EndNote software helps you collect, organize, and format references to articles, books, and other publications during the research and writing process. Currently affiliated Texas A&M University students, faculty and staff can obtain your free copy at https://software.tamu.edu/. (https://software.tamu.edu/) Select EndNote from the list of available software and go through the checkout process in order to get the link, but you will not be charged because it is free. Be sure to follow the directions when installing. NOTE: This is an in-person event. EndNote is installed on the computers in the library classroom. If you want to install EndNote on your personal laptop, please do so before the session and make sure it opens.By the end of the class, participants will be able to:1. Summarize what EndNote is and how it can assist with organizing and creating citations.2. Explain how to get the EndNote software.3. Create an EndNote library and add citations manually and through searching databases.4. Find full-text or attach PDFs for citations within EndNote.5. Manage an EndNote library by creating groups.6. Use EndNote extension within Word to insert in-text citations, edit them, and change citation styles.If you need accommodation under the Americans with Disabilities Act (ADA) to be able to participate in this event, please contact David Hubbard (hubbardd@library.tamu.edu) to communicate your needs at least 5 business days prior to allow us to facilitate a reasonable accommodation.This workshop may be eligible for GRAD Aggies credit (1 PDU). To receive credit, participants must attend the session, submit the Libraries' attendance form in a timely manner, AND complete any additional steps as required by the respective program. For more information about GRAD Aggies click here.

Research often includes personal, sensitive, or restricted data that must be handled with consideration to legal requirements or to protect personal privacy. In this workshop we will examine common sensitive data types, how Texas A&M's Research Compliance and Biosafety program expects you to protect that data throughout your project's lifecycle and the resources available to you for sensitive data storage and analysis, data de-identification, and data archiving and sharing.If you need accommodation under the Americans with Disabilities Act (ADA) to be able to participate in this event, please contact Sheila Green (sgreen@tamu.edu) to communicate your needs by October 9th to allow us to facilitate a reasonable accommodation.Audience: This workshop is most helpful for faculty, staff, and students who perform research with human subjects or restricted data.This workshop may be eligible for GRAD Aggies credit (1 PDU) and Responsible Conduct of Research (RCR) credit. To receive credit, participants must attendthe session, submit the Libraries' attendance form in a timely manner, AND complete any additional steps as required by the respective program. For more information about GRAD Aggies click here. For more information about RCR workshops click here.

The concept of pattern in the arts provides artists with tools that can limit creativity or suggest new avenues for exploration. They can offer a maker innovative options to explore with their accustomed materials and techniques; at times present a designer a means of control; advance a range of new ornaments and motifs to work with; and impart a new understanding of the relation between functional and decorative form. This exhibition will look at the impact of pattern in the arts using the University Art Galleries collections. 

Austin-based artist Shawn Smith merges nature and technology in his two- and three-dimensional work featuring life-size animals, insects and abstract self-portraits, exploring "how humans use data as a lens for looking at the anthropocene, species loss and habitat destruction." On view at Wright Gallery, Langford A, Room 212, from Sept. 16-Oct. 24. Artist talk: Sept. 26, 4-5 p.m.; reception from 5-6 p.m.

This exhibition consists of 50 images taken by photographer Bob Willoughby from 1950–1960. In these vibrant photos, Willoughby's appreciation for and understanding of jazz music is apparent. "Willoughby not only had a good eye, he had a keen ear, and seemed to know when to snap at an inspired moment." – Dave Brubeck By 1950 jazz was here to stay and had migrated its unique sound from the streets of New Orleans to American cities from coast to coast. As the world changed, jazz evolved as well. One of the foremost jazz scenes was in Los Angeles, CA. Some would say it was due to the laid-back surfer culture of California, but the jazz of this region had a flavor all its own and is often considered the birth of what we know as "smooth jazz" today. Willoughby developed photos at night in his Los Angeles garage as he listened to jazz on the radio. If he heard a live broadcast from a nearby venue, he'd drop everything to go take photographs. Willoughby's photographs stand out because of their realism and immediacy. Working in difficult lighting and crowded conditions, these images are jazz improvisation made manifest: they give the viewer a sense of vibrant intimacy as he captured wistful singers, jamming musicians, and enthusiastic audiences. Willoughby photographed jazz greats such as Ella Fitzgerald, Louis Armstrong, Miles Davis, DaveBrubeck, and Frank Sinatra, to name just a few. A Program of Exhibits USA with Texas Commission on the Arts and The National Endowment for the Arts.

For service information visit transport.tamu.edu/busroutes (http://transport.tamu.edu/busroutes)