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The evolving environment of scholarly publishing includes additional avenues for making content openly available. Our findings suggest that over 55% of the journals and over 65% of the articles indexed in Web of Science® in 2003 are produced by publishers who permit some form of self-archiving, and could be made OA by author archiving.

RICHARDSON, Texas (Nov. 19, 2004) – Scientists at The University of Texas at Dallas (UTD) NanoTech Institute, along with an Australian collaborator, today announced they have achieved a major technological breakthrough by spinning multi-walled carbon nanotube yarns that are strong, tough and extremely flexible, and are both electrically and thermally conducting. Among other things, the futuristic yarns could result in “smart” clothing that stores electricity, provides ballistic protection and adjusts temperature and porosity to provide greater comfort.

Potential commercial opportunities arising from the discovery will be enhanced by the hundred-fold lower cost of the spun multi-walled nanotubes compared with the single-walled nanotubes that are more commonly studied, according to Baughman, the article’s corresponding author and Robert A. Welch Professor of Chemistry and director of the UTD NanoTech Institute. The latter are a single cylinder made of graphite, while the multi-walled nanotubes contain a concentric array of such cylinders, which look like the rings of a tree trunk when viewed in cross section. Nanotubes are many thousands of times thinner than a human hair.

UTD and CSIRO have filed a patent application (with more than 200 claims) to protect the carbon nanotube spinning technology and its extension to other semiconducting, metallic and superconducting nanofibers and nanoribbons. This pending patent provides invention embodiments for applications that include artificial muscles, supercapacitors, antiballistic vests, thermal heat pipes, electronic textiles, sensors, electron field emitters, ultra-high intensity lamps and three-dimensional micro-fluidic circuits for chemical laboratories that are the size of a computer chip.

“We believe that our nanotube yarns can be commercialized for important applications in less than five years, and a number of companies large and small are committed to help make this happen,” said Baughman. “Working together with CSIRO, companies and U.S. government laboratories, we are forging ahead to upscale the process and optimize properties of the materials for the initially targeted applications. The interesting fundamental chemistry and physics, such as giant stretch-induced densification and associated electrical and thermal transport property changes, complements the exciting application possibilities of these yarns.”

Some of the possible applications for the new yarns include:

• * structural composites that are strong, tough and able to reduce mechanical vibrations.
  
• * Protective clothing that provides antiballistic and static-discharge protection, as well as radio and microwave frequency absorption.
  
• * Supercapacitors, batteries and fuel cells in the form of yarn structures that are weaveable into textiles for storing or generating electrical energy.
  
• * Chemically or electrically powered artificial muscles for prosthetics and robots, morphing air vehicles and minimally invasive catheters with enhanced functionality for medical applications.
  
• * Electrical wiring and distributed sensors for electronic textiles.
  
• * Heat pipes that provide both structural reinforcement and heat dissipation.
  
• * High intensity source of field-emitted electrons for intense fluorescent lights and displays, as well as X-ray sources small enough to fit in a medical catheter.
  
• * Filaments for incandescent light sources with decreased susceptibility to mechanical damage because of yarn toughness and mechanical damping ability.

To obtain a copy of the Science article, please contact the journal at 202-326-6440 or scipak AT aaas.org.

• Computing: searches the content of 60 freely available full-text ejournals in computing.
  
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• An all-in-one search engine that covers the content of >250 journals indexed by all three subject-specific search engines.

When looking for information of higher quality and utility, users are being offered more options to search the 'net than just Googling. These include EEVL's new search engines, Google Scholar, RedLightGreen, the Yahoo! toolbar with OCLC WorldCat searching capabilities, along with Scirus.

2001 opens with "The Dawn of Man", an 18-minute segment in which the black monolith first appears to the man-apes, putting the idea of murder into their heads. It features the legendary edit of the man-ape, Moonwatcher, tossing into the air the bone he has just used to complete the first homicide in history. As it falls, 2001 jumps to the end of the 20th century - a "fast forward" of perhaps some four million years in 1/24th of a second.

When the Internet Movie Database came into existence, I used it from time to time to search actors and actresses who had appeared in favorite movies of mine. In the case of 2001, the actor who played Moonwatcher, Dan Richter (or Daniel Richter, as he is credited in the film), never appeared in another movie, according to the IMDb. Imagine my surprise when I learned that Richter had written a book about his experiences making that famous sequence, a book called Moonwatcher's Memoir - A Diary of 2001: A Space Odyssey.

Richter begins his compelling story on October 24th, 1966, and ends it on October 16th, 1967. In between he offers much detail, from his first meeting with Stanley Kubrick, through to the packing of his belongings after his work is completed, as he wonders whether or not 2001: A Space Odyssey will be a success.

The book is rich in information and rife with anecdotes. To write the book, Richter worked from notes and a journal he kept while filming, his memory, and interviews with surviving cast and crew members. Richter opens the book with the story of how he was hired as choreographer for the Dawn of Man sequence. He advises us of how, from the outset, Kubrick envisioned the players. He told Richter:

"Dan, they can't look like men in monkey suits."

I have watched 2001 over 25 times, and regarding certain scenes, I would wonder, "how did they do that?" For example, the scene in which the leopard attacks one of the man-apes always looked too real to me to be, well, improvised. How do you improvise with a leopard? It turns out that the leopard was indeed trained to mimic an attack. His trainer was a man named Terry Duggan, and Richter explains that the scene was shot three times: the first take, nothing happened, the leopard being too scared or confused to move. In the second take, the leopard jumped from above into the space between Duggan (in costume as a man-ape) and Richter, standing a few feet away (also in costume, as Moonwatcher), and started to approach Richter - Duggan, seeing this, tackled the leopard. In the third take, the leopard jumps on Duggan, and is the take we see in the movie. It is this kind of detail Richter provides in the book that I found captivating and fascinating.

Richter notes that he was a heroin and cocaine addict during his work on 2001, something he kept from Kubrick during the first few months of filming. (His wife was an addict as well.) However, he was a "registered addict", receiving drugs under a government program to help users deal with their addictions. That he is honest about this aspect of his life, and chooses to reveal it to the reader, adds a measure of humanity to the work.

From start to finish, this is a compelling and revealing work. Richter's writing is compact and concise. Little space is wasted with information that is not relevant to the story of how the Dawn of Man sequence was created and filmed. Conversations are reconstructed and presented to the reader. We learn how the other actors were hired and trained, how the costumes were designed and built, how the scenes were filmed on set in the studio (only one scene was filmed outside the studio, and that was only 200 yards away!), and how Richter coordinated so much of the production. He reveals how difficult it was for him to release people who had been working closely with him, when it was determined that their services were no longer needed by Kubrick. Seemingly trivial information instead comes across as rich detail: Richter describes the problem with the man-ape suits overheating, and how small hoses were be used to allow the actors to breathe by keeping the man-ape jaws open. Compressed air had to be blown down the suits to keep the actors cool.

In the scene in which the leopard lies with its paws on the zebra, above the man-apes' cave dwelling, he reveals why the leopard's eyes shine so brightly, as if reflecting light from elsewhere (which it was doing, actually!)

One piece of information in the book I found almost personally embarrassing, confirming that I had interpreted a crucial scene incorrectly for the past 35 years! Recall the sequence during which the tribe of man-apes at the waterhole is chased away by the approaching tribe. I always believed that it was Moonwatcher and his pals at the waterhole who were the ones intimidated into leaving, and that once having learned how to kill with bones, they return to the waterhole to exact a bit of revenge on the opposing tribe (led by a man-ape named One Ear.) Well, I was wrong - it's the other way around. It's Moonwatcher who chased away his neighbours, and when he comes back a second time, he's armed and dangerous. Dan, thank you for clearing that one up for me.

There is one detail, or piece of information, that Richter leaves out of the book: how were the voices done? The man-apes' vocal sounds were loud, piercing and very strong - too strong in my estimation to be voiced by actors. I may be wrong, but I found nothing in the book that discusses how the voices were created. After Moonwatcher and crew chase away the other tribe, the last shot in that scene shows him turning around, facing the direction of the retreating tribe. He opens his mouth and emits a powerful, piercing growl in their direction. Was that Richter's voice? I want to know.

Richter also supplies the reader with a number of great photographs and some of his production notes, including script excerpts and body measurement charts. Of course, the book wouldn't be complete without his observations about Stanley Kubrick, and while sparse at best, what he offers comfirms what so many have said about Kubrick, which is that, in so many words, he always marched to his own drummer. Richter writes:

"Stanley is different from other men. In working with him and becoming his friend, I have come to realize that I cannot judge him by the measure I apply to other men and women. What would be compulsion in other men is singled-mindedness in Stanley. Most of us function in society, however rebellious or hermitlike we are. It is as if Stanley lives by different rules that are his own. He is not necessarily a rebel or an outsider. He has a down-to-earth and easy sense of humor. You can as easily discuss a sporting event as Wittgenstein with him. Yet Stanley has a quality of otherness, or a genius following his own path. Stanley never ever seems to react in a way to anything except as his unique self. Stanley is totally unpredictable in that he sees things in a new and unique way, like an avatar or spirit bringing a new vision that is so unique it forms a new reality for us. It is as if the perceived world, because of his very presence, changes its nature forever. And because of this, we can never go back."

For fans of 2001: A Space Odyssey, and Stanley Kubrick, this is a must read, a keeper. Film historians interested in how this famous sequence was created, produced and executed, it is required reading. As a member of the former group, I am grateful to Dan Richter for having written this book and bringing me closer to the movie that will forever be my all-time favorite.

In the print environment, at least from the librarian/academician standpoint, the answer was perfectly clear -- no new issues arrived, but all received issues remain available until a collection management/space decision led to a conscious, locally determined change in that situation.

Local control over what happens to the material is a critical difference between the print and online environments. Online, authors, scholars, and libraries tend to be at the vendor's mercy, having no control the fate of the published archive.

Vendors have the unfortunate ability to conflate multiple titles and multiple ISSNs into a single web archive; i.e. Journal of Climate & Applied Meteorology, from the American Meteorological Society inhabits an archive with its successor, Journal of Applied Meteorology. Wiley is notorious for splitting titles and ignoring the rules for ISSN issuance. Whenever a journal changes title or splits into sections, from a cataloging/ISSN standpoint, multiple bibliographic records and ISSNs are required to track the changes. For instance, in 2003, Wiley split Journal of Experimental Zoology (JEZ) into JEZ A and JEZ B; however, Wiley insists that all 3 titles have the same ISSN, 0022-104X. The American Geophysical Union (AGU) goes further, insisting that the six sections of Journal of Geophysical Research (JGR) are a single publication with ISSN 0148-0227. I've even seen the occasional conflation of multiple journals, not continuations of one another on the same web page. That won't/shouldn't happen in a library.

A title simply changing publishers is usually a nonevent to librarians and authors, but is a huge upheaval in the online publishing world. Catalogers will ensure that issues from one volume appear with issues of the succeeding volume. In the online environment, volumes may disappear, be transferred, have redirects, or a number of other variations which are yet to be discovered.

In the online environment the simple question, what happens to a journal...?, has a multitude of facets:

* has the title merged or split to continue under a new title(s)
* has the title changed
* is the question being asked/answered by a librarian/academic or a publisher
* has the title been transferred between publishers, thus possibly 'ceasing' from the point of view of the initial publisher

The journal struggled a bit. Volume 4 stretched four issues through 1994 and 1995. A single issue, comprising volume 6, appeared in 1996. At least, at this late date, that's the story I can piece together by examining Web of Science, MathSciNet and Ulrich's. No more issues appeared, but the existing content was freely available for several years. Ulrich's still has an active record for this title.

With the migration to the SpringerLink MetaPress platform in July 2003, the content vanished. The website vanished. No more content. Links to the online content, embedded in the MathSciNet indexing, are defunct. Springer has opted to take an Orwellian approach, acting as if the title never existed. The OpenURL syntax currently employed by Springer would yield a website that no longer exists. Springer's journal title list no longer acknowledges the former existence of the title. It's simply gone, without explanation, without a trace.

The Royal Society of Chemistry's (RSC) agreement to publish the online-only Geochemical Transactions, in partnership with the American Chemical Society Division of Geochemistry, recently ended. There is a new agreement for the journal to be distributed on the American Institute of Physics' (AIP) Scitation journal publishing platform .

Geochemical Transactions
Fulltext v1+ (2000+). Fulltext free through 1 June 2004
http://gt.aip.org/gt/
Online ISSN: 1467-4866

Geochemical Transactions
Fulltext v1-4 (2000-2003)
http://www.rsc.org/is/journals/current/geochem/geocon.htm
Online ISSN: 1467-4866

Australian Journal of Physics
Fulltext v50-53(6) (1997-April 2001). Ceased publication
http://www.publish.csiro.au/?nid=79&aid=69
ISSN: 0004-9506

ACM Letters on Programming Languages & Systems
Fulltext v1-2 (1992-1993)
http://www.acm.org/pubs/contents/journals/loplas/
ISSN: 1057-4514

Authors, publishers, and librarians are philosophically united, I trust, on the value of the intellectual record. This is definitely broader than simply ceased journals, but the solutions, which address the broader issue, may have a dramatic impact on the narrower.

LOCKSS (Lots of Copies Keep Stuff Safe) just entered production in April 2004. The participating libraries are laudable and the list can be expected to continue to grow rapidly. The publisher community has some standout participants and some glaring holdouts.

Kudos:

Annual Reviews
Berkeley ElectronicPress
BioMed Central
Blackwell Publishers Ltd
HighWire Press (and their contributors, including Oxford University Press)
History Cooperative
Institute of Physics
Kluwer Academic Publishers
Nature Publishing Group
Project Muse
Society for Industrial and Applied Mathematics

Wiley, Elsevier, IEEE, ACM, AIP, APS, the American Chemical Society, Royal Society of Chemistry, AGU, Cambridge University Press, CSIRO, Taylor & Francis.

Time will tell if/when more publishers will discover enlightened self-interest. The prospects for growth in library participation are significant. I am less sanguine for the prospects of growth of publisher participation.