This is the unspecified version of the paper.This version of the publication may differ from the final published version. Permanent repository link

This is the unspecified version of the paper.This version of the publication may differ from the final published version. Permanent repository link:

No abstract

For almost as long as there has been recorded information, there has been a perception that humanity has been overloaded by it. Concerns about “too much to read” have been expressed for many centuries, and made more urgent since the arrival of ubiquitous digital information in the late 20th century. The historical perspective is a necessary corrective to the often, and wrongly, held view that it is associated solely with the modern digital information environment and with social media in particular. However, as society fully experiences Floridi’s Fourth Revolution, and moves into hyper-history (with society dependent on, and defined by, information and communication technologies) and the infosphere (an information environment distinguished by a seamless blend of online and offline information activity), individuals and societies are dependent on and formed by information in an unprecedented way, and information overload needs to be taken more seriously than ever. Overload has been claimed to be both the major issue of our time and a complete nonissue. It has, as will be noted later, been noted as an important factor in many areas, including politics and governance. It has been cited as an important factor in a wide range of areas, from business to literature. The information overload phenomenon has been known by many different names, including: information overabundance, infobesity, infoglut, data smog, information pollution, information fatigue, social media fatigue, social media overload, information anxiety, library anxiety, infostress, infoxication, reading overload, communication overload, cognitive overload, information violence, and information assault. There is no single generally accepted definition, but it can best be understood as the situation that arises when there is so much relevant and potentially useful information available that it becomes a hindrance rather than a help. Its essential nature has not changed with evolving technology, although its causes and proposed solutions have changed significantly. The best ways of avoiding overload, individually and socially, appear to lie in a variety of coping strategies, such as filtering, withdrawing, queuing, and “satisficing.” Better design of information systems, effective personal information management, and the promotion of digital and media literacies also have a part to play. Overload may perhaps best be overcome by seeking a mindful balance in consuming information and in finding understanding.

This is the unspecified version of the paper.This version of the publication may differ from the final published version. Reports an empirical study of the information-related behaviour of emerging artists and designers. It adds to understanding of the information behaviour of the group both as practicing artists ( an illunderstood category of information users), and also as 'new practitioners'. Permanent repository link Design / methodology / approachA literature analysis is used to guide creation on an online questionnaire, eliciting both qualitative and quantitative data. 78 practicing artists participated. FindingsThe group have generally the same information practices as more established artists. They place reliance on internet and social networks, while also using traditional printed tools and libraries.Browsing is important, but not a predominant means of accessing information. Inspiration is found from a very diverse and idiosyncratic set of sources, often by serendipitous means. Their status as emergent practitioners means that their information behaviour is governed by cost factors, and by a need for career advice. Research limitationsThe study group are a convenience sample, with access to Internet. Practical implicationsThe results will provide guidance to academic and public librarians serving artist users, and to those providing career advice to them. It will also be valuable to those providing services to 'new practitioners' in any field. Originality / valueThis is one of very few papers reporting empirical studies of the information behaviour of artists, and has the largest sample size of any such study. It is one of a very few papers considering the information needs and behaviour of new practitioners.

Purpose -The purpose of this paper is to derive a conceptual model for information science, which is both academically sound and practically useful, particularly for curriculum design. Design/methodology/approach -The approach takes the form of a conceptual analysis, based on an extensive literature review, going back to the earliest days of information science. Findings -A conceptual model is derived, based on the study of components of the information chain through approaches of domain analysis, plus "fringe" topics and a meta-level consideration of the discipline itself. Links to related subjects may be derived systematically from this model. Originality/value -This is the first paper to suggest that a useful model for information science can be derived, based on the idea of studying the communication chain by means of domain analysis.

No abstract

Information literacy, and other similar ‘literacies’, such as digital literacy, mediacy, and informacy, are concepts relating to knowledge, skills, and attitudes, at various levels, in dealing with information in varied formats and diverse situations. The breadth of scope of these concepts implies that training must be equally broad, varied, and context‐sensitive. This is exemplified by two case studies of information and digital literacy training. The first is a training programme in information literacy for the scientific staff of a multinational pharmaceutical research organization. The second is a summer school dealing with digital literacy, primarily for information professionals from countries of Central and Eastern Europe, and the former Soviet Union.