. "The Future of the Academic Library Print Collection: A Space for Engagement" explores a three-tiered system of potential approaches and actions for academic libraries to foster engagement with their collections, and includes materials and tools to help guide individual libraries towards a data-driven approach to print curation that may be tailored to their local context.

This video is composed of a sequence of time lapse films created by John Tyler Bonner in the 1940s to show the life cycle of the cellular slime mold, Dictyostelium discoideum. As only the second person to study slime molds, Bonner frequently encountered audiences who had never heard of, let alone seen, the unusual organism. He therefore decided to create a film to present at seminars in order to introduce his object of study. Bonner created the video for his senior thesis at Harvard University with the help of photographer Frank Smith. Bonner began to work at Princeton University in 1947, thus the mention of that university on the title screen of the film. It was digitized and narrated by developmental biologist Rachel Fink of Mount Holyoke College. Includes (approximate starting times given): Amoebae [00:02]; Aggregation [00:27]; Migrating Pseudoplasmodia [02:16]; Culmination [03:28]; Trisected Pseudoplasmodium [04:17].

By the 1930s, the MBL had become "the" place to go during the summer for biological research and training. Luminaries such as Frank Lillie, Edmund Beecher Wilson, Edwin Grant Conklin, and Thomas Hunt Morgan took their students, packed up their families and research labs, and headed to the MBL. They worked in labs, ate together in the Mess, and they often lived in the limited on-campus housing. Life at the MBL was a life where fun, family, and science intertwined. This film, taken in 1935 by B. R. Coonfield of Brooklyn College, captures snippets of life at the MBL. Though the science and equipment are considerably updated and the faces and families have changed, many features remain the same today.

This paper describes how Arizona State University Library used creativity and novel approaches to collections design and implementation processes to select open stack print books for a newly renovated academic research library. Using results from a workshop focused on rethinking the future of print within educational learning and research environments, the Collections Services and Analysis unit within Arizona State University Library performed a series of experiments to better understand the purpose and use of print collections within 21st century library design. The authors describe the creative processes used in collections design and three types of selection approaches that invited engagement with open stacks. These three types were: small browsing collections co-curated with community members, a medium-sized print collection selected for student engagement, and a large research collection selected using a novel data analysis of four factors affecting the likelihood of potential use. Using more than one million volumes as the basis for selection, approximately 185,000 volumes were installed in the renovated library through a complex implementation across four library locations. The authors discuss the key role that creativity played in the approaches, methods, and results of these efforts and offer recommendations for collection management teams seeking to maximize their pursuit of community engagement with print collections within contemporary academic library spaces.

Over the 2000s, Toronto initiated and instituted a process of cultivating itself as a creative city. Entrepreneurial city visionaries found that in order to enter the global market, their planning had to be strategic. This paper explores how Toronto’s policy entrepreneurs used planning, partnerships, and an expanded definition of economic development to create a “Cultural Camelot.” In addition to competing on the financial and revenue-generating fronts, a coalition of cross-sector leaders took on the challenge of fostering a livable city with a deep social ethos imbued within a variety of dimensions of urban life. This new focus gave Toronto the chance establish itself as a center for innovation, which strengthened urban cultural capital and helped promote the strategic agenda of becoming a competitor in the creative economy sector. Investment in research and creative city strategic planning, coupled with the allocation of financial and human capital resources across a variety of industries, served to encourage creativity, promote culture and competitiveness, and drive economic development.

The two authors are members of punk rock trio the Eruptörs. Both also teach in higher education – one in popular music, and the other in management and marketing. Writing from experience in the Eruptörs, we present a case study of the band, and draw on theoretical perspectives from our respective, intersecting fields to explore the Eruptörs’ entrepreneurship, collaborations, networks, and creativities in the “DIY” underground punk rock scene. The paper provides cross-disciplinary insights into internal and external cultures of the Eruptörs. Proposing this as a teaching case, the authors conclude that students, scholars, and practitioners in music education, popular music studies, and related disciplines and fields involving entrepreneurship could benefit from engaging in reflexive and entrepreneurial practice which explores and incorporates ideas, models, and syntheses discussed in this paper.