Oxford Scholarship Online (OSO) launched in 2003 with 700 titles. Now, on its tenth birthday, it’s the online home of over 10,000 titles from Oxford University Press’s distinguished academic list, and part of University Press Scholarship Online. To celebrate OSO turning ten, we’ve invited a host of people to reflect on the past ten years of online academic publishing, and what the next ten might bring.
By Kathleen Fearn
It may be hard for some of us here at Oxford University Press to imagine a life without Oxford Scholarship Online (OSO), but even though it has reached the grand old age of 10 years old, it is still only a baby in comparison with some of our other venerable institutions. For example, the Oxford English Dictionary first published in 1884, 130 years ago, and the Oxford Almanack 340 years ago in 1674; even our celebrated duck pond is almost 200 years old. OUP employees in our Great Clarendon Street building are used to bumping into history in the most unexpected corners; my most recent find has been the story of the Oxford University Press Voluntary Fire Contingency, our very own fire brigade formed in 1885, with photos and artefacts displayed in a cabinet created from the space previously used to store the fire hoses. We even have an OUP Museum, open to the public (by appointment) and well worth a visit.
Yet even though OSO has existed for only a decade among centuries, for those of us working on book production, it has been a time of unprecedented change. My career at OUP began in 2006, when OSO was in its infancy, and my first impression of the office was, well, that I couldn’t see very much of it beneath the piles and piles of paper: manuscripts, galley proofs, first proofs, second proofs, final proofs, on desks, shelves, often even on the floor. At each stage of production, we diligently photocopied the pile just in case the courier should misplace our precious bundle. Production Editors faced the constant health hazard of paper cuts, to be feared only a little less than that dread moment when the padded envelope containing the author’s proofs splits on opening, sending an explosion of sticky grey dust over desk, floor, and clothes. The end of the production process came with the delivery of a box of (hopefully) pristine advance copies and the eventual recycling of a wall or two of our paper fortress.
The development of digital publishing was, of course, well under way, and as more and more modules were added to OSO, the production teams began to get involved in the delivery of titles online. We have worked from the start to create our online content using XML, and although the words and spaces on the screen may be the same as those in the print book, there’s actually an awful lot going on behind the scenes, as it were. Abstracts and keywords, for example, make it much easier for the reader to find what they’re looking for online, and these, together with other bits of metadata generated during the publication process, make it possible to link up each title with other relevant resources. One of our biggest challenges was, and to some extent still is, making sure that what works in a print book also works on a PC – and now on a tablet or mobile phone too. There’s no point in referring a reader to a picture overleaf when there are no pages to turn, and it’s not at all easy to create working cross-references using that old print standard, ibid.
During OSO’s life, the days of paper in the office have also passed. If you visit us today, it’s a lot easier to spot the team at their desks, as most of the production processes are now carried out on-screen. (Since we’re enjoying the benefits of a paper-light life, we’re glad that OSO readers can also save those 400 metres of shelf space freed up by reading online.) And although we still look forward to opening those advance copies, we don’t stop there, as we’ll often also be delivering the same content as an e-book and for online publication. No one knows exactly what the digital world will look like when OSO reaches its twentieth birthday, but even if our paper proofs have been consigned to the museum with the hot metal typesetting, we’ll still be producing great OUP content in whatever format our readers want and need.
Kathleen Fearn is the Content Operations Manager for Oxford University Press’s Law, Academic, and Trade books in the UK.
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Image: Urval av de böcker som har vunnit Nordiska rådets litteraturpris under de 50 år som priset funnits by Johannes Jansson/norden.org. CC-BY-2.5-dk via Wikimedia Commons.
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Hello PG
Oh it is of great comfort to know I am not the only one living in chaos.. my chaos is fairly contained in one corner but .. what a corner.. piled high with 1950's annuals, Blank cards, envelopes, badges, badge machine etc etc.
I am very envious of your book press.. should have kept mine.. sold it years ago in moment of madness!
Thank you for the book recommendation.. I will seek later. Your Life your Style sounds intriguing.. will have to investigate.
Michelex
It looks like you have been very busy indeed. Your printed labels are beautiful, and the chaos will decline as soon as the season is well upon ye, I'm sure :)
The pheasant sound delicious, I watch them in the fields next to my place-of-work and think of our local game shop... They are pretty things.
Anyway, thanks for the suggestion, I'll look that track up!
Um... It all looks quite neat to me. And where do I sign up to live in a village. I love the idea of Julie and I owning a cottage on the shore somewhere. I wanted to see if you'd post 5 random things about yourself. Alicia Padron tagged me and I usually don't go for that sort of thing but i did.
You are living my life of the past nearly-two-years... (gets old, dudn't it?)
I am relieved to see you are still alive, however. I was beginning to worry a bit!
Those tags look fabamundo. Well done. Now breathe!
No rest for the wicked hey!!! I'm so glad your in my group!! Maybe we can be wicked together??????
Heh heh, it's creative chaos, at least! Me, I have a load of stuff heaped on top of my printing press at the minute!
That's relatively tidy.....you should see my 'work station'!! Love those tags - they've all turned out really well.
I cannot believe you have not opened your parcels!!!Just thinking about it makes me agitated!!
We love pheasant too and I have to admit that I let Ian see to them.
Your piles are clearly all creative. I am a bit of a pile creator myself.
Beautiful labels G.
P.x
The tags look wonderful. I'm pleased to see sometimes you are not so tidy but probably still tidier than me!!!! I can't see my floor for pink and purple tissue paper and envelopes.
I think if I spent 2 hours cleaning my workstation, it might come up to par with your ;)
Lovely labels too!
Dear Gretel,
your tags are truly beautiful!
I started today to transfer the stuff on my desk to the guestroom. I use our spare dining table during the year, but we will need it to accomodate all of our Thanksgiving guests on Saturday. In the guestroom I have a real writing desk, but I like the dining room's southern location better. ;-)
I wish you good luck and time for a real breather every now and then!
First visit here, Love it, you have a great blog!
Fantastic illustrations, Mushrooms and newts!
Love it!
Sandra Evertson
How an earth can you have packages and not open them !!!!
I keep saying that when I receive Christmas cards this year, I'm not going to open them, but save them all to open Christmas morning. Of course as much as I really want to do this, I don't have the will power to carry it through. ~ love Julia x
Ah, so annoying, I just wrote you a long fellow-artist message about the perils of this time of year.
And so much more.
And then the server failed.
So, here is the not even nearly as good comment, just to let you know that even in this over-heated New York apartment, I do feel connected to you clutter, and your pheasants, and you attempting to keep up with the demands of Christmas.
xo
Hello, i really like your 'After the Ball' pic on etsy... i haven't seen anything like that, with inky outlines, from you before, have i? Anyway, like it! And hope you are well :o) x
Oh how well we know what a messy studio can look like, for when we prowl into Her studio it is always in chaos. But sometimes, just now and again, we find that She has left a painting and some paints for us to help with.
Now the studio is cold and unloved. Maybe tomorrow She will be back in it.
But we feel that maybe they are meant to be chaotic places, and when they are tidy no work is done.