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Digital collection assessment has focused mainly on evaluating systems, metadata and usability. While use evaluation is discussed in the literature, there are no standard criteria and methods for how to perform assessment on use effectively. This paper asserts that use statistics have complexities that prohibit meaningful interpretation and assessment. The authors aim to discover the problems inherent in the assessment of digital collection use statistics and propose solutions to address such issues.

This paper identifies and demonstrates five inherent problems with use statistics that need to be addressed when doing assessment for digital collections using the statistics of assessment tools on local digital repositories. The authors then propose solutions to resolve the problems that present themselves upon such analysis.

The authors identified five problems with digital collection use statistics. Problem one is the difficulty of distinguishing different kinds of internet traffic. Problem two is the lack of direct correlation of a digital item to its multiple URLs, so statistics from external web analytics tools are not ideal. Problem three is the analytics tools’ inherent bias in statistics that are counted only in the positive way. Problem four is the different interaction between digital collections with search engine indexing. Problem five is the evaluator’s bias toward simple growing statistics over time for surmising a positive use assessment. Because of these problems, statistics on digital collections do not properly measure a digital library’s value.

Findings highlight problems with current use measures and offer improvements.

This paper identifies five problems that need to be addressed before a meaningful assessment of digital collection use statistics can take place. The paper ends with a call for evaluators to try to solve or mitigate the stated problems for their digital collections in their own evaluations.

This paper aims to explain a celebrity’s deep resonance with consumers by unpacking the individual constituents of a celebrity’s polysemic appeal. While celebrities are traditionally theorised as unidimensional semiotic receptacles of cultural meaning, the authors conceptualise them here instead as human beings/performers with a multi-constitutional, polysemic consumer appeal.

Supporting evidence is drawn from autoethnographic data collected over a total period of 25 months and structured through a hermeneutic analysis.

In rehumanising the celebrity, the study finds that each celebrity offers the individual consumer a unique and very personal parasocial appeal as the performer, the private person behind the public performer, the tangible manifestation of either through products and the social link to other consumers. The stronger these constituents, individually or symbiotically, appeal to the consumer’s personal desires, the more s/he feels emotionally attached to this particular celebrity.

Although using autoethnography means that the breadth of collected data is limited, the depth of insight this approach garners sufficiently unpacks the polysemic appeal of celebrities to consumers.

The findings encourage talent agents, publicists and marketing managers to reconsider underlying assumptions in their talent management and/or celebrity endorsement practices.

While prior research on celebrity appeal has tended to enshrine celebrities in a “dehumanised” structuralist semiosis, which erases the very idea of individualised consumer meanings, this paper reveals the multi-constitutional polysemy of any particular celebrity’s personal appeal as a performer and human being to any particular consumer.

Postcards have been sold by the billions over the past 100 years or so, but you never would recognize their popularity by checking library holdings. Most libraries ignore them, yet a reporter observed at the 1981 national poster and postcard show: “Postcard collection—a nostalgic pastime that has become a consuming passion for thousands of Americans—is more popular today than when picture postcards first caught on at the turn of the century.” Among the dealers of new cards, Kennard Harris says that “in the past five years there has been an explosion of museum postcard publishing and sales in this country.”