Looking under the hood, few of these museums have created online publications that truly advance technology in any practical way. None of them created new features for collecting articles, annotating them, or participating in their making, for example, all of which are technologically viable (though rarely promoted). Considering that this is an industry that trades on the creativity of its members, and that many museums directed substantial budgets towards the creation of these magazines, it is a squandered opportunity for the publishing community to consider these newly-foundedpublications as opportunities to research needs in online publishing and develop new technologies that may advance online publishing as a whole. What these publications did do, however, is shape their readers' attitudes towards—and expectations of—online publishing in the arts. The team that developed Verso wrote a long reflection about it in Beyond the Printed Page: Museum Digital Publishing Bliki (a bliki, according to Beyond the Printed Page, is a combination of a blog and a wiki. Moderated by staffers of the Art Institute of Chicago and edited by a committee from a number of US museums it runs posts by museum publishers, editors, and designers about digital strategy, copyright, functionality, and examples for digital publishing in the museum context) explaining that their goal was not to take a print publication and turn it into a PDF with some hyperlinks. Instead, they designed it to be interactive, so that every story has video and audio features or high-resolution images. These features provide one good reason to make the leap from reading print publication to digital ones and Verso provides a great example of the irreplaceable benefits of e-publishing. The impact of which is already visible, for example, in an emblem of museum publishing, which is currently undergoing a conceptual overhaul—the scholarly collections catalogue. A book that describes the museum's holdings, including physical condition report, provenance and exhibition history, and research about each piece in a museum's collection, the collections catalogue essentially becomes dated the second it is printed. Works are acquired and deaccessioned, others are restored or loaned out—and all these details need to be constantly updated in a book that is oftentimes already a tome of sizable proportions. In 2013, the Getty Foundation set up OSCI, the Online Scholarly Catalogue Initiative, introducing digital publishing as a natural solution to the need for—and problematic nature of—the collections catalogue. In the Getty's online magazine, Iris, Anne Helmreich, the senior program officer at the Getty, explains what makes the collections catalogue such a strong candidate to make the shift to digital publishing: "Because almost all museums produce them, yet they have serious limitations. Catalogues become quickly outdated any time a new work is acquired or new research is discovered, and the space constraints of print often limit how much information a curator or conservator can include." OSCI has produced numerous catalogues for institutions like the Seattle Art Museum, LACMA, and the Walker Art Center. The latter published a piece on its journal about the creation of its Living Collections Catalogue, which allows the museum to continually update their holdings, but also to present parts of its collections, such as performance art commissions and internet artworks, which would traditionally not be published in a book, at least not to a full effect. This layered approach to the possibilities of digital publishing is exactly the contribution that museums can make to the constantly growing field of online publishing.