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Tuesday, February 9, 2010

HOW TO BE A GREAT RADIO JOCKEY

The radio industry is set to boom in the near future: 338 radio stations are expected to be launched in 91 cities across the country. Naturally, this will translate into a robust job market.In Tune into radio, earn up to 70 K, we covered the hot job profiles of producers, music managers and scriptwriters associated with the radio industry.Here, we tell all you potential aspirants how to be a winner and let your radio show stand out from amongst the rest.With most radio stations playing the same music -- popular Bollywood songs -- the RJ will be the appealing and drawing factor. "In other words, radio jockeys build the identity of any radio station," says Anish Trivedi, CMD, Banyan Tree Communications and former RJ with Radio Mid-Day and GO 92.5 FM.

Your voice is the key
There's no denying that. But RJing is not solely about a great voice."You don't need to have a heavy baritone. Yes, a good voice is certainly an added advantage, but not a pre-requisite," says Hrishikesh Kannan aka RJ Hrishi K."What's essential is that you use the microphone effectively to project your voice. In that sense, your voice should be microphone-friendly," elaborates television and radio anchor Roshan Abbas, who is also the dean of the Encompass Institute of Radio Management.Voice modulation is a must. Speaking in the same monotone is a strict no-no. If you are efficient at mimicry, that is certainly an added advantage.Unlike television, radio is not about visual impact but about sound. So an RJ must not only effectively converse, he must knows what sounds good on the microphone and what doesn't.

Learn to communicate
It's not about just playing a few songs. Effective communication skills are essential. "It is the way a station fills in the silence between the music, that goes a long way in building its identity," says Trivedi.An RJ needs to be fluent in the language he is going to speak in, which in today's times, means an effortless control over both Hindi and English.Learn to communicate with others since you will be interacting real-time with a large number of people. According to Abbas, those who do well in debates, elocution and dramatics while at school and college tend to be good at communicating with others.He adds, "Being an extrovert is an advantage. But then, you never know. There are exceptions who are shy in real life, but find their own identity behind the microphone."

Be yourself
Most RJs do not use a bound script, anymore. The reason being that a few pointers instead of a full-fledged script allow you to sound more natural."The script tends to become a wall between the RJ and his listeners. It's all about maintaining a balance. Be relaxed, not laidback Be informal to the right degree. Be pleasant but don't end up sounding fake," advises radio doyen Ameen Sayani.Adds Divya, former RJ at Win 94.6 and 93.5 Red FM and now an RJ at Aawaz, a Dubai [ Images ] radio station, "You have to enjoy each and every thing you do as an RJ. Only then will the listener have a good time.""Remember," she adds, "through the medium of sound, you must convey all the other senses to the listener. A good radio programme is one that you can see. A listener must be able to smell the fragrance, see all the hues and feel that he can reach out and touch. That will happen only when you connect with the listener, and for that, you have to be yourself."Which means, you cannot afford to get stressed out and flabbergasted. As an RJ you may face innumerable irritating callers, mishaps and faux pas. Keep your cool and have the presence of mind to get out of such situations. Learn to take it in your stride.Most important, do not keep brooding or over the mistake you have made. You cannot afford to lose your faculty of speech because dead air (when there is no sound) kills.

Social relevance?
"There was this RJ who thought that he connected best with his audience on the day he told them his dog died and how sad he was feeling, et al. I would say that is rubbish," says Anish Trivedi. "Your listener has problems of his own, he is not tuning in to listen to yours. He wants to be entertained."At the same time, the entertainment must have a dash of social relevance. "Underneath the sugarcoating, there must be a strong undercurrent of social relevance in what you say. Avoid being frivolous," says Sayani."An RJ controls a listenership that may be as high as 10,000 people. Responsibility is the key. I have even encountered suicide callers on air. A responsible RJ can even change lives," adds Abbas.

Create a portfolio
The key to losing your inhibitions is practice. Practise in front of your friends and family. Record your voice and take someone else's opinion as to how it sounds. Once you are ready, either wait for a radio station to announce its regular RJ hunt, or drop in your CD at various radio stations.Abbas explains, "The CD must have four different sets of recordings -- a normal announcer's voice, how one reads the news. Then record in your own personal style. Then, if you can, try a few variations."The recordings must always be short pieces in which you, as an RJ, introduce a song, among other things that you may talk. This conversation that an RJ exercises between two songs is called a link. An effective link is crisp, and lasts approximately for a minute.The amount an RJ is paid depends on the station.

Wednesday, January 13, 2010

WHAT IS A LIBRARY IS

Library is a collection of sources, resources, and services, and the structure in which it is housed; it is organized for use and maintained by a public body, an institution, or a private individual. In the more traditional sense, a library is a collection of books. It can mean the collection, the building or room that houses such a collection, or both. The term "library" has itself acquired a secondary meaning: "a collection of useful material for common use," and in this sense is used in fields such as computer science, mathematics, statistics, electronics and biology.Public and institutional collections and services may be intended for use by people who choose not to — or cannot afford to — purchase an extensive collection themselves, who need material no individual can reasonably be expected to have, or who require professional assistance with their research. In addition to providing materials, libraries also provide the services of librarians who are experts at finding and organizing information and at interpreting information needs.However, with the sets and collection of media and of media other than books for storing information, many libraries are now also repositories and access points for maps, prints, or other documents and various storage media such as microform (microfilm/microfiche), audio tapes, CDs, cassettes, videotapes, DVDs, and video games. Libraries may also provide public facilities to access subscription databases and the Internet.
Thus, modern libraries are increasingly being redefined as places to get unrestricted access to information in many formats and from many sources. They are understood as extending beyond the physical walls of a building, by including material accessible by electronic means, and by providing the assistance of librarians in navigating and analyzing tremendous amounts of knowledge with a variety of digital. The first two libraries were composed for the most part, of published records, a particular type of library called archives. Archaeological findings from the ancient city-states of summer have revealed temple rooms full of clay tablets in cuneiform script. These archives were made up almost completely of the records of commercial transactions or inventories, with only a few documents touching theological matters, historical records or legends. Things were much the same in the government and temple records on papyrus of Ancient Egypt.The earliest discovered private archives were kept at Ugarit; besides correspondence and inventories, texts of myths may have been standardized practice-texts for teaching new scribes. There is also evidence of libraries at Nippur about 1900 B.C. and those at Nineveh about 700 B.C. showing a library classification system.Over 30,000 clay tablets from the Library of Ashurbanipal have been discovered at Nineveh , providing archaeologists with an amazing wealth of Mesopotamian literary, religious and administrative work. Among the findings were the Enuma Elish , also known as the Epic of Creation, which depicts a traditional Babylonian view of creation, the Epic of Gilgamesh, a large selection of “omen texts” including Enuma Anu Enlil which “contained omens dealing with the moon, its visibility, eclipses, and conjunction with planets and fixed stars, the sun, its corona, spots, and eclipses, the weather, namely lightning, thunder, and clouds, and the planets and their visibility, appearance, and stations.”, and astronomic/astrological texts, as well as standard lists used by scribes and scholars such as word lists, bilingual vocabularies, lists of signs and synonyms, and lists of medical diagnoses.

Libraries in Persian Empire
During the Achaemenid Persian Empire (558–330 BC) the religious and scientific books of Persia since Zoroaster, were archived in the libraries of "Ganj-i-hapigan" in Takht-i-Suleiman and "Dez-i-Napesht" in Persepolis.[6] These books were probably in the fields of philosophy, astronomy, alchemy and medical sciences, the fields in which Magus of Persia were master in. After the invasion of Persia by Alexander the Great all these books were burned. It has been mentioned in the book Arda Viraf that "He came to Persia with severe cruelty and war and devastation... and destroyed the metropolis and empire, and made them desolate... all the avesta and zand, written upon prepared cow-skins and with gold ink, was deposited in the archives... he burned them up."In Persia many libraries were established by the Zoroastrian elite and the Persian Kings. Among the first ones was a royal library in Isfahan. One of the most important public libraries established around 667 AD in southwestern Iran was the Library of Gundishapur. It was a part of a bigger scientific complex located at the Academy of Gundishapur.

Libraries in the Hellenic world and Rome
Private or personal libraries made up of non-fiction and fiction books (as opposed to the state or institutional records kept in archives) appeared in classical Greece in the 5th century BC. The celebrated book collectors of Hellenistic Antiquity were listed in the late second century in Deipnosophistae:Polycrates of Samos and Pisistratus who was tyrant of Athens, and Euclides who was himself also an Athenian and Nicorrates of Samos and even the kings of Pergamos, and Euripides the poet and Aristotle the philosopher, and Nelius his librarian; from whom they say our countryman Ptolemæus, surnamed Philadelphus, bought them all, and transported them, with all those which he had collected at Athens and at Rhodes to his own beautiful Alexandria.All these libraries were Greek; the cultivated Hellenized diners in Deipnosophistae pass over the libraries of Rome in silence. By the time of Augustus there were public libraries near the forums of Rome: there were libraries in the Porticus Octaviae near the Theatre of Marcellus, in the temple of Apollo Palatinus, and in the Biblioteca Ulpiana in the Forum of Trajan. The state archives were kept in a structure on the slope between the Roman Forum and the Capitoline Hill.Private libraries appeared during the late republic: Seneca inveighed against libraries fitted out for show by non-reading owners who scarcely read their titles in the course of a lifetime, but displayed the scrolls in bookcases (armaria) of citrus wood inlaid with ivory that ran right to the ceiling: "by now, like bathrooms and hot water, a library is got up as standard equipment for a fine house (domus).Libraries were amenities suited to a villa, such as Cicero's at Tusculum, Maecenas's several villas, or Livy the Younger's, all described in surving letters. At the Villa of the Papyri at Herculaneum, apparently the villa of Caesar's father-in-law, the Greek library has been partly preserved in volcanic ash; archaeologists speculate that a Latin library, kept separate from the Greek one, may await discovery at the site.In the West, the first public libraries were established under the Roman Empire as each succeeding emperor strove to open one or many which outshone that of his predecessor. Unlike the Greek libraries, readers had direct access to the scrolls, which were kept on shelves built into the walls of a large room. Reading or copying was normally done in the room itself. The surviving records give only a few instances of lending features. As a rule Roman public libraries were bilingual: they had a Latin room and a Greek room. Most of the large Roman baths were also cultural centers, built from the start with a library, with the usual two room arrangement for Greek and Latin texts.Libraries were filled with parchment scrolls as at Library of Pergamum and on papyrus scrolls as at Alexandria: export of prepared writing materials was a staple of commerce. There were a few institutional or royal libraries which were open to an educated public (like the Library of Alexandria, once the largest library in the ancient world), but on the whole collections were private. In those rare cases where it was possible for a scholar to consult library books there seems to have been no direct access to the stacks. In all recorded cases the books were kept in a relatively small room where the staff went to get them for the readers, who had to consult them in an adjoining hall or covered walkway.In the sixth century, at the very close of the Classical period, the great libraries of the Mediterranean world remained those of Constantinople and Alexandria. Cassiodorus, minister to Theodoric, established a monastery at Vivarium in the heel of Italy with a library where he attempted to bring Greek learning to Latin readers and preserve texts both sacred and secular for future generations. As its unofficial librarian, Cassiodorus not only collected as many manuscripts as he could, he also wrote treatises aimed at instructing his monks in the proper uses of reading and methods for copying texts accurately. In the end, however, the library at Vivarium was dispersed and lost within a century.Through Origen and especially the scholarly presbyter Pamphilus of Caesarea, an avid collector of books of Scripture, the theological school of Caesarea won a reputation for having the most extensive ecclesiastical library of the time, containing more than 30,000 manuscripts: Gregory Nazianzus, Basil the Great, Jerome and others came to study there.
With education firmly in Christian hands, however, many of the works of classical antiquity were no longer considered useful.[citation needed] Old texts were washed off the valuable parchment and papyrus, which were reused, forming palimpsests. As scrolls gave way to the new book-form, the codex, which was universally used for Christian literature, old manuscript scrolls were cut apart and used to stiffen leather bindings.

Ancient Chinese libraries
Little is known about early Chinese libraries[citation needed], save what is written about the imperial library which began with the Qin Dynasty. One of the curators of the imperial library in the Han Dynasty is believed to have been the first to establish a library classification system and the first book notation system. At this time the library catalog was written on scrolls of fine silk and stored in silk bags.

Islamic libraries
Upon the rise of Islam, libraries in newly Islamic lands knew a brief period of expansion in the Middle East, North Africa, Sicily and Spain. Like the Christian libraries, they mostly contained books which were made of paper, and took a codex or modern form instead of scrolls; they could be found in mosques, private homes, and universities. In Aleppo, for example, the largest and probably the oldest mosque library, the Sufiya, located at the city's Grand Umayyad Mosque, contained a large book collection of which 10,000 volumes were reportedly bequeathed by the city's most famous ruler, Prince Sayf al-Dawla.[13] Some mosques sponsored public libraries. Ibn al-Nadim's bibliography Fihrist demonstrates the devotion of medieval Muslim scholars to books and reliable sources; it contains a description of thousands of books circulating in the Islamic world circa 1000, including an entire section for books about the doctrines of other religions. Unfortunately, modern Islamic libraries for the most part do not hold these antique books; many were lost, destroyed by Mongols, or removed to European libraries and museums during the colonial period.By the 8th century first Iranians and then Arabs had imported the craft of papermaking from China, with a paper mill already at work in Baghdad in 794. By the 9th century completely public libraries started to appear in many Islamic cities. They were called "halls of Science" or dar al-'ilm. They were each endowed by Islamic sects with the purpose of representing their tenets as well as promoting the dissemination of secular knowledge. The 9th century Abbasid Caliph al-Mutawakkil of Iraq, even ordered the construction of a ‘zawiyat qurra literally an enclosure for readers which was `lavishly furnished and equipped.' In Shiraz Adhud al-Daula (d. 983) set up a library, described by the medieval historian, al-Muqaddasi, as`a complex of buildings surrounded by gardens with lakes and waterways. The buildings were topped with domes, and comprised an upper and a lower story with a total, according to the chief official, of 360 rooms.... In each department, catalogues were placed on a shelf... the rooms were furnished with carpets...'.[15] The libraries often employed translators and copyists in large numbers, in order to render into Arabic the bulk of the available Persian, Greek, Roman and Sanskrit non-fiction and the classics of literature. This flowering of Islamic learning ceased centuries later when learning began declining in the Islamic world, after many of these libraries were destroyed by Mongol invasions. Others were victim of wars and religious strife in the Islamic world. However, a few examples of these medieval libraries, such as the libraries of Chinguetti in West Africa, remain intact and relatively unchanged even today. Another ancient library from this period which is still operational and expanding is the Central Library of Astan Quds Razavi in the Iranian city of Mashhad, which has been operating for more than six centuries.A number of distinct features of the modern library were introduced in the Islamic world, where libraries not only served as a collection of manuscripts as was the case in ancient libraries, but also as a public library and lending library, a centre for the instruction and spread of sciences and ideas, a place for meetings and discussions, and sometimes as a lodging for scholars or boarding school for pupils. The concept of the library catalogue was also introduced in medieval Islamic libraries, where books were organized into specific genres and categories.The contents of these Islamic libraries were copied by Christian monks in Muslim/Christian border areas, particularly Spain and Sicily. From there they eventually made their way into other parts of Christian Europe. These copies joined works that had been preserved directly by Christian monks from Greek and Roman originals, as well as copies Western Christian monks made of Byzantine works. The resulting conglomerate libraries are the basis of every modern library today.

Medieval Christian libraries
With the retrenchment of literacy in the Roman west during the fourth and fifth centuries, fewer private libraries were maintained, and those in unfortified villas proved to be among their most combustible contents.In the Early Middle Ages, after the fall of the Western Roman Empire and before the rise of the large Western Christian monastery libraries beginning at Montecassino, libraries were found in scattered places in the Christian Middle East.Medieval library design reflected the fact that these manuscripts —created via the labor-intensive process of hand copying— were valuable possessions. Library architecture developed in response to the need for security. Librarians often chained books to lecterns, armaria (wooden chests), or shelves, in well-lit rooms. Despite this protectiveness, many libraries were willing to lend their books if provided with security deposits (usually money or a book of equal value). Monastic libraries lent and borrowed books from each other frequently and lending policy was often theologically grounded. For example, the Franciscan monasteries loaned books to each other without a security deposit since according to their vow of poverty only the entire order could own property. In 1212 the council of Paris condemned those monasteries that still forbade loaning books, reminding them that lending is "one of the chief works of mercy." Lending meant more than just having another work to read to librarians; while the work was in their possession, it could be copied, thus enriching the library's own collection. The book lent as a counter effort was often copied in the same way, so both libraries ended up having an additional title.The early libraries located in monastic cloisters and associated with scriptoria were collections of lecterns with books chained to them. Shelves built above and between back-to-back lecterns were the beginning of bookpresses. The chain was attached at the fore-edge of a book rather than to its spine. Book presses came to be arranged in carrels (perpendicular to the walls and therefore to the windows) in order to maximize lighting, with low bookcases in front of the windows. This stall system (fixed bookcases perpendicular to exterior walls pierced by closely spaced windows) was characteristic of English institutional libraries. In Continental libraries, bookcases were arranged parallel to and against the walls. This wall system was first introduced on a large scale in Spain's El Escorial.

Early modern libraries
Johannes Gutenberg's movable type innovation in the 1400s revolutionized bookmaking. From the 15th century in central and northern Italy, the assiduously assembled libraries of humanists and their enlightened patrons provided a nucleus around which an "academy" of scholars congregated in each Italian city of consequence. Cosimo de Medici in Florence established his own collection, which formed the basis of the Laurentian Library. In Rome, the papal collections were brought together by Pope Nicholas V, in separate Greek and Latin libraries, and housed by Pope Sixtus IV, who consigned the Bibliotheca Apostolica Vaticana to the care of his librarian, the humanist Bartolomeo Platina in February 1475.[20] In the 16th century Sixtus V bisected Bramante's Cortile del Belvedere with a cross-wing to house the Apostolic Library in suitable magnificence. The sixteenth and seventeenth centuries saw other privately-endowed libraries assembled in Rome: the Vallicelliana, formed from the books of Saint Filippo Neri, with other distinguished libraries such as that of Cesare Baronio, the Biblioteca Angelica founded by the Augustinian Angelo Rocca, which was the only truly public library in Counter-Reformation Rome; the Biblioteca Alessandrina with which Pope Alexander VII endowed the University of Rome; the Biblioteca Casanatense of the Cardinal Girolamo Casanate; and finally the Biblioteca Corsiniana founded by the bibliophile Clement XII Corsini and his nephew Cardinal Neri Corsini, still housed in Palazzo Corsini in via della Lungara.A lot of factors combined to create a "golden age of libraries" between 1600 and 1700: The quantity of books had gone up, as the cost had gone down, there was a renewal in the interest of classical literature and culture, nationalism was encouraging nations to build great libraries, universities were playing a more prominent role in education, and renaissance thinkers and writers were producing great works. Some of the more important libraries include the Bodleian Library at Oxford, the Library of the British Museum, the Mazarine Library in Paris, and the National Central Library in Italy, the Prussian State Library, the M.E. Saltykov-Shchedrin State Public Library of St. Petersburg, and many more.

Types of libraries

Libraries can be divided into categories by several methods:by the entity (institution, municipality, or corporate body) that supports or perpetuates them

Academic libraries
Corporate libraries
Government libraries, such as national libraries
Historical society libraries
Private libraries
Public libraries
School libraries
Special libraries
By the type of documents or materials they hold
·
Data libraries
Digital libraries
Picture (photograph) libraries
Slide libraries
Tool libraries
By the subject matter of documents they hold
·
Architecture libraries
Fine arts libraries
Law libraries
Medical libraries
Theological libraries
By the users they serve
·
Military communities
users who are blind or visually/physically handicapped National Library Service for the Blind and Physically Handicapped)
by traditional professional divisions
·
Academic libraries — These libraries are located on the campuses of colleges and universities and serve primarily the students and faculty of that and other academic institutions. Some academic libraries, especially those at public institutions, are accessible to members of the general public in whole or in part.

Public libraries or public lending libraries — These libraries provide service to the general public and make at least some of their books available for borrowing, so that readers may use them at home over a period of days or weeks. Typically, libraries issue library cards to community members wishing to borrow books. Many public libraries also serve as community organizations that provide free services and events to the public, such as reading groups and toddler story time.

Research libraries — These libraries are intended for supporting scholarly research, and therefore maintain permanent collections and attempt to provide access to all necessary material. Research libraries are most often academic libraries or national libraries, but many large special libraries have research libraries within their special field and a very few of the largest public libraries also serve as research libraries.

School libraries — Most public and private primary and secondary schools have libraries designed to support the school's curriculum.

Special libraries — All other libraries fall into this category. Many private businesses and public organizations, including hospitals, museums, research laboratories, law firms, and many government departments and agencies, maintain their own libraries for the use of their employees in doing specialized research related to their work. Special libraries may or may not be accessible to some identified part of the general public. Branches of a large academic or research libraries dealing with particular subjects are also usually called "special libraries": they are generally associated with one or more academic departments. Special libraries are distinguished from special collections, which are branches or parts of a library intended for rare books, manuscripts, and similar material.

Many institutions make a distinction between circulating libraries (where materials are expected and intended to be loaned to patrons, institutions, or other libraries) and collecting libraries (where the materials are selected on a basis of their natures or subject matter). Many modern libraries are a mixture of both, as they contain a general collection for circulation, and a reference collection which is often more specialized, as well as restricted to the library premises.

Public libraries

The Public Library of Police County in Police, a town in Pomerania, Poland.
Main article: Public library
The earliest example in England of a library to be endowed for the benefit of users who were not members of an institution such as a cathedral or college was the Francis Trigge Chained Library in Grantham, Lincolnshire, established in 1598. The library still exists and can justifiably claim to be the forerunner of later public library systems.The beginning of the modern, free, open access libraries really got its start in the U.K. in 1847. Parliament appointed a committee, led by William Ewart, on Public Libraries to consider the necessity of establishing libraries through the nation: In 1849 their report noted the poor condition of library service, it recommended the establishment of free public libraries all over the country, and it led to the Public Libraries Act in 1850, which allowed all cities with populations exceeding 10,000 to levy taxes for the support of public libraries. Another important act was the 1870 Public School Law, which increased literacy, thereby the demand for libraries, so by 1877, more than 75 cities had established free libraries, and by 1900 the number had reached 300. This finally marks the start of the public library as we know it. And these acts led to similar laws in other countries, most notably the U.S.
1876 is a well known year in the history of librarianship in the United States. The American Library Association was formed, as well as The American Library Journal, Melvil Dewey published his decimal based system of classification, and the United States Bureau of Education published its report, "Public libraries in the United States of America; their history, condition, and management." During the post-Civil War years, there was a rise in the establishment of public libraries, a movement led chiefly by newly formed women's clubs. They contributed their own collections of books, conducted lengthy fundraising campaigns for buildings, and lobbied within their communities for financial support for libraries, as well as with legislatures and the Carnegie Library Endowment founded in the 20th centuryThey led the establishment of 75-80 percent of the libraries in communities across the country. The American Library Association continues to play a major role in libraries to this day, and Dewey's classification system, although under heavy criticism of late, still remains the prevailing method of classifing used in the United States.
As the number of books in libraries increased, so did the need for compact storage and access with adequate lighting, giving birth to the stack system, which involved keeping a library's collection of books in a space separate from the reading room. This arrangement arose in the 19th century. Book stacks quickly evolved into a fairly standard form in which the cast iron and steel frameworks supporting the bookshelves also supported the floors, which often were built of translucent blocks to permit the passage of light (but were not transparent, for reasons of modesty). The introduction of electrical lighting had a huge impact on how the library operated. The use of glass floors was largely discontinued, though floors were still often composed of metal grating to allow air to circulate in multi-story stacks. As more space was needed, a method of moving shelves on tracks (compact shelving) was introduced to cut down on otherwise wasted aisle space.
Library 2.0, a term coined in 2005, is the library's response to the challenge of Google and an attempt to meet the changing needs of users by using web 2.0 technology. Some of the aspects of Library 2.0 include, commenting, tagging, bookmarking, discussions, using social software, plug-ins, and widgets. Inspired by web 2.0, it is an attempt to make the library a more user-driven institution.
Despite the importance of public libraries, they are routinely having their budget cut by state legislature. Funding has dwindled so bad that some smaller public libraries have been forced to cut their hours and release employees. While most donations made to public libraries are from private benefactors, they still receive very little in the way of state funding. One of the more recent efforts that has been made to aid public libraries is the Attorney.org Save-A-Library campaign in which they will profile public libraries from around the country in hopes of raising donations.

Organization
Libraries usually contain long aisles with rows of books.
Libraries have materials arranged in a specified order according to a library classification system, so that items may be located quickly and collections may be browsed efficiently. Some libraries have additional galleries beyond the public ones, where reference materials are stored. These reference stacks may be open to selected members of the public. Others require patrons to submit a "stack request," which is a request for an assistant to retrieve the material from the closed stacks.
Larger libraries are often broken down into departments staffed by both paraprofessionals and professional librarians.

Circulation - Handles user accounts and the loaning/returning and shelving of materials.
Collection Development - Orders materials and maintains materials budgets.
Reference - Staffs a reference desk answering user questions (using structured reference interviews), instructing users, and developing library programming. Reference may be further broken down by user groups or materials; common collections are children's literature, young adult literature, and genealogy materials.
Technical Services - Works behind the scenes cataloguing and processing new materials and deaccessioning weeded materials.
Stacks Maintenance - Re-shelves materials that have been returned to the library after patron use and shelves materials that have been processed by Technical Services. Stacks Maintenance also shelf reads the material in the stacks to ensure that it is in the correct library classification order.

Management
Basic tasks in library management include the planning of acquisitions (which materials the library should acquire, by purchase or otherwise), library classification of acquired materials, preservation of materials (especially rare and fragile archival materials such as manuscripts), the deaccessioning of materials, patron borrowing of materials, and developing and administering library computer systems. More long-term issues include the planning of the construction of new libraries or extensions to existing ones, and the development and implementation of outreach services and reading-enhancement services (such as adult literacy and children's programming).

Standardization
The International Organization for Standardization (ISO) has published several standards regarding the management of libraries through its Technical Committee 46 (TC46) which is focused on "libraries, documentation and information centres, publishing, archives, records management, museum documentation, indexing and abstracting services, and information science". The following is a partial list of some of them:
ISO 2789:2006 Information and documentation — International library statistics
ISO 11620:1998 Information and documentation — Library performance indicators
ISO 11799:2003 Information and documentation — Document storage requirements for archive and library materials
ISO 14416:2003 Information and documentation — Requirements for binding of books, periodicals, serials and other paper documents for archive and library use — Methods and materials
ISO/TR 20983:2003 Information and documentation — Performance indicators for electronic library services

Library use
The Vietnam Center and Archive, which contains the largest collection of Vietnam War-related holdings outside the U.S. federal government, catalogs much of its material on the Internet.
Patrons may not know how to fully use the library's resources. This can be due to some individuals' unease in approaching a staff member. Ways in which a library's content is displayed or accessed may have the most impact on use. An antiquated or clumsy search system, or staff unwilling or untrained to engage their patrons, will limit a library's usefulness. In United States public libraries, beginning in the 19th century, these problems drove the emergence of the library instruction movement, which advocated library user education. One of the early leaders was John Cotton Dana. The basic form of library instruction is generally known as information literacy.
Libraries inform their users of what materials are available in their collections and how to access that information. Before the computer age, this was accomplished by the card catalog a cabinet containing many drawers filled with index cards that identified books and other materials. In a large library, the card catalog often filled a large room. The emergence of the Internet, however, has led to the adoption of electronic catalog databases (often referred to as "webcats" or as online public access catalogs, OPACs), which allow users to search the library's holdings from any location with Internet access. This style of catalog maintenance is compatible with new types of libraries, such as digital libraries and distributed libraries, as well as older libraries that have been retrofitted. Electronic catalog databases are criticized by some who believe that the old card catalog system was both easier to navigate and allowed retention of information, by writing directly on the cards, that is lost in the electronic systems. This argument is analogous to the debate over paper books and e-books. While libraries have been accused of precipitously throwing out valuable information in card catalogs, most modern ones have nonetheless made the move to electronic catalog databases. Large libraries may be scattered within multiple buildings across a town, each having multiple floors, with multiple rooms housing the resources across a series of shelves. Once a user has located a resource within the catalog, they must then use navigational guidance to retrieve the resource physically; a process that may be assisted through signage, maps, GPS systems or RFID tagging.
Finland has the highest number of registered book borrowers per capita in the world. Over half of Finland's population are registered borrowers. In the U.S., public library users have borrowed roughly 15 books per user per year from 1856 to 1978. From 1978 to 2004, book circulation per user declined approximately 50%. The growth of audiovisuals circulation, estimated at 25% of total circulation in 2004, accounts for about half of this decline.

Shift to digital libraries
In the past couple of years, more and more people are using the Internet to gather and retrieve data. The shift to digital libraries has greatly impacted the average person's use of physical libraries. Between 2002 and 2004, the average American academic library saw its overall number of transactions decline approximately 2.2%. Libraries are trying to keep up with the digital world and the new generation of students that are used to having information just one click away. For example, The University of California Library System saw a 54% decline in circulation between 1991 to 2001 of 8,377,000 books to 3,832,00.
These facts might be a consequence of the increased availability of e-resources. In 1999-2000, 105 ARL university libraries spent almost $100 million on electronic resources, which is an increase of nearly $23 million from the previous year. A 2003 report by the Open E-book Forum found that close to a million e-books had been sold in 2002, generating nearly $8 million in revenue. Another example of the shift to digital libraries can be seen in Cushing Academy’s decision to dispense with its library of printed books more than 20,000 volumes in all — and switch over entirely to digital media resources.

One claim to why there is a decrease in the usage of libraries stems from the observation of the research habits of undergraduate students enrolled in colleges and universities. There have been claims that college undergraduates have become more used to retrieving information from the Internet than a traditional library. As each generation becomes more in tune with the Internet, their desire to retrieve information as quickly and easily as possible has increased. There is no doubt that finding information by simply searching the Internet is much easier and faster than reading an entire book. In a survey conducted by NetLibrary, 93% of undergraduate students claimed that finding information online makes more sense to them then going to the library. Also, 75% of students surveyed claimed that they did not have enough time to go to the library and that they liked the convenience of the Internet. While the retrieving information from the Internet may be efficient and time saving than visiting a traditional library, research has shown that undergraduates are most likely searching only .03% of the entire web.The information that they are finding might be easy to retrieve and more readily available, but may not be as in depth as information from other resources such as the books available at a physical library.

Monday, November 16, 2009

VIDEO EDITING

Video Editing
non-linear editing system, using computers with video editing software linear video editing, using videotape vision mixing, when working with live video signals Video editing is the process of editing segments of motion video footage, special effects and sound recordings. Motion picture film editing is a predecessor to video editing and, in several ways, video editing simulates motion picture film editing, in theory and the use of non-linear and linear editing systems. Using video or film, a director can communicate non-fictional and fictional events. The goals of editing is to manipulate these events for better or for worse communication. It is a visual art.
Early video recorders were very expensive, and the quality degradation caused by copying was so great, 2 inch Quadruplex videotape was edited by visualizing the recorded track with ferrofluid, cutting with a razor blade or guillotine cutter and splicing with tape. Improvements in quality and economy, and the invention of the flying erase head, allowed new video to be inserted cleanly into an existing tape. This technique was referred to as linear editing. If an early scene needed to be lengthened, all the later scenes would need to be added again. Multiple sources could be played back simultaneously through a vision mixer to be mixed or keyed.
Modern non-linear editing systems are computer-based, though there was a transitional analog period using multiple source VCRs or LaserDisc players. Footage is played and captured on a hard drive. Content is ingested and recorded natively in the approriate codec which will be used by software such as Sony Vegas Pro, MAGIX Video Pro X, Avid's Media Composer and Xpress Pro, Apple's Final Cut Pro, and Adobe's Premiere to manipulate the captured footage. High definition video is becoming more popular and can be readily edited using the same software along with related motion graphics programs. Clips are arranged on a timeline, music tracks and titles are added, effects can be created, and the finished program is "rendered" into a finished video. The video may then be distributed in a variety of ways including DVD, web streaming, Quicktime Movies, iPod, CD-ROM, or videotape.
For the home market, consumer-friendly products such as MAGIX Movie Edit Pro, Adobe Premiere Elements, AVID Express DV, CyberLink PowerDirector, Final Cut Express, Sony Vegas, Pinnacle Studio, ULead VideoStudio, Roxio Easy Media Creator, and muvee autoProducer have come on the market with the emergence of computer video editing for the home PC. Two free programs that are bundled with computers are Apple's iMovie and Microsoft's Windows Movie Maker. There are many other free opensource video-editing software, too.

PHOTOGRAPHIC CAMERA

A camera is a device that records images, either as a still photograph or as moving images known as videos or movies. The term comes from the camera obscura (Latin for "dark chamber"), an early mechanism of projecting images where an entire room functioned as a real-time imaging system; the modern camera evolved from the camera obscura.
Cameras may work with the light of the visible spectrum or with other portions of the electromagnetic spectrum. A camera generally consists of an enclosed hollow with an opening (aperture) at one end for light to enter, and a recording or viewing surface for capturing the light at the other end. A majority of cameras have a lens positioned in front of the camera's opening to gather the incoming light and focus all or part of the image on the recording surface. The diameter of the aperture is often controlled by a diaphragm mechanism, but some cameras have a fixed-size aperture.
A typical still camera takes one photo each time the user presses the shutter button. A typical movie camera continuously takes 24 film frames per second as long as the user holds down the shutter button.

History
The forerunner to the camera was the camera obscura. The camera obscura is an instrument consisting of a darkened chamber or box, into which light is admitted through a convex lens, forming an image of external objects on a surface of paper or glass, etc., placed at the focus of the lens.The camera obscura was described by the Arabic scientist Ibn al-Haytham (Alhazen) in his Book of Optics (1015–1021).Alhazen's work appeared in Latin translation as De Aspectibus ("Concerning vision") in about 1200, and the book influenced Roger Bacon's reflections on producing images using pinholes. Bacon's notes and drawings, published as Perspectiva in 1267, are partly clouded with theological material describing how the Devil can insinuate himself through the smallest of spaces by magic,and it is not clear whether or not he produced such a device. On 24 January 1544 mathematician and instrument maker Reiners Gemma Frisius of Leuven University used one to watch a solar eclipse, publishing a diagram of his method in De Radio Astronimica et Geometrico in the following year. In 1558 Giovanni Batista della Porta was the first to recommend the method as an aid to drawingThe actual name of camera obscura was first applied to the technique by mathematician and astronomer Johannes Kepler in his Ad Vitellionem paralipomena of 1604; he would later improve the apparatus by adding a lens and making it transportable, in the form of a tent.Irish scientist Robert Boyle and his assistant Robert Hooke later developed a portable camera obscura in the 1660s.
The first camera that was small and portable enough to be practical for photography was built by Johann Zahn in 1685, though it would be almost 150 years before technology caught up to the point where this was practical. Early photographic cameras were essentially similar to Zahn's model, though usually with the addition of sliding boxes for focusing. Before each exposure, a sensitized plate would be inserted in front of the viewing screen to record the image. Jacques Daguerre's popular daguerreotype process utilized copper plates, while the calotype process invented by William Fox Talbot recorded images on paper.
The first permanent photograph was made in 1826 by Joseph Nicéphore Niépce using a sliding wooden box camera made by Charles and Vincent Chevalier in Paris. Niépce built on a discovery by Johann Heinrich Schultz (1724): a silver and chalk mixture darkens under exposure to light. However, while this was the birth of photography, the camera itself can be traced back much further. Before the invention of photography,there was no way to preserve the images produced by these cameras apart from manually tracing them.
The development of the collodion wet plate process by Frederick Scott Archer in 1850 cut exposure times dramatically, but required photographers to prepare and develop their glass plates on the spot, usually in a mobile darkroom. Despite their complexity, the wet-plate ambrotype and tintype processes were in widespread use in the latter half of the 19th century. Wet plate cameras were little different from previous designs, though there were some models, such as the sophisticated Dubroni of 1864, where the sensitizing and developing of the plates could be carried out inside the camera itself rather than in a separate darkroom. Other cameras were fitted with multiple lenses for making cartes de visite. It was during the wet plate era that the use of bellows for focusing became widespread.
The first colour photograph was made by Scottish physicist James Clerk Maxwell, with the help of English inventor and photographer Thomas Sutton, in 1861
Due to the optical properties of photographic lenses, only objects within a limited range of distances from the camera will be reproduced clearly. The process of adjusting this range is known as changing the camera's focus. There are various ways of focusing a camera accurately. The simplest cameras have fixed focus and use a small aperture and wide-angle lens to ensure that everything within a certain range of distance from the lens, usually around 3 metres (10 ft) to infinity, is in reasonable focus. Fixed focus cameras are usually inexpensive types, such as single-use cameras. The camera can also have a limited focusing range or scale-focus that is indicated on the camera body. The user will guess or calculate the distance to the subject and adjust the focus accordingly. On some cameras this is indicated by symbols (head-and-shoulders; two people standing upright; one tree; mountains).
Rangefinder cameras allow the distance to objects to be measured by means of a coupled parallax unit on top of the camera, allowing the focus to be set with accuracy. Single-lens reflex cameras allow the photographer to determine the focus and composition visually using the objective lens and a moving mirror to project the image onto a ground glass or plastic micro-prism screen. Twin-lens reflex cameras use an objective lens and a focusing lens unit (usually identical to the objective lens.) in a parallel body for composition and focusing. View cameras use a ground glass screen which is removed and replaced by either a photographic plate or a reusable holder containing sheet film before exposure. Modern cameras often offer autofocus systems to focus the camera automatically by a variety of methods e.g. by fishing.[11]
Exposure control
The size of the aperture and the brightness of the scene controls the amount of light that enters the camera during a period of time, and the shutter controls the length of time that the light hits the recording surface. Equivalent exposures can be made with a larger aperture and a faster shutter speed or a corresponding smaller aperture and with the shutter speed slowed down.
 
Shutter
Although a range of different shutter devices have been used during the development of the camera only two types have been widely used and remain in use today.
The focal plane shutter operates as close to the film plane as possible and consists of cloth curtains that are pulled across the film plane with a carefully determined gap between the two curtains or consisting of a series of metal plates moving either vertically or horizontally across the film plan. As the curtains or blades move at a constant speed, exposing the whole film plane can takes much longer than the exposure time. For example an exposure of 1/1000 second may be achieved by the shutter curtains moving across the film plane in 1/50th of a second but with the two curtains only separated by 1/20th of the frame width. When photographing rapidly moving objects, the use of a focal plane shutter can produce some unexpected effects. Focal plane shutters are also difficult to synchronise with electronic flash and it is often only possible to use flash at shutter speeds below 1/60th second although in some modern cameras that can be as fast as 1/100second/
The Copal shutter or more precisely the in-lens shutter is a shutter contained within the lens structure, often close to the diaphragm consisting of a number of metal leaves which are maintained under spring tension and which are opened and then closed when the shutter is released. The exposure time is determined by the interval between opening and closing. In this shutter design, the whole film frame is exposed at one time. This makes flash synchronisation much simpler as the flash only needs to fire once the shutter is fully open. This disadvantage of such shutters is their inability to reliably produce very fast shutter speeds and the additional cost and weight of having to include a shutter mechanism for every lens.

Film formats
A wide range of film and plate formats have been used by cameras. In the early history plate sizes were often specific for the make and model of camera although there quickly developed some standardisation for the more popular cameras. The introduction of roll-film drove the standardisation process still further so that by the 1950s only a few standard roll films were in use. These included 120 film providing 8, 12 or 16 exposures, 220 film providing 16 or 24 exposures, 127 film providing 8 exposures , principally in Brownie 125 cameras and 35mm film providing 12, 20 or 36 exposures - or up to 72 exposures in bulk cassettes for the Leica Camera range.
For cine cameras, 35mm film was the original film format but 16mm film soon followed produced by cutting 35mm in two. An early amateur format was 9.5mm. Later formats included 8mm film and Super 8.

Camera designs
Plate camera
The earliest cameras produced in significant numbers used sensitised glass plates and are now termed plate cameras. Light entered a lens mounted on a lens board which was separated from the plate by an extendible bellows. Many of these cameras, had controls to raise or lower the lens and to tilt it forwards or backwards to control perspective . Focussing of these plate cameras was by the use of a ground glass screen at the point of focus. Because lens design only allowed rather small aperture lenses, the image on the ground glass screen was faint and most photographers had a dark cloth to cover their heads to allow focussing and composition to be carried out more easily. When focus and composition were satisfactory, the ground glass screen was removed and a sensitised plate put in its place protected by a dark slide (photography) . To make the exposure, the dark slide was carefully slid out and the shutter opened and then closed and the dark-slide replaced. In current designs the plate camera is best represented by the view camera.

 Large format camera
The large format camera is a direct successor of the early plate cameras and remain in use for high quality photography and for technical, architectural and industrial photography. There are three common types, the monorail camera, the field camera and the press camera. All use large format sheets of film, although there are backs for medium format 120-film available for most systems, and have an extensible bellows with the lens and shutter mounted on a lens plate at the front. These cameras have a wide range of movements allowing very close control of focus and perspective.

Medium format camera
The medium-format cameras has a film negative size somewhere in between the large format cameras and the smaller 35mm cameras. Typically these systems use 120- or 220-film. The most common sizes being 6x4.5 cm, 6x6 cm and 6x7 cm. The designs of this kind of camera shows greater variation than their larger brethren. Ranging from monorail systems, via the classic Hasselblad model with separate backs, to smaller rangefinder cameras. There are even compact amateur cameras available in this format.
Folding camera
The introduction of films enabled the existing designs for plate cameras to be made much smaller and for the base-plate to be hinged so that it could be folded up compressing the bellows. These designs were very compact and small models were dubbed Vest pocket cameras.

Box camera
Box cameras were introduced as a budget level camera and had few if any controls. The original box Brownie models had a small reflex viewfinder mounted on the top of the camera and had no aperture or focussing controls and just a simple shutter. Later models such as the Brownie 127 had larger direct view optical viewfinders together with a curved film path to help

Rangefinder camera
As camera and lens technology developed and wide aperture lenses became more common range-finder cameras were introduced to make focussing more precise. The range finder had two separated viewfinder windows one of which was linked to the focusing mechanisms and moved right or left as the focussing ring was turned. The two separate images were brought together on a ground glass viewing screen. When vertical lines in the object being photographed met exactly in the combined image, the object was in focus. A normal composition viewfinder was also provided.

Single-lens reflex camera
In the single-lens reflex camera the photographer see the scene through the camera lens. This avoids the problems of parallax which occurs when the viewfinder or viewing lens is separated from the taking lens. Single-lens reflex cameras have been made in several formats including 220/120 taking 8, 12 or 16 photographs on a 120 roll and twice that number of a 220 film. These correspond to 6x9, 6x6 and 6x4.5 respectively (all dimensions in cm). Notable manufacturers of large format SLR include Hasselblad, Mamiya, Bronica and Pentax. However the most common format of SLRs has been 35 mm and subsequently the migration to digital SLRs, using almost identical sized bodies and sometimes using the same lens systems.
Almost all SLR used a front surfaced mirror in the optical path to direct the light from the lens via a viewing screen and pentaprism to the eyepiece. At the time of exposure the mirror flipped up out of the light path before the shutter opened. Some early cameras experimented other methods of providing through the lens viewing including the use of a semi transparent pellicle as in the Canon Pellix  and others with a small periscope such as in the Corfield Periflex series

Twin-lens reflex camera
Twin-lens reflex cameras used a pair of nearly identical lenses, one to form the image and one as a viewfinder. The lens were arranged with the viewing lens immediately above the taking lens. The viewing lens projects an image onto a viewing screen which can be seen from above. Some manufacturers such as Mamiya also provided a reflex head to attach to the viewing screen to all the camera to be held to the eye when in use. The advantage of a TLR was that it could be easily focussed using the viewing screen and that under most circumstances the view seen in the viewing screen was identical to that recorded on film. At close distances however, parallax errors were encountered and some cameras also included an indicator to show what part of the composition would be excluded.
Some TLR had interchangeable lenses but as these had to be paired lenses they were relatively heavy and did not provide the range of focal lengths that the SLR could support. Although most TLRs used 120 or 220 film some used 127 film.
 Movie camera
A ciné camera or movie camera is a type of photographic camera which takes a rapid sequence of photographs on strips of film. In contrast to a still camera, which captures a single snapshot at a time, the ciné camera takes a series of images, each called a "frame" through the use of an intermittent mechanism. The frames are later played back in a ciné projector at a specific speed, called the "frame rate" (number of frames per second). While viewing, a person's eyes and brain merge the separate pictures together to create the illusion of motion. The first ciné camera was built around 1888 and by 1890 several types were being manufactured. The standard film size for ciné cameras was quickly established as 35mm film and this remains in use to this day. Other professional standard formats include 70 mm film and 16mm film whilst amateurs film makers have used 9.5 mm film, 8mm film or Standard 8 and Super 8 before the move into digital format. The size and complexity of ciné cameras varies greatly depending on the uses required of the camera. Some professional equipment is very large and too heavy to be hand held whilst some amateur cameras were designed to be as small and light as possible enabling single-handed operation.

BRODCASTING

Broadcasting is the distribution of audio and/or video signals which transmit programs to an audience. The audience may be the general public or a relatively large sub-audience, such as children or young adults.
The sequencing of content in a broadcast is called a schedule. As with all technological endeavours, a number of technical terms and slang have developed. A list of these terms can be found at list of broadcasting terms. Television and radio programs are distributed through radio broadcasting or cable, often both simultaneously. By coding signals and having decoding equipment in homes, the latter also enables subscription-based channels and pay-per-view services.
The term "broadcast" originally referred to the sowing of seeds by scattering them over a wide field. It was adopted by early radio engineers from the Midwestern United States to refer to the analogous dissemination of radio signals. Broadcasting forms a very large segment of the mass media. Broadcasting to a very narrow range of audience is called narrowcasting.
In his essay, John Durham Peters writes communication is a tool used for dissemination. Durham states, “Dissemination is a lens- sometimes a usefully distorting one- that helps us tackle basic issues such as interaction, presence, and space and time…on the agenda of any future communication theory in general” (Durham, 211). Dissemination focuses on the message being relayed from one main source to one large audience without the exchange of dialogue in between. There’s chance for the message to be tweaked or corrupted once the main source releases it. There is really no way to predetermine how the larger population or audience will absorb the message. They can choose to listen, analyze, or simply ignore it. Dissemination in communication is widely used in the world of broadcasting.
Broadcasting focuses on getting one message out and it is up to the general public to do what they wish with it. Durham also states that broadcasting is used to address an open ended destination (Durham, 212). There are many forms of broadcast, but they all aim to distribute a signal that will reach the target audience. Broadcasting can arrange audiences into entire assemblies (Durham, 213).
In terms of media broadcasting, a radio show can gather a large number of followers who tune in every day to specifically listen to that specific disc jockey. The disc jockey follows the script for his or her radio show and just talks into the microphone. He or she does not expect immediate feedback from any listeners. The message is broadcasted across airwaves throughout the community, but there the listeners cannot always respond immediately, especially since many radio shows are recorded prior to the actual air time.
Many businesses take advantage of communication dissemination in advertising over broadcasts. The options are close to limitless with advancing technology. The main goal is simply get the message across and it is up to the consumer population and audience to do what they wish with it.