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Rotch Library - N6496.3.S9 Z876 2018

Hayden Library - PQ7298.31.R73 F3613 2016

Have you felt busy the past month? I think I may know the reason why! This past September, we have had 2480 reference questions, 2020 directional questions and 877 IT/printing queries at the Research Assistance Desk of Library West.

Information Pointers and Circ Staff: 1288 of the 2480 reference questions came to us at the second floor desk.

If you look at the chart above, the valleys are Fridays and Saturdays and the peaks are on Wednesdays.

Recently we started recording statistics in more detail at the Research Assistance Desk, to see if we could fine tune our service hours to the demand. Thank you for taking the time to record your statistics by the hour so that we can establish a more accurate snapshot of the days and hours that our services tend to be in demand. --Jana

Berlin ; New York : Springer, 2007

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Naylor, Melissa, 1973- author

University of Sydney. Post-Graduate Committee in Veterinary Science

University of Sydney. Post-Graduate Committee in Veterinary Science

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Runaway slave Elizabeth found freedom, family, and equality when she was adopted into the Shawnee tribe. After ten years, she returned to slavery. Hope Smith shares the heartbreaking story behind this selfless act.

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DaWaK (Conference) (16th : 2014 : Munich, Germany),

Nelson, Debra L., 1956- author

Çengel, Yunus A., author

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Please Join us for an American Folklife Center Summer Music Jam: Klezmer led by Howard Ungar and Seth Kibel

September 12, 2019, 7:00 to 9:00 pm 
Veterans History Project Information & Welcome Center (LJ-G51) 
Thomas Jefferson Building, Library of Congress

The American Folklife Center's series of informal jams to celebrate our living folk traditions, and to bring to life the collections from our vast ethnographic archive continues in 2019. This jam will be led by Howard Ungar and Seth Kibel. So grab your violin, clarinet, trumpet, or other instruments, and come on over to the Library of Congress for the Klezmer Jam.

Seth Kibel is the leader, clarinetist, and composer for The Alexandria Kleztet, an innovative award-winning klezmer band he founded in the Baltimore/Washington area. The band has released four albums that all recieved the Washington Area Music Award for best album upon their release. In addition to his activities with The Kleztet, Seth has fronted a variety of swing and jazz groups, including Bay Jazz Project.

Klezmer trumpeter Howard Ungar founded the DC Klezmer Workshop. Howard has been playing klezmer trumpet since he attended his first KlezKamp in 1999 and has attended many KlezKamp, Yiddish New York, and KlezKanada festivals. He is a founding member of the DC based klezmer band Mrs. Toretsky’s Nightmare, who have played at numerous weddings, bar-mitvahs, and holiday events. You can also hear him playing trumpet with the DC based Machaya Klezmer Band at the Washington Folk Festival and other venues around town. 

This event is co-sponsored by the DC Klezmer Workshop

Request ADA accommodations five days in advance at 202-707-6362 or ADA@loc.gov

Find more information at this link!

Please us for our next Homegrown Concert:

Jones Benally Family Dancers
Navajo (Diné) traditional dance from Arizona
TUESDAY, SEPTEMBER 10, 2019, 12:00 PM
Coolidge Auditorium, Ground Floor
Thomas Jefferson Building
The Library of Congress

World Champion hoop dancer and traditional healer Jones Benally, his daughter Jeneda, his son Clayson, and his three young grandchildren form the Jones Benally Family Dancers. Navajo dance is a sacred tradition encompassing a wide variety of forms, all of which aim to heal the body, mind, or spirit. When presented outside the Navajo community, these dances are modified for public viewing, but they retain their deep capacity to move hearts and minds. The family sings, chants, plays traditional rhythm instruments, and performs a repertoire of over 20 dances, including traditional forms such as basket dance, eagle dance, feather dance, and corn grinding. They are particularly well known for the hoop dance, in which they evoke traditional figures and shapes using five, nine, a dozen, or many more hoops.

Jones Benally is a respected elder of the Navajo Nation in northeastern Arizona. His skill as a hoop dancer has won him worldwide acclaim and multiple world champion titles as well as the first Heard Museum Hoop Dance Legacy Award. Jones was featured as a singer in the 1993 film Geronimo. He works as a traditional healer, and was among the first traditional medical practitioners to be employed by a "Western" medical facility, where he worked for nearly 20 years. Jones Benally is also recognized by the state of Arizona as an Arizona Indian Living Treasure. Jeneda and Clayson Benally have performed with their father for over three decades, and have also made their mark (along with brother Klee) as the Native American Music Award-winning "alter-Native" punk band Blackfire. The siblings' newest project is the duo Sihasin ("hope"). Jones Benally's grandchildren are the next generation to take up the family legacy of Navajo music and dance.

Request ADA accommodations five days in advance at 202-707-6362 or ADA@loc.gov

More information is at this link!

Homegrown Concerts from the American Folklife Center of the Library of Congress

Les Filles de Illighadad
Tuareg Music and Song from Niger 

THURSDAY, SEPTEMBER 19, 2019, 12:00 PM, No Tickets Required
Coolidge Auditorium, Thomas Jefferson Building

Fatou Seidi Ghali, lead vocalist and guitarist of Les Filles de Illighadad, is one of the only Tuareg female guitarists in Niger. Sneaking away with her older brother's guitar, she taught herself to play. While Fatou's role as the first female Tuareg guitarist is groundbreaking, it is just as interesting for her musical direction. In Tuareg society, woman have traditionally been musicians, but not guitarists. They have been deeply involved with tende, a form of music centered on a drum traditionally made out of a mortar and pestles. Tende rhythms also deeply informed the development of Tuareg guitar music, which is mostly the province of men. In a place where gender norms have created these two divergent musics, Fatou and Les Filles de Illighadad are reasserting the role of tende in Tuareg guitar. In lieu of the djembe or the drum kit, so popular in contemporary Tuareg rock bands, Les Filles de Illighadad incorporate the traditional drum and the pounding calabash, half buried in water. They are thus reclaiming the importance of this forgotten inspiration of Tuareg guitar and asserting the power of women to innovate using the roots of traditional Tuareg music.

Fatou Seidi Ghali, Alamnou Akirwini, Fitimata Ahmadelher, and Abdoulay Madassane Alkika are from Illighadad, a secluded commune in central Niger, far off in the scrubland deserts at the edge of the Sahara. The village is only accessible via a grueling drive through the open desert and there is little infrastructure, no electricity, and no running water. But what the nomadic zone lacks in material wealth it makes up for deep and strong identity and tradition. The surrounding countryside supports hundreds of pastoral families, living with and among their herds, as their families have done for centuries.

Visit the concert page at this link for more information.

Request ADA accommodations five business days in advance at (202) 707-6362 or ADA@loc.gov

Please join us for a day-long symposium:

Women Documenting the World
Women as Folklorists, Ethnomusicologists & Fieldworkers
Thursday, September 26, 2019 
9:30 am -5:00 pm
Mary Pickford Theater, James Madison Building, Library of Congress

The American Folklife Center launches its multi-year initiative to highlight, explore, and celebrate the contributions of women as ethnographic fieldworkers and scholars with Women Documenting the World, a day-long program of talks, interviews, and discussions on Thursday, September 26. 

The free event, which is open to the public, calls attention to the role of women in establishing many of the foundational collections that enrich the American Folklife Center archive as well as other ethnographic archives throughout the world. It features presentations by contemporary researchers who are currently engaged in both national and international fieldwork, and includes brief presentations by American Folklife Center staff about important fieldwork collections in the American Folklife Center archive that were created by women, and that are too often overlooked.

Request ADA accommodations five days in advance at 202-707-6362 or ADA@loc.gov

Find further information at the link!

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Heidelberg : Physica-Verlag, [2005]

The future of design is upon us. Seamless interactions engineered between your personal tech and the world around you that reduce complexity. Artists that collaborate and cross mediums in realtime, streaming their art from mobile platforms. And a floating internet in the sky that could open the digital world to billions. Find out how the new designers are changing the way we will experience the future in the September 2013 issue of WIRED.

It’s an outdoor version of the claw game, but with fast, low flying helicopters as the claw and Christmas trees as the prize. At the Hunter Family Farm in Olympia, Wash., helicopter pilots fly across nearly 400 acres, picking up bundles of trees and transporting them, so they can be processed and loaded for your holiday pleasure.

Award-winning author James Bamford spent three days interviewing Edward Snowden in Moscow. He emerged with an indelible portrait of the elusive whistleblower, one that sheds new light on exactly what led Snowden to decide to leak tens of thousands of top-secret documents. Also in this month's issue: A new scientific effort to understand nutrition and health plus a riveting profile of Sin City auteur Frank Miller.

What happens when you take hi-tech toys and put them into overdrive? Find out, as Justin and Erik test out a brain-controlled helicopter, littleBits circuit modules, and a wheeling app-controlled robot called Ollie.

DJI’s latest batch of quadcopters lets users get sky-high while capturing hi-definition photography and video. Take a look under the hood of DJI’s Phantom 2 Vision+ and Inspire 1 to see how the technology and advanced features are allowing for a bird’s eye view that was previously reserved for, well, birds.

The 360fly is a water-water-resistent virtual reality action sports camera that works with your phone and Google Cardboard. We tested the $400 camera at the California Academy of Sciences Steinhart Aquarium.

Two Lockheed Martin helicopters, with help from a pair of drones, join forces to fight fires and save lives.

It’s time to start using an encrypted messaging app. Why? Using end-to-end encryption means that no one can see what you’re sharing back and forth.

If you’re looking for the stars of the aviation world—the biggest airliners, the fiercest fighters, the swankiest private jets, the smartest drones—pack your bags for France.

Tom Cruise is famous for doing his own stunts, and he's back in Mission: Impossible - Fallout with what might just be the most dangerous one yet--spinning a helicopter around while diving down over a waterfall. Cruise learned to fly at Airbus's base in Texas -- so WIRED's Jack Stewart went to find out what it takes.

I am going to write a “CSS for JavaScripters” book, and therefore I need to figure out how to explain CSS to JavaScripters. This series of article snippets are a sort of try-out — pre-drafts I’d like to get feedback on in order to figure out if I’m on the right track.

Today I present the first draft of the short overflow article. Feedback would be greatly appreciated.

*** START EXCERPT ***

"Web design is a constant battle against overflow."

- Rachel Andrew

Not knowing how tall something is is fundamental to web design. For instance, you cannot know in advance how long the texts will be that will be shown in your site. What happens if if the final text is much longer than the fake text you used during production? Or what if there's a wide image you hadn't counted on?

In both cases the content of your blocks will become larger than you expected, and if you've given them a fixed width or height that might lead to overflow: content escaping from the block — or at least, attempting to escape.

The easiest way to avoid overflow is not giving your blocks a fixed height in the first place. If you allow them to grow as tall and wide as they need to be you avoid quite a few problems.

This short chapter discusses how to deal with overflow.

CSS Is Awesome

The most famous example of overflow is the "CSS is Awesome" meme that's been around ever since 2009.

Born out of one web developer's frustration with CSS's overflow behavior, this meme took on a life of its own and became an example of what was wrong with CSS. Why would the 'Awesome' flow out of the box? Why should CSS be so complicated? Couldn't the box simply grow to contain the 'Awesome'?

Sure it could! And it would, except that you specifically instructed the box not to by giving it a fixed width. You could have used min-width or flexbox — both are good in dealing with unexpectedly large content — but you didn't. No doubt you had good reasons, but since it was your decision, the onus of solving any resulting issues is on you.

In these cases, the overflow declaration is your friend.

The overflow declaration

The overflow declaration allows you to define what to do with content that overflows its box. It has four values, visible, hidden, scroll, and auto. The default value is visible, and that's the one that causes the 'CSS is Awesome' effect.

overflow: visible means that you allow the content to spill out of its block. Although that keeps the content readable, it also means the content might overlap with the block below or to the right of the affected block, which can be very ugly.

When calculating the position of other blocks, the browsers' layout algorithm uses the width and height of the box you defined, and disregards the fact that content may be spilling out of the block. In fact, at that point in the algorithm the browsers have no way of knowing that the content overflows. [FACT-CHECK THIS]

Thus, when calculating the position of the next block the browsers place the block exactly where it should be given the height of the previous block and the margins of both. They do not pay the overflow any mind, wbich may cause the overflowing content to overlap the content of the next block.

Sometimes this is what you want — or rather, what you’re forced to live with. More often, though, you want to either generate scrollbars or hide the overflowing content entirely.

overflow: hidden hides the overflowing content. This creates a pleasing visual effect, but now there's no way for the user to get to the content. Therefore, hidden is something of a nuclear option: necessary in a few cases, but to be avoided whenever there's a better way of handling the situation.

overflow: scroll and overflow: auto generate scrollbars. The auto value generates scrollbars when they're necessary, while scroll scroll value always does so, even when no scrollbars are needed.

If scroll always generates those ungainly scrollbars, even when they're not needed, and auto only generates them when necessary, why would you ever use scroll? The reason is that a content change that generates or removes a scrollbar can be quite ugly.

Suppose you have a block with overflow: auto that initially does not need scrollbars. Then a script adds a lot of content to the block, causing overflow, and thus the generation of a scrollbar. Not only is this quite ugly in itself, but on some systems [BE MORE SPECIFIC] the scrollbar itself takes up about 16px of width and thus narrows the content area, which may lead to the reflowing of the text and even more overflow. And when the content is removed, all of that happens in reverse.

All this can give a quite jarring effect. For instance, see the position of the word "serves" in the two screenshots below. The creation of a scrollbar forces it to the next line, and that might be something you want to avoid.

The easiest way of preventing that effect is by giving the block overflow: scroll from the outset. Sure, the scrollbars may not be needed, but if they are there's no moving around of the content.

Block Formatting Context

[This is a practical tip that readers need to know about.]

An overflow value of anything but visible will create a new block formatting context. In old-fashioned float-based layouts it is sometimes necessary to create a block formatting context in order to contain a bunch of floats. (Just nod wisely for the moment; we'll get back to this.)

The easiest way of doing this is to add overflow: auto to the block, even though the block has no set height and the content will never actually overflow.

So if you're working in an old codebase and encounter a bunch of unexplained overflow: auto (or hidden) declarations on blocks that have height: auto, remember that they're meant to keep a float-based layout working properly. Only remove those overflows once you switched from floats to a modern layout system like grid or flex. If you do not intend to switch, leave the overflows in place as well.

Related declarations

In addition to the overflow declaration, there are also overflow-x and overflow-y declarations. They do what you'd expect them to do: they set the overflow on only the horizontal x-axis, or only the vertical y-axis. Otherwise they work exactly like overflow.

Also, iOS supports overflow-scrolling: touch, which enables momentum-based scrolling for overflowing elements. Without this declaration (or, more precisely, with the default overflow-scrolling: auto in place), overflowing elements scroll normally, i.e. they stop scrolling as soon as your finger leaves the screen. Android devices always use momentum-based scrolling, so they do not need this declaration. It doesn't hurt them, either, so it's perfectly safe to use. [TEST]

*** END EXCERPT ***

The ending is a bit abrupt, but I'm not entirely sure what to say next. Also, I'm not yet sure which chapter will come next, so I can't write a segue.

Anyway, please let me know what you think. I'm especially looking for feedback from JavaScript developers who are not all that good at CSS.

Hayden Library - TN672.I527 2012

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Dewey Library - QA221.O94 2019

Browsery DVD M1500.R63 C3 2017