forms developed in or with the support of commercial tech interests to make materials more easily discoverable by search engines and algorithms developed, again, in the commercial realm. No chapters make mention of how these outside platforms incorporate into or relate to the workflows of more traditional finding aids or institutional catalogs. There is an unbalanced and even uneasy power dynamic when cultural heritage institutions rely so heavily on these very new platforms. But it is not algorithms alone doing the heavy lifting: most of the projects described in the case studies retain interns or residents to promote discovery and use of digitized materials. The importance of this work is understated and the editors would have done well to explicitly draw attention and provide insight into how to build successful outreach programs. In summary, this volume is geared exclusively toward those who work in European GLAMs and would not be incredibly useful for American GLAM professionals unless they are working with European peer institutions or wish to compare American trends of copyright and digitized content with European practices. For such readers, this is an approachable and well-written volume with practical examples and strategy for implementing open licensing practices at a cultural heritage institution.

中文翻译：

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使用社交媒体建立图书馆社区：LITA 指南

在商业技术利益的支持下或在商业技术利益的支持下开发的形式，使材料更容易被搜索引擎和算法发现，同样是在商业领域开发的。没有章节提到这些外部平台如何纳入或涉及更传统的查找辅助工具或机构目录的工作流程。当文化遗产机构如此严重地依赖这些非常新的平台时，就会出现一种不平衡甚至不安的权力动态。但并非只有算法在做繁重的工作：案例研究中描述的大多数项目都聘请实习生或居民来促进数字化材料的发现和使用。这项工作的重要性被低估了，编辑本可以很好地明确引起注意并提供有关如何建立成功的外展计划的见解。总之，本卷专门面向在欧洲 GLAM 工作的人，对美国 GLAM 专业人士不会非常有用，除非他们与欧洲同行机构合作或希望将美国的版权和数字化内容趋势与欧洲做法进行比较。对于这些读者来说，这是一本平易近人且写得很好的书，其中包含在文化遗产机构实施开放许可做法的实际示例和策略。