Some years ago, in a moment of transition in leadership for a major special collections library, I was part of an advisory group where the prevailing opinion was that a faculty member with passionate interests in the research focus of the institution could successfully occupy the position of head librarian. We did not need someone with an MLIS degree, a PhD in a field related to the collections areas would do fine.

At a time when space in any academic library is at a premium, when we sometimes need to argue for shelf space rather than computers and group work pods, the University of Sydney Library has decided not only to keep and maintain its nineteenth century printing press, but to feature it through a printer in residence program.

Now in its third year, the program brings together a printmaker and a letterpress for eight weeks during semester. The intent is to engage with the library and its users, to bring the print workshop to life, to draw inspiration from the library's collection and to create a publication for the Artists’ Book Collection within Rare Books & Special Collections.

In an era of instant layout, digital word processing and electronic publishing what does the slow and laborious process of letterpress printing bring to a twenty-first century academic library? This residency demonstrates that understanding the process of making a publication can be just as vital and alive as the content of that publication - one letter at a time.

This paper describes and evaluates research undertaken by the author at the State Library of Queensland, in the collection, cataloguing, and presentation of audiovisual materials—specifically, sound materials beyond oral history and performance. It suggests that strategies drawn from transcription can make the sounds of the past more evident in digitised catalogues, and thus can make those sounds themselves more accessible to the public. In doing so it offers a different affordance of the archive to public experience: not just information about the past, but the affective impact of the past.

Writers, artists and academics have long used primary source material to inspire creative projects or uncover new evidence. Over time, different approaches have been taken to investigate and interpret one particular artist's collection, the Daphne Mayo Papers (UQFL119) at the Fryer Library, University of Queensland.1 Mapping the shift in research approaches, using text and image as well as more speculative modes of working, this article provides a case study into the past, present and future adaptation of the Daphne Mayo Papers as physical modes converge with digital ones.