Próximas datas dos Encontros de Edição @wikieditoraslx

Para participar basta enviar um e-mail para o endereço na imagem.

Para saber mais sobre o projecto, podem consultar o #twitterchatpt 63.

Open #GLAM & #Education: new study about teacher’s and educator’s perspective on digital culture resources

Centrum Cyfrowe in partnership with Europeana and EuroClio is conducting a study about the use of digital resources created by galleries, libraries, archives and museums (GLAM) used by teachers and non-formal educators in their educational activities.

If you are a Teacher or a non-formal Educator, please consider to take part in this study about the use of:

•  educational digital resources (e.g. lesson plans, learning scenarios, tutorials),
•  educational interactive materials  (e.g. games, quizzes, virtual tours) and online,
•  digitised collections  (e.g. image, video, sound)

developed by cultural heritage institutions such as galleries, libraries, archives and museums (GLAM).

You can fill up the short questionnaire here:

➡ click here to fill up a questionnaire

This will not take more than 10 minutes.

The survey will be closed on June 31st, at 23:59 CET.

The study focuses on teachers and non-formal educators that educate students/pupils approximately from 3 to 18 years old.

The study is conducted by Centrum Cyfrowe in partnership with Europeana and EuroClio and aimed at:

• understanding the status quo in use of GLAM’s educational interactive materials & resources for educational purposes,
• supporting the development of new high quality, relevant for GLAM educational interactive materials & resources,
• promoting them among teachers and non-formal educators.

Your responses to this survey are completely anonymous and your personal data will not be collected.

The collected data will create a base for a research report that will be openly available in the fall of 2022.

Associação @Communia_EU atualiza recomendações para a próxima década #PublicDomain #Copyright

A Associação Communia publicou as 20 recomendações sobre domínio público e direito de autor, para a próxima década, que podem ser lidas aqui.

No site, podem ainda ver o vídeo do lançamento.

This book can be your next (perfect?) TBR: The Story of Classic Crime in 100 (102?) Books by Martin Edwards ⭐⭐⭐⭐⭐ @medwardsbooks @poisonedpen @BL_Publishing #BookReview #Booktwt

I bought “The Story of Classic Crime in 100 Books” by Martin Edwards some years ago, and I have been using it and reusing it again and again. I understand it must sound strange to refer to a book as “using it” instead of “reading it”, but I really want to emphasize all the times I took (and still take) this book from the shelf to do things other than reading it from beginning to end. The fact that the list has 102 books (at least in my edition) is not important, but again I only noticed it because of the different ways I’m using it.

As Edwards writes in the Introduction, this is not a list of the “best” books (although given the extensive knowledge Martin Edwards has about the genre I wouldn’t mind to go through such an articles’ list), but a list of books that tell the story of the classic crime in the first half of twentieth century. This means the reader will get well known titles, but also forgotten ones that are included because they added something to the genre or because they are unique (like the case of one detective that made its first appearance in a radio play instead of in a printed book). Through this list of titles, Edwards shows how the genre changed and evolved: from the short story to the novel and how the form influences the genre, or the idea of playing fair with the reader, where the detective story was more like a game, as well as the appearance of “rules”, the innovation of “inverted mysteries”, the appeal of science in solving murders, and so on.

This book will also attract a wide range of readers: for example, I knew about the “challenge to the reader” – first time I saw it was in an Ellery Queen, I believe -, where at some point in the book there is a warning saying that the reader has all the clues and can try to guess the culprit before carry on with the reading, but I didn’t know about the “cluefinder”, where the author adds at the end of the book references to the moments in the story where clues were provided. So, yes, now I have a list of books with cluefinders to try on! Also, let me tell you that the second book in the Savernake series, “Mortmain Hall“, by the same Martin Edwards, does have a cluefinder at the end.

One of my favorite characteristics of this book, that makes it a delight to read, is while Edwards is sharing his knowledge with the reader, he is also leaving “clues” throughout the text that makes us want to search more about a mentioned film or try to find a specific mentioned article or to find more about an author, and so on. It’s like an interactive or active reading, where readers can engage more with the book.

100 ways to “read” a book?

“The Story of Classic Crime…” has 24 themed chapters and in each we get an introduction that contextualizes the theme and then an article for each chosen book.

^{Some books of the British Library Crime Classics collection}

One can read the book from beginning to end (my first reading), we can read it while taking notes or with an Internet connected mobile phone to search further (another reading of mine), but we can also use the book to guide our readings.

We can use the book to read the article concerning a book we are going to read (Edwards avoids spoilers), or to read the articles about books we read in the past. Some of the mentioned books are being published in the British Library Crime Classics collection and even some chapters follow some of the anthologies like “Murder at the Manor” (country house mysteries) or “The Long Arm of the Law” (classic police stories), or “Miraculous Mysteries” (locked room murders) so we can use this book as a companion to that wonderful collection, as well.

The ultimate use for me would be a TBR (to be read) of the 102 books in order they appear (I have some of them, but need to check if I can get a copy of those I’m missing) – tick boxes at the table of contents would be a must (hint, hint)! But if 100 books is too much, each chapter can work as a TBR in itself: there are chapters with 11 books, but also some with just three. Like mysteries in rural settings? Chapter “Serpents in Eden” is for you. Prefer holiday-based mysteries? “Resorting to Murder” gets you covered. And remember that both the chapter’s introduction and the book’s article mention other titles of interest. You can also extent your “reading” to other media: in some cases, Edwards points out film adaptations of the discussed book.

On the other hand, if 100 books are not enough, we can go through the Index of Titles, that provides hundreds of book’s titles, from there we can also create reading prompts: for example, books which start with “death” (death at; death by; death in; death of; death on; death under; death upon; there are lots of them…). And because every title gets the pages where it’s mentioned we can go with “five most cited books” (I would say the most mentioned title is “Malice Aforethought”) or with the “five least mentioned”. We can also use the Index of Authors: the most mentioned author seems to be Dorothy L. Sayers (maybe followed by Agatha Christie?), but if we already read everything by her, we can always go through the list and choose a book from a unknown author to us (I don’t need to tell you about the joy of finding a new potential favorite author, do I?). And for each reading choice, you can go back to “The Story of Classic Crime…” to know what Martin Edwards has to say about that book or why it was mentioned.

The possibilities of using/reading this book are immense, I would say the limit is your imagination. If you like classic crime, you really need this book on your shelf (just a small note: if you like your books to stay pristine, get two copies, you’ll be using it so much that it will show…).

Notas da Semana 16/05/2022

• Na semana passada, a Procuradora-Geral da República pediu ao Tribunal Constitucional para anular o acórdão que declarou a inconstitucionalidade da lei dos metadados. O tribunal publicou um comunicado a recusar esse pedido, que vale mesmo a pena ler aqui. É que para além dos artigos em causa naquela lei não cumprirem a nossa Constituição, também não cumprem a Carta dos Direitos Fundamentais da União Europeia (UE): desde 2014 que aqueles artigos não podem ser usados por nenhum Estado-Membro da UE, por via da decisão do Tribunal de Justiça da União Europeia (TJUE). A Associação D3 – Defesa dos Direitos Digitais, que esteve na origem deste procedimento, tem um texto de abril que explica melhor o contexto.

• Segundo o TEK Sapo, a Comissão Europeia (CE) emitiu um comunicado a instar os países que ainda não transpuseram a diretiva do Copyright, aprovada em 2019, a fazê-lo num prazo máximo de dois meses. É verdade que o Tribunal de Justiça da União Europeia permitiu a manutenção do artigo 17º (antigo artigo 13º), mas apenas com a junção de medidas (antes e depois dos bloqueios) para proteger os cidadãos, que não pareciam claras na diretiva, nem nas guidelines que a CE emitiu. O Governo Português prometeu uma consulta pública e era importante que esta transposição fosse feita com a discussão pública que precisa e merece. Os produtores e editoras já vieram dizer que querem que a transposição seja feita com “procedimentos de urgência”.

• A IFLA publicou um relatório para perceber como as leis de direito de autor serviram as bibliotecas durante a pandemia e a resposta é: nada bem. O relatório pode ser lido aqui: How well did copyright laws serve libraries during COVID-19?: Research Report

• Já de abril, mas que só vi esta semana, é a publicação do “Vozes Femininas: Antologia de Escritoras Lusófonas”, um livro organizado pelo Ricardo Lourenço para o Projecto Adamastor. Está disponível para download aqui. O Projecto Adamastor está a dedicar este ano de 2022 à literatura de autoria feminina. Publicações e outras novidades podem ser acompanhadas no blog.

• Começam a aparecer reviews do próximo livro de Martin Edwards, “The Life of Crime: Detecting the History of Mysteries and their Creators” e esta, por Scott Herbertson, é particularmente interessante.

• Ainda no tema dos policiais, o episódio desta semana do podcast Shedunnit (um dos melhores podcasts que sigo, e recomendo) tem uma entrevista com Jim Noy, que lançou recentemente o “The Red Death Murders”. O livro é baseado e inspirado no conto, já em domínio público, de Edgar Allan Poe “The Masque of the Red Death”, que também está incluido no livro e conta com dois crimes impossíveis (locked-room) originais. O autor tem um episódio do seu podcast In GAD We Trust (que infelizmente acabou) onde fala com mais pormenor do processo que resultou neste livro. Tanto quanto percebi, o livro parece estar apenas disponível na Amazon.