These days it seems like everyone is on the social media bandwagon, but how can you assess the effectiveness of your social media strategy?   

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LAW LIBRARY level 3: HD8108.5.A2 C36 2012
Canada, Parliament, House of Commons, Standing Committee on Human Resources, Skills and Social Development and the Status of Persons with Disabilities, A Framework for Success: Practical Recommendations to Further Shorten the Foreign Qualification Recognition Process: Report of the Standing Committee on Human Resources, Skills and Social Development and the Status of Persons with Disabilities ([Ottawa]: Standing Committee on Human Resources, Skills and Social Development and the Status of Persons with Disabilities, 2012).
Online access:

LAW LIBRARY level 3: K235 .P83 2012
Claudio Michelon et al., eds., The Public in Law: Representations of the Political in Legal Discourse (Farnham: Ashgate, 2012).

LAW LIBRARY level 3: K1114.A42009 .O34 2012
Hideki Kanda et al., Official commentary on the UNIDROIT Convention on Substantive Rules for Intermediated Securities (Oxford: Oxford University Press, 2012).

LAW LIBRARY level 3: K3248.C55 H37 2011
Sonia Harris-Short, Aboriginal Child Welfare, Self-Government and the Rights of Indigenous Children: Protecting the Vulnerable Under International Law (Farnham: Ashgate, 2012).

LAW LIBRARY level 3: KD658 .D57 2012
Neal Geach & Chris Monaghan, eds., Dissenting Judgments in the Law (London: Wildy, Simmonds & Hill, 2012).

LAW LIBRARY level 3: KD703.W34 .W55 2012
Sean Wilken & Karim Ghaly, The Law of Waiver Variation and Estoppel, 3d ed. (Oxford: Oxford University Press, 2012).

LAW LIBRARY level 3: KD1583 .C37 2012
John Cartwright, Misrepresentation, Mistake and Non-Disclosure, 3d ed. (London: Sweet & Maxwell/Thomson Reuters, 2012).

LAW LIBRARY level 3: KD3525 .S69 2012
Simon Gardiner et al., Sports Law, 4th ed. (London: Routledge, 2012).

LAW LIBRARY reference room (level 2): KE850 .M33 2012
Bruce MacDougall, Introduction to Contracts, 2d ed. (Markham: LexisNexis Canada, 2012).

LAW LIBRARY reference room (level 2): KE8244 .C352 2012.
Canada, Supreme Court, Supreme Court of Canada (Ottawa: Supreme Court of Canada, 2012).

LAW LIBRARY level 3: KEB245 .R43 2011
British Columbia Law Institute, Potential Undue Influence Project Committee, Recommended Practices for Wills Practitioners Relating to Potential Undue Influence: A Guide (Vancouver: British Columbia Law Institute, 2011).

Online access:

LAW LIBRARY level 3: KF4755 .D454 2012
Richard Delgado & Jean Stefancic, Critical Race Theory: An Introduction, 2d ed. (New York: New York University Press, 2012).

LAW LIBRARY level 3: KU940 .L39 2012
Kit Barker et al., The Law of Torts in Australia, 5th ed. (South Melbourne: Oxford University Press, 2012).

LAW LIBRARY level 3: KU940 .S74 2012
Pam Stewart & Anita Stuhmcke, Australian Principles of Tort Law, 13th ed. (Annandale: The Federation Press, 2012).

LAW LIBRARY level 3: KU2035.A67 .F88 2012
Gabrielle Appleby, Nicholas Aroney & Thomas John, The Future of Australian Federalism. Comparative and Interdisciplinary Perspectives (Cambridge: Cambridge University Press, 2012).

LAW LIBRARY reference room (level 2): PN4783 .C35 2010
Patti Tasko, ed., The Canadian Press Stylebook: A Guide for Writers and Editors (Toronto: Canadian Press, 2010).

Images from Belkin art exhibition

Geng Jianyi, Excessive Transition series, 2008. 15 gelatin silver prints, steel and magnets. Courtesy of the artist and ShanghART Gallery, Shanghai. Photo: Michael Barrick.

Excessive Transition, a new art installation from Geng Jianyi, is now on display at Koerner Library until August 19.

Presented in conjunction with the exhibition Yellow Signal: New Media in China at the UBC Morris and Helen Belkin GalleryExcessive Transition (2008) is Chinese artist Geng Jianyi’s second contribution to a city-wide investigation of current media art production in China.

For this installation of Excessive Transition, Jianyi chose fifteen black-and-white hand-printed photographic prints of glass bottlenecks. These images show Jianyi’s technical playfulness, both in the darkroom and in his use of the depth of field of the camera. The prints demonstrate the distance between each object photographed and the window and cityscape outside as he repetitively frames each bottle as a form analogous to the human body. 

As Karen Smith suggests, for Jianyi, “Process has become as important as concept.” In Excessive Transition the artist has dramatically evidenced a trace of past processes of production. He presents photography as a powerful and versatile mechanism for artistic production that creates an awareness of present day consumption and complicates the work of the artwork. Jianyi refuses to simplify the existence of the objects portrayed to their mere utilitarian value and opts instead to surrender the bottlenecks, fathoming their content into a whimsical vision of unrest.

- From an essay by Fabiola Carranza, MFA candidate, Department of Art History, Visual Art and Theory

This work is part of Art in the Library, a collaborative project initiated in 2008 by the Belkin Art Gallery and Koerner Library to bring art to the UBC community. The program aims to open possibilities for interpretation and to create new perspectives from where to experience contemporary art.

About the Artist

Geng Jianyi was born in Zhenzhou in 1962. He now works out of Hangzhou, where he teaches at the China Academy of Art. Jianyi first gained recognition for his involvement with the avant-garde ‘85 New-Wave or ’85 Movement, a group formed by performance-based artists who used photography to document their conceptual efforts. His photographs explore the collective consent that enables us to identify mass-produced objects and how these objects in turn can offer us a sense of familiarity and self-identity in everyday life. Originally trained and recognized as a painter, Geng’s recent works have focused on the use of photography and video technologies. His interests are varied and his work explores issues of individuality and identity through his experience of daily life, friendships, and work.

Further reading:

  • Smith, Karen. “The Art of Duplicity.” In Chinese New Art, Post-1989. Hong Kong: Hanart Gallery, 1993.
  • Smith, Karen. “Zero to Infinity: The Nascence of Photography in Contemporary Chinese Art of the 1990’s.” In Reinterpretation: A Decade of Experimental Chinese Art (1990-2000), edited by Wu Hang. Guangzhou: Guangdong Museum of Art, 2002.

Spring at Koerner Library

As part of a multi-branch initiative, UBC Library has rolled out a combined service desk on the third floor of Koerner Library. Users can now access a broad range of services in one single location.

The multi-service desk offers information, research help and borrowing services. This integrated model will be implemented at UBC’s Okanagan Library this fall. The Irving K. Barber Learning Centre and Woodward Library will implement the new service desks in early 2013.

The changes are the result of recent service reviews conducted as part of the Library’s commitment to enhance student learning by developing user-centred spaces and services. The reviews were guided by input from students, faculty and staff, as well as reviews of other academic libraries across North America. The UBC Library Student Advisory Committee also provided input on the upcoming changes.

The changes at Koerner will continue this fall with the opening of the Research Commons. 

Stay tuned for more updates on the multi-service desks. For feedback or questions regarding the changes, please contact Lea Starr, Associate University Librarian, Research Services.

10:00-10:30 a.m.  Monday August 13  Scarfe 155

Set yourself up to use RefWorks in writing and formatting a paper.  Download Write’n’Cite and insert in-text citations while writing.  Bring your laptops (optional) & your questions.

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