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The aim of this paper is to research the difference in reading and learning from print versus electronic media in a professional and educational setting. To what extent does the materiality of the medium influence the efficiency and effectively of the reader? What is needed to create “digital born” information rich texts? In part 2 changing presentations of educational texts on paper, LCD screen and through a mind map are addressed.

In depth comparative tests with a great number of subjects between print-on-paper, e-ink screens and LCD screens. In part 2 the results of learning from differently structured texts from paper, screen and mind maps respectively are reported. The subjects had to read the texts and subsequently had to answer knowledge questions about the content. Group discussions have been carried out thorough the test.

All tests show that print-on-paper is still a superior medium for learning and digesting complicated and elaborate texts, while electronic screens are appreciated for quick information gathering, communication and navigation. Electronic representations of information and knowledge demands that the structure of the writing has to change.

Given the rapid development in electronic displays, many issues – in particular ergonomical – become a “moving target”. An important limitation – which is one of the quests of this research – is the lack of sufficient genuine digital born texts.

The need is to start and review the writing process; the appearance but also the structure of information and knowledge rich texts. A second issue is the need to develop easy capabilities to make electronic texts as easy a “tool” as the print text with underlining, comments and notes.

This is deep qualitative research in comparison with quantitative tests and a comparison between professional information acquisition and learning

The purpose of this paper is to research the difference in reading and learning from print versus electronic media in a professional and educational setting. To what extent does the materiality of the medium influence the efficiency and effectively of the reader? What is needed to create “digital born” information rich texts? In Part 1, sustained reading of information and knowledge rich texts is addressed.

In‐depth comparative tests with a great number of subjects between print‐on‐paper, e‐ink screens and LCD screens. In Part 1 the results of tests with sustained reading of information and knowledge rich texts are reported.

All tests show that print‐on‐paper is still a superior medium for learning and digesting complicated and elaborate texts, whilst electronic screens are appreciated for quick information gathering, communication and navigation. Electronic representations of information and knowledge demand that the structure of the writing has to change.

Given the rapid development in electronic displays, many issues – in particular ergonomical – become a “moving target”. An important limitation – which is one of the quests of this research – is the lack of sufficient genuine digital born texts.

The need to start and review the writing process; the appearance but also the structure of information and knowledge rich texts. A second issue is the need to develop easy capabilities to make an electronic text as easy a “tool” as the print text, with underlining, comments and notes.

The development of novel ways of publishing educational texts.

Deep qualitative research in comparison with quantitative tests. Comparison between professional information acquisition and learning.

Summarizes the basic principles of Bioenergetics along with its origin in Riechian psychology. Clarifies that Bioenergetics is used at Cranfield not as psychotherapy, but as an aid to personal development for a specific population of high‐functioning individuals, i.e. managers. Places the Bioenergetic body‐mind notion into a philosophical context of human goodness and potential; thus expanding the focus to body‐mind‐spirit. Examines five body‐mind types through the following aspects: how they operate at work; how they were formed; key attitudes; unique gifts; body shape; development path; how they are best managed. Case histories illustrating the different types in various modes of consultant intervention, i.e. individual development, team building and culture change.

In the post-industrial American city, consumption and women play new and crucial roles. As service, tourist, shopping, and entertainment industries take prominence over or supplement the more explicitly male industrial and financial industries, women entrepreneurs have become significant actors in the city (Benson, 1988; Green, 1997). Femininity overlaps with bourgeois values in gentrification, giving women's actions a special import (Jackson & Thrift, 1995). The ‘ladies’ of gentrification produce new interpersonal dynamics on the streets and sidewalks, helping to facilitate neighborhood change, spread safety and stimulate new community ties.¹ This analysis is based on a multi-year field study and extended interviews of the neighborhood of Williamsburg, Brooklyn in New York City. In the past decade, this ethnic working-class neighborhood's primarily male industrial landscape and female domestic sphere has been supplanted by new mixed-gender, quasi-public spaces. Drawing on Jane Jacobs’ concepts of “eyes on the street” and “public characters” (Jacobs, 1961), I characterize women entrepreneurs as “faces on the street” who serve a key role in the transformation of neighborhood streets. This study focuses on the role of women in the gentrification process as an attempt to address the broader issue of the role of women in urban studies (DeSena, 2000; Leavitt, 2003).

The author examines the inter-relationship between authenticity, music and gender in relation to a particular contemporary genre, emotional hardcore or emo. Noting how hard rock often defined itself as authentic in contrast to (feminine) pop music, the author argues that it is possible to see the ‘persistence of masculinism’ in wider debates around the performance of (appropriate) fandom. Drawing on a wealth of online data from platforms such as Reddit, Tumblr and Facebook, the author observes that even as male fans of emo distance themselves from hyper-masculine forms of hard (or cock) rock, they also critique the presence of female fans as ‘inauthentic’.

The US feminist art movement of the 1970s is examined through selected works written by artists, critics, and historians during the 1990s. Books, exhibition catalogues, dissertations, and articles place the movement within the broader contexts of art history and criticism, women’s history, and cultural studies. The art includes painting, drawing, collage, mixed‐media, graphics, installations, video, and performance. An increasing historical perspective allows scholars to examine the movement’s institutions and unresolved issues surrounding class, race, and sexual preference. Background is provided by an introductory essay, which summarizes the movement’s facets of protest, pedagogy, networks and professional associations, and art making while noting examples of publications and institutions that form part of the record of the movement. This article will be useful to librarians and scholars in art, women’s studies, history, sociology, and cultural studies.

The thesis of this commentary is that the institution of war could be abolished through a combination of constructive programmes and obstructive programmes. Good works alone won't end war. To transform dominator, warring cultures into egalitarian and nonwarring ones, constructive programmes are needed to prepare the way, to establish the groundwork for a new lifestyle. But, alone, they will not result in a paradigm shift on earth to a Gene Roddenberry‐style Star Trek future in which there is gender and racial equality, poverty has been eliminated and conflicts are resolved by the rule of law instead of through military force. Paradoxically, unless paired with the force of obstructive programmes, constructive programmes can enable dominator cultures to remain firmly in place. Moreover, to bring about a major social transformation, we will need leaders to unite men and women as full partners in shaping a massive cultural shift to a more egalitarian, just and nonwarring future.Can the people of Earth bring an end to the barbaric practice of war? Or is making war ‐ assembling armed groups that go forth to indiscriminately kill members of other groups ‐ something that evolution built into our biology, an inescapable, inevitable curse that at best can only be managed and mitigated?

This paper presents a comparative analysis of artwork produced in the context of social movements waged by Mexicans and Chicanos (U.S. inhabitants of Mexican descent) during the two decades between the mid-1960s and the mid-1980s. Despite the fact that activists in these movements shared many elements of Mexican culture and history, were part of the same generation of radical social movements born in the 1960s, and experienced some significant interchange among movement participants from each side of the U.S.-Mexico border, an examination of movement art reveals significant differences in key elements of the movements’ collective identity and expression of political citizenship. Analysis of the artwork also highlights different aesthetic choices made by movement artists, particularly with regard to the deployment of formal elements associated with the “Mexican School” of art made famous by artists associated with the Mexican Revolution of the early 20th century. Variations in the representational strategies developed by movement artists reflect the distinct relationship of movement constituents in Mexico and the U.S. to each nation's prevailing regimes of accumulation and modes of regulation. The analysis is based on an examination of 374 pieces of art.

BEING HELPFUL to people is insufficient motivation to speed the momentum of industrial librarianship. What is needed is more personal commitment to the profession.