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REDCap
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 | This article contains promotional content. (October 2021) |
| REDCap | |
|---|---|
| Developer | Vanderbilt University |
| Initial release | August 2004 |
| Stable release | v14.1.2
|
| Written in | PHP |
| Operating system | Unix-like, Windows, Linux |
| Type | Research software, Clinical trial, CRF software |
| Website | projectredcap |
REDCap (Research Electronic Data Capture) is a browser-based, metadata-driven EDC software and workflow methodology for designing clinical and translational research databases.[1] It is widely used in the academic research community: the REDCap Consortium is a collaborative, international network of more than 5900 institutional partners in 145 countries, with more than 2.1 million total end-users employing the software. Over 19,000 journal articles cite REDCap.[2]
History
[edit]REDCap was developed by an informatics team at Vanderbilt University with ongoing support from NCRR and NIH grants[3] and first released in 2004.[4] REDCap was designed to address common problems for academic biomedical researchers hoping to use electronic databases. First, major vendor EDC and CDMS software is designed and priced for large clinical trials, and can be prohibitively expensive for investigator-initiated studies or other such studies at a smaller scale.[5] Second, the independent research environment often lacks the informatics and other multidisciplinary support necessary for effective IT integration into research protocols.[6] The REDCap software as distributed through the REDCap consortium attempts to facilitate informatics support for clinical researchers and foster a collaborative network of institutional researchers who share and support REDCap as a common research tool.[1]
Software licensing and intended use
[edit]Although REDCap is available at no charge to institutional partners – discounting the cost of internal IT support staffing – REDCap is expressly not open-source software. Certain end-user license agreements distinguish it from a typical open-source license. Namely, the software is restricted in use, permitted only for non-commercial research purposes. REDCap is also restricted in redistribution because Vanderbilt is the only entity that can distribute it. Furthermore, any and all derived works – such as innovations or programmatic features added on by the user – are essentially owned by Vanderbilt. Vanderbilt catalogues such derived works in their REDCap Consortium library, which is available to all consortium members.[7] The REDCap End-User License Agreement[8] also encompasses control by Vanderbilt over its licensees' publications on or about REDCap, specifying that Vanderbilt shall coordinate and have editorial control over any "publications created by CONSORTIUM MEMBERS which discuss the SOFTWARE and its methodologies, functionality, and/or abilities." Publications that describe scientific studies which have utilized REDCap are exempt from these editorial restrictions.[9]
The REDCap software is distributed from Vanderbilt to institutional consortium partners, who in turn give research teams access to REDCap. REDCap project design has an intended workflow outlined by the developers.[1] Upon request, the informatics core gives the research team a demonstration of REDCap, highlighting the most relevant user interface features. The researchers then fill out a Microsoft Excel spreadsheet file with key metadata (i.e. field name, data-type, data range, etc.) about each measurement in their CRF. The informatics core converts this spreadsheet template into study-specific database tables which are linked to a working web-based EDC forms and applications environment. The researchers then test this prototype web application by filling out dummy data, and the metadata spreadsheet is revised and refined in an iterative process. Once the REDCap project design is finalized, the application is deployed from development to production mode, all dummy data is lost, and researchers begin committing actual patient data.[citation needed]
The REDCap design workflow exhibits certain limitations that merit consideration. Once a project enters production mode, revisions to the database design require approval from the informatics core. Additionally, specific alterations to production mode are not permissible. For instance, the REDCap calendar tool precludes production mode revisions to calendar metadata, thereby necessitating researchers to exercise caution when creating metadata and event-handlers, to avoid committing to the inflexibility of production mode.[10]
References
[edit]- ^ a b c Paul A. Harris; et al. (2009). "Research electronic data capture (REDCap) – A metadata-driven methodology and workflow process for providing translational research informatics support". Journal of Biomedical Informatics. 42 (2): 377–381. doi:10.1016/j.jbi.2008.08.010. PMC 2700030. PMID 18929686.
- ^ "REDCap". Project-redcap. Retrieved 2022-05-06.
- ^ [NCRR grants 5M01-RR00095, G12RR03051, 5M01RR000058-45, and 1 UL1 RR024975 from NCRR/NIH]
- ^ Harris, P. A.; Taylor, R.; Thielke, R.; Payne, J.; Gonzalez, N.; Conde, J. G. (2008). "Research Electronic Data Capture (REDCap) - A metadata-driven methodology and workflow process for providing translational research informatics support". Journal of Biomedical Informatics. 42 (2): 377–381. doi:10.1016/j.jbi.2008.08.010. PMC 2700030. PMID 18929686.
- ^ Michelle Zubatch (2006-04-14). "Value of Hosted Clinical Data Environments". Bio-itworld. Archived from the original on 2012-03-05. Retrieved 2012-05-09.
- ^ Zerhouni (2003). "A New Vision for the National Institutes of Health". J Biomed Biotechnol. 2003 (3): 159–160. doi:10.1155/S1110724303306023. PMC 400215. PMID 12975529.
- ^ "REDCap". Project-redcap. Retrieved 2012-05-09.
- ^ "End-User License Agreement". Project-redcap. Archived from the original on 2012-03-10. Retrieved 2012-05-09.
- ^ Sections 3.2, 3.3 of End-User License Agreement, (accessed 2010-Sep-30).
- ^ "The Project Calendar (5 min)". Redcap vanderbilt education. Retrieved 2012-05-09.
REDCap
View on Grokipediafrom Grokipedia
A redcap, also known as a powrie or dunter, is a malevolent goblin-like creature from the folklore of the Anglo-Scottish border region, depicted as a short, thickset elf with long prominent teeth, skinny taloned fingers, fiery red eyes, grisly hair, iron boots, and a distinctive red cap stained with the blood of its victims.[1] These beings inhabit ruined castles and towers, especially those linked to historical battles, tyranny, or judicial murders, where they ambush and kill intruders using stones, bricks, or a pikestaff, then dye their caps in the fresh blood to sustain their vitality—believed to wither and die if the cap fades.[2] Classified among the Unseelie Court of malevolent fairies, redcaps are renowned for their speed, ferocity, and bloodthirstiness, making them nearly impossible to outrun or escape, though some traditions suggest they can be repelled by reciting scripture or wielding iron.[3]
One of the most famous redcap legends involves Robin Redcap, a familiar spirit summoned by the 13th-14th century Scottish nobleman William de Soulis, lord of Hermitage Castle in the Scottish Borders, who was notorious for his cruelty and sorcery.[1] In exchange for granting de Soulis invulnerability and magical protection, Robin Redcap demanded freedom to terrorize the countryside, hurling massive stones at villagers and travelers while the lord conducted dark rituals within the castle's walls.[3] The tale culminates in de Soulis's downfall: enraged locals, guided by prophecies from the seer Thomas the Rhymer, captured the lord by binding him in a leaden belt filled with sand (as iron would not hold the sorcerer), before boiling de Soulis alive in molten lead at nearby Nine Stane Rigg, thereby banishing Robin Redcap and ending his reign of terror—though folklore persists that the creature's spirit and hidden treasures still haunt the ruins.[1] This story, rooted in historical accounts of de Soulis's real imprisonment for treason in 1320, underscores the redcap's role as a symbol of unchecked evil and the perils of consorting with malevolent supernatural forces in border folklore.[3]
Etymology and Names
Origins of the Term
The term "redcap" in Scottish folklore derives directly from the malevolent goblin's practice of dyeing its cap red with the blood of its victims, a gruesome detail central to its depiction as a bloodthirsty spirit.[4] This nomenclature emphasizes the creature's association with violence and murder, distinguishing it from other border sprites like brownies or bogles.[4] The earliest printed reference to "redcap" appears in Sir Walter Scott's Minstrelsy of the Scottish Border (1802), where it is described as a "popular appellation of that class of spirits which haunt old castles," with every ruined tower in southern Scotland believed to house such an entity. Scott's collection, drawing from oral traditions and earlier manuscripts, solidifies the term within Anglo-Scottish border lore, particularly in the ballad "Lord Soulis," which features a redcap as a familiar spirit. Although printed in the early 19th century, the usage reflects longstanding vernacular traditions predating widespread literacy in the region. The term's emergence aligns with the turbulent history of the Anglo-Scottish border, a period marked by border reivers, castle sieges, and intermittent wars that fostered tales of vengeful, murderous imps tied to sites of bloodshed. In this context, "red" evoked the symbolism of violence and spilled blood, embedding the redcap in oral narratives of the era's lawlessness, as later documented by folklorists like William Henderson in Notes on the Folk-Lore of the Northern Counties of England and the Borders (1879).[4] These stories, often shared among reiver clans, connected the creature to peel towers and fortified houses haunted by echoes of historical atrocities.Alternative Names
In Scottish and English border folklore, the redcap is known by several regional synonyms that reflect dialectal variations and local traditions, with "redcap" itself serving as the most widespread identifier across tales.[5] The name "powrie," prevalent in Lowland Scottish tales, derives from "pow," referring to the rumbling sound the creature makes while lurking.[5] This variant emphasizes the auditory aspects associated with the being in oral traditions of the Scottish Borders.[6] In Northumbrian variants, the creature is called "dunter," stemming from "dunt," meaning to bang or hit, alluding to the thudding sounds made by its iron boots or other noises.[5][7] Other names, such as "redcomb," "bloody cap," appear in 18th- and 19th-century folklore compilations, including those by Walter Scott, and highlight the blood-soaked headwear central to the redcap's depiction.[6][5]Physical Description and Habitat
Appearance
In traditional Scottish Border folklore, the redcap is depicted as an elderly, dwarfish male figure characterized by thickset build, blazing red eyes that glow with a fiery intensity, long protruding teeth capable of tearing flesh, grisly hair streaming down its shoulders, and skinny fingers ending in eagle-like talons suited for ripping victims.[8] This grotesque form is most commonly associated with the creature's presence in ruined castles along the Anglo-Scottish border.[9] The redcap's short stature belies its agility, facilitated by heavy iron boots that produce a distinctive loud clanking as the creature moves swiftly across the landscape.[8] It often carries a pikestaff, gripped in one hand, which complements its menacing silhouette.[9] Central to the redcap's iconography is its red cap perpetually stained with the blood of murdered travelers, from which the creature earns its name.[8]Habitats
In Scottish Border folklore, redcaps are primarily associated with ruined castles and towers along the Anglo-Scottish border, where they are said to dwell in the remnants of structures steeped in violence and bloodshed. Notable examples include Hermitage Castle in Roxburghshire, a medieval fortress linked to turbulent history, which features prominently in tales of these malevolent goblins haunting forsaken fortifications.[10][11] These creatures exhibit a strong preference for desolate, wind-swept ruins arising from medieval conflicts, particularly the defensive watchtowers and peel towers constructed during the Border Reivers' raids in the 16th century, when cross-border skirmishes left many such sites abandoned and bloodied. Peel towers, small fortified keeps built for protection against reiver incursions, provided ideal lairs due to their isolation and grim associations with warfare along the contentious frontier.[12][9] Redcaps are depicted as nocturnal beings, active primarily under the cover of darkness within these dilapidated sites, and folklore emphasizes their aversion to well-maintained or inhabited structures, confining their presence to the most forsaken and eerie locales.[13][11]Behavior and Abilities
Hunting and Murderous Nature
The redcap embodies the murderous essence of Border folklore, serving as a relentless predator that preys on weary travelers and intruders venturing into the ruined castles and peel towers along the Anglo-Scottish border. These goblins, often associated with sites of historical tyranny like Hermitage Castle, ambush their victims with explosive speed, facilitated by the iron boots they wear, allowing them to close distances rapidly across castle grounds. Armed with a pikestaff in one hand and their natural weapons in the other, redcaps fling massive stones at shelter-seeking wanderers before closing in to tear them apart using skinny fingers tipped with eagle-like talons and long, prominent teeth.[14] Central to the redcap's savage nature is its dependence on human blood, which it collects from the eviscerated bodies of its kills and uses to dye its cap a vivid crimson, sustaining its malevolent existence. Folklore describes the creature as thriving on this fresh vitae, with the blood-soaked cap—earning it names like "Bloody Cap" or "Redcomb"—essential to its immortality; tales imply that deprivation leads to frailty, spurring increasingly desperate attacks on any who cross its domain. This bloodlust aligns with the violent history of the borders, where the redcap's hunts intensified amid the chaos of reiver raids and skirmishes, targeting the plentiful transients caught in the region's turmoil.[14][1] The ferocity of these assaults underscores the redcap's role as an embodiment of unchecked malice, evading capture through its swift movements and only relenting when sated, leaving behind the gruesome remnants of its predation in the shadowed ruins it haunts.[14]Weaknesses and Repulsion
Redcaps, as malevolent entities in Scottish Border folklore, possess several supernatural limitations that serve as traditional means of defense against their predations. Religious symbols and the recitation of scripture provide another effective repulsion method; quoting passages from the Bible or displaying a crucifix compels the redcap to flee in anguish, often vanishing with a piercing scream and leaving behind a single large tooth as residue.[15] This reaction underscores the creature's aversion to Christian sanctity, rendering such invocations a reliable ward for those encountering it in ruined strongholds.[16] Furthermore, redcaps exhibit a critical dependence on fresh blood to sustain their vitality, and deprivation leads to rapid exhaustion, compelling them to withdraw to their lairs in abandoned castles rather than engage in extended chases.[15] This broader frailty ties directly to their blood-soaked caps, which must be periodically renewed to prevent the creature from withering away.[15]Legends and Variations
The Tale of William de Soulis and Robin Redcap
William de Soulis (died c. 1321), a prominent Scottish nobleman and lord of Liddesdale during the reign of King Robert the Bruce, held significant lands including Hermitage Castle in the Scottish Borders. Historically, he was accused of treason in 1320 for allegedly participating in a conspiracy to assassinate the king and seize the throne, leading to his arrest and imprisonment at Dumbarton Castle, where he died shortly thereafter.[17] In Scottish folklore, de Soulis is portrayed as a tyrannical sorcerer who summoned Robin Redcap, a malevolent goblin from the Unseelie Court, as his demonic familiar to aid in his dark deeds. This bloodthirsty creature, known for dyeing its cap with the blood of victims, enforced de Soulis's rule by murdering rivals and terrorizing locals, including the abduction of children for ritualistic purposes, thereby perpetuating the lord's oppressive reign through bloodshed and black magic.[1][18] According to the legend, Robin Redcap granted de Soulis protection from steel weapons in exchange for loyalty and freedom to wreak havoc, but warned that only a rope woven from sand could bind him. Enraged tenants, guided by the prophet Thomas the Rhymer, eventually captured de Soulis and boiled him alive in molten lead at the nearby Ninestane Rig stone circle in 1320, fulfilling a prophecy that no blade could end him. Following this gruesome fate, Robin Redcap vanished, though tales persist of the creature's lingering presence and the haunting of Hermitage Castle by restless spirits. This narrative, blending historical treason with supernatural elements, was popularized in 19th-century retellings, notably in Walter Scott's Minstrelsy of the Scottish Border, which draws on Border traditions to depict de Soulis's pact with the goblin.[1][18][19]Other Regional Variants
In Northumbrian folklore, redcaps are sometimes portrayed as fierce guardians of hidden treasures concealed within ancient ruins, where they ambush intruders by hurling stones rather than relying on claws or talons to deter treasure-seekers.[20] This variant emphasizes their role as territorial sentinels in dilapidated border structures, protecting hoarded riches amassed from past conflicts, diverging from more bloodthirsty depictions elsewhere.[11] In Lowland Scottish tales, powries—closely related to redcaps—manifest through eerie rumbling or whirring sounds, akin to the beating of flax or the hum of a spinning wheel, which echo from specific haunted sites to lure unsuspecting victims closer before striking.[20][11] English border adaptations occasionally reimagine redcaps as diminutive, impish dwarves that serve as familiars to witches, assisting in malevolent deeds with less focus on their blood-soaked caps and greater emphasis on the ominous clanking of their iron-soled boots as a harbinger of mischief.[20] These versions highlight their subservient yet treacherous nature in rural witchcraft lore, where the boot's rhythmic noise warns of approaching supernatural aid to spellcasters.[11]Cultural Depictions
Comparisons to Similar Creatures
The redcap shares notable similarities with the Scottish boggart, as both are categorized in British folklore as malevolent goblins or household spirits known for their troublesome and harmful behaviors toward humans. According to folklorist Katharine M. Briggs, boggarts often manifest as mischievous domestic entities, akin to offended brownies, engaging in pranks such as stealing food, upsetting children, or causing poltergeist-like disturbances within homes, sometimes even following families during relocations.[21] In contrast, redcaps exhibit a more nomadic and sanguinary disposition, dwelling in abandoned peel towers and ruined castles along the Anglo-Scottish border rather than fixed households; they actively hunt travelers, compelling them to flee or face death, and distinguish themselves by dyeing their distinctive red caps in the blood of their victims—a ritualistic trait underscoring their demonic ferocity, which sets them apart from the boggart's relatively contained, prank-oriented malice.[21] Parallels also exist between the redcap and the Irish dullahan, both serving as violent harbingers of death within Celtic mythical traditions, evoking terror through their association with mortality and brutality. The dullahan, a headless rider from Irish folklore, roams the countryside on a black horse, carrying its severed head under its arm like a lantern to illuminate the path to the dying, and is said to whip its steed with a human spine while calling out names to summon souls.[22] While sharing this role as an omen of doom and capacity for gruesome violence—such as decapitation or pursuit unto death—the dullahan emphasizes supernatural mobility and inevitability on horseback, contrasting the redcap's grounded, goblin-like form equipped with iron boots for swift, clanking chases on foot, along with its clawed hands and fiery red eyes.[21] This divergence highlights regional variations in how borderland violence is personified, with the redcap's blood-dyeing ritual further accentuating its personal stake in murder. The redcap's lore connects to English goblin variants, particularly those localized around Carlisle in the northern border regions, where tales emphasize the creature's role in perpetuating the area's history of raids and bloodshed. These English iterations, often depicted as short, grotesque figures haunting forsaken fortifications, mirror the Scottish redcap in their predatory nature but adapt to emphasize cross-border conflicts, influencing 19th-century folklorists' taxonomies of fairies. Andrew Lang, in his collections of Scottish border tales, portrayed redcaps as sly, malevolent spirits tied to ancient ruins and hidden treasures, contributing to broader classifications that grouped them with goblins as embodiments of regional peril rather than whimsical sprites.[10]Modern Interpretations
In contemporary role-playing games, the redcap has been reimagined as a diminutive yet ferocious fey antagonist, most notably in the fifth edition of Dungeons & Dragons (2014), where it appears as a chaotic evil creature in Volo's Guide to Monsters (2016). This version portrays the redcap as a small, wiry goblinoid with iron boots and a blood-soaked cap that grants it a "blood rage" ability, allowing it to regenerate hit points during combat as long as it wears the cap and remains above 0 hit points, emphasizing its relentless murderous drive.[23] This depiction has influenced broader fantasy RPG design, serving as a template for low-level threats in games like Pathfinder and indie titles, where redcaps embody unbridled violence in feywild settings.[24] The redcap's adaptation into literature and television often amplifies its horror aspects, shifting from traditional fairy lore to portrayals of vengeful, bloodthirsty entities. In the TV series Supernatural (season 6, episode 9, "Clap Your Hands If You Believe...," 2010), redcaps are depicted as malevolent fairies who disguise themselves in human form and soak their hats in victims' blood, hunting with iron weapons and repelled only by faith or iron—highlighting a supernatural thriller tone over whimsical folklore.[25] Literary examples include Rob Thurman's urban fantasy novel Madhouse (2008), where the infamous cannibal Sawney Bean is reinterpreted as a redcap, blending Scottish legend with modern horror to underscore themes of inherited monstrosity.[26] These portrayals retain the traditional motif of dyeing their caps in fresh blood to maintain power, but frame it as a grotesque curse driving endless predation.[27] In the 2020s, the redcap has seen renewed interest in Scottish cultural heritage initiatives, particularly through digital storytelling and tourism promotion tied to border ruins. Organizations like Folklore Scotland have featured the redcap in online articles and podcast discussions, such as explorations of border goblins in episodes around 2023, to highlight sites like Hermitage Castle—its legendary home—and attract visitors interested in dark folklore amid post-pandemic heritage tourism recovery.[1] These efforts position the redcap as a symbol of Scotland's turbulent border history, with no significant new media adaptations noted after 2023, focusing instead on educational content to boost regional visitation without major commercial reboots.[28]References
- https://en.wikisource.org/wiki/Notes_on_the_folk-lore_of_the_northern_counties_of_England_and_the_borders/Chapter_7
- https://en.wikisource.org/wiki/Notes_on_the_folk-lore_of_the_northern_counties_of_England_and_the_borders