THE BRITISH LIBRARY

Digital scholarship blog

109 posts categorized "Projects"

06 August 2018

Reminder about the 2018 BL Labs Awards: enter before midnight Thursday 11th October!

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With three months to go before the submission deadline, we would like to remind you about the 2018 British Library Labs Awards!

The BL Labs Awards are a way of formally recognising outstanding and innovative work that has been created using the British Library’s digital collections and data.

Have you been working on a project that uses digitised material from the British Library's collections? If so, we'd like to encourage you to enter that project for an award in one of our categories.

This year, the BL Labs Awards is commending work in four key areas:

  • Research - A project or activity which shows the development of new knowledge, research methods, or tools.
  • Commercial - An activity that delivers or develops commercial value in the context of new products, tools, or services that build on, incorporate, or enhance the Library's digital content.
  • Artistic - An artistic or creative endeavour which inspires, stimulates, amazes and provokes.
  • Teaching / Learning - Quality learning experiences created for learners of any age and ability that use the Library's digital content.

BLAwards2018
BL Labs Awards 2018 Winners (Top-Left- Research Award Winner – A large-scale comparison of world music corpora with computational tools , Top-Right (Commercial Award Winner – Movable Type: The Card Game), Bottom-Left(Artistic Award Winner – Imaginary Cities) and Bottom-Right (Teaching / Learning Award Winner – Vittoria’s World of Stories)

There is also a Staff Award which recognises a project completed by a staff member or team, with the winner and runner up being announced at the Symposium along with the other award winners.

The closing date for entering your work for the 2018 round of BL Labs Awards is midnight BST on Thursday 11th October (2018). Please submit your entry and/or help us spread the word to all interested and relevant parties over the next few months. This will ensure we have another year of fantastic digital-based projects highlighted by the Awards!

The entries will be shortlisted after the submission deadline (11/10/2018) has passed, and selected shortlisted entrants will be notified via email by midnight BST on Friday 26th October 2018. 

A prize of £500 will be awarded to the winner and £100 to the runner up in each of the Awards categories at the BL Labs Symposium on 12th November 2018 at the British Library, St Pancras, London.

The talent of the BL Labs Awards winners and runners up from 2017, 2016 and 2015 has resulted in a remarkable and varied collection of innovative projects. You can read about some of the 2017 Awards winners and runners up in our other blogs, links below:

BLAwards2018-Staff
British Library Labs Staff Award Winner – Two Centuries of Indian Print


Research category Award (2017) winner: 'A large-scale comparison of world music corpora with computational tools', by Maria Panteli, Emmanouil Benetos and Simon Dixon. Centre for Digital Music, Queen Mary University of London

  • Research category Award (2017) runner up: 'Samtla' by Dr Martyn Harris, Prof Dan Levene, Prof Mark Levene and Dr Dell Zhang
  • Commercial Award (2017) winner: 'Movable Type: The Card Game' by Robin O'Keeffe
  • Artistic Award (2017) winner: 'Imaginary Cities' by Michael Takeo Magruder
  • Artistic Award (2017) runner up: 'Face Swap', by Tristan Roddis and Cogapp
  • Teaching and Learning (2017) winner: 'Vittoria's World of Stories' by the pupils and staff of Vittoria Primary School, Islington
  • Teaching and Learning (2017) runner up: 'Git Lit' by Jonathan Reeve
  • Staff Award (2017) winner: 'Two Centuries of Indian Print' by Layli Uddin, Priyanka Basu, Tom Derrick, Megan O’Looney, Alia Carter, Nur Sobers khan, Laurence Roger and Nora McGregor
  • Staff Award (2017) runner up: 'Putting Collection metadata on the map: Picturing Canada', by Philip Hatfield and Joan Francis

For any further information about BL Labs or our Awards, please contact us at labs@bl.uk.

01 August 2018

Visualising the Endangered Archives Programme project data on Africa, Part 1. The project

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Sarah FitzGerald is a linguistics PhD researcher at the University of Sussex investigating the origins and development of Cameroon Pidgin English. She is currently a research placement student in the British Library’s Digital Scholarship Team, using data from the Endangered Archives Programme to create data visualisations.

This month I have learned:

  • that people in Canada are most likely to apply for grants to preserve archives in Ethiopia and Sierra Leone, whereas those in the USA are more interested in endangered archives in Nigeria and Ghana
  • that people in Africa who want to preserve an archive are more likely to run a pilot project before applying for a big grant whereas people from Europe and North America go big or go home (so to speak)
  • that the African countries in which endangered archives are most often identified are Nigeria, Ghana and Malawi
  • and that Eastern and Western African countries are more likely to be studied by academics in Europe and North America than those of Northern, Central or Southern Africa
EAP051
Idrissou Njoya and Nji Mapon examine Mapon's endangered manuscript collection in Cameroon (EAP051)

I have learned all of this, and more, from sifting through 14 years of the Endangered Archive Programme’s grant application data for Africa.

Why am I sifting through this data?

Well, I am currently half way through a three-month placement at the British Library working with the Digital Scholarship team on data from the Endangered Archives Programme (EAP). This is a programme which gives grants to people who want to preserve and digitise pre-modern archives under threat anywhere in the world.

EAP466
Manuscript of the Riyadh Mosque of Lamu, Kenya (EAP466)

The focus of my placement is to look at how the project has worked in the specific case of Africa over the 14 years the programme has been running. I’ll be using this data to create visualisations that will help provide information for anyone interested in the archives, and for the EAP team.

Over the next weeks I will be writing a series of blog posts detailing my work. This first post gives an overview of the project and its initial stages. My second post will discuss the types of data visualisation software I have been learning to use. Then, at the end of my project, I will be writing a post about my findings, using the visualisations.

The EAP has funded the preservation of a range of important archives in Africa over the last decade and a half. Some interesting examples include a project to preserve botanical collections in Kenya, and one which created a digital record of endangered rock inscriptions in Libya. However, my project is more concerned with the metadata surrounding these projects – who is applying, from where, and for what type of archive etc.

EAP265
Tifinagh rock inscriptions in the Tadrart Acacus mountains, Libya (EAP265)

I’m also concerned with finding the most useful ways to visualise this information.

For 14 years the details of each application have been recorded in MS Excel spreadsheets. Over time this system has evolved, so my first step was to fill in information gaps in the spreadsheets. This was a time-consuming task as gap filling had to be done manually by combing through individual application forms looking for the missing information.

Once I had a complete data set, I was able to a free and open source software called OpenRefine to clean up the spreadsheet.  OpenRefine can be used to edit and regularise spreadsheet data such as spelling or formatting inconsistencies quickly and thoroughly. There is an excellent article available here if you are interested in learning more about how to use OpenRefine and what you can do with it.

With a clean, complete, spreadsheet I could start looking at what the data could tell me about the EAP projects in Africa.

I used Excel visualisation tools to give me an overview of the information in the spreadsheet. I am very familiar with Excel, so this allowed me to explore lots of questions relatively quickly.

Major vs Pilot Chart

For example, there are two types of projects that EAP fund. Small scale, exploratory, pilot studies and larger scale main projects. I wondered which type of application was more likely to be successful in being awarded a grant. Using Excel it was easy to create the charts above which show that major projects are actually more likely to be funded than pilots are.

Of course, the question of why this might be still remains, but knowing this is the pattern is a useful first step for investigation.

Another chart that was quick to make shows the number of applicants from each continent by year.

Continent of Applicant Chart

This chart reveals that, with the exception of the first three years of the programme, most applications to preserve African archives have come from people living in Africa. Applications from North America and Europe on average seem to be pretty equal. Applications from elsewhere are almost non-existent, there have been three applications from Oceania, and one from Asia over the 14 years the EAP has been running.

This type of visualisation gives an overview at a glance in a way that a table cannot. But there are some things Excel tools can’t do.

I want to see if there are links between applicants from specific North American or European countries and archives in particular African countries, but Excel tools are not designed to map networks. Nor can Excel be used to present data on a map, which is something that the EAP team is particularly keen to see, so my next step is to explore the free software available which can do this.

This next stage of my project, in which I explore a range of data visualisation tools, will be detailed in a second blog post coming soon.

30 July 2018

British Library Labs Staff Awards 2018: Looking for entries now!

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Four-light-bulbs

Nominate a British Library staff member or a team that has done something exciting, innovative and cool with the British Library’s digital collections or data.

The 2018 British Library Labs Staff Award, now in its third year, gives recognition to current British Library staff who have created something brilliant using the Library’s digital collections or data

Perhaps you know of a project that developed new forms of knowledge, or an activity that delivered commercial value to the library. Did the person or team create an artistic work that inspired, stimulated, amazed and provoked? Do you know of a project developed by the Library where quality learning experiences were generated using the Library’s digital content? 

You may nominate a current member of British Library staff, a team, or yourself, for the Staff Award using this form.

The deadline for submission is 12:00 (BST), Friday 12 October 2018.

Nominees will be highlighted on Monday 12 November 2018 at the British Library Labs Annual Symposium where some (winners and runners-up) will also be asked to talk about their projects.

The Staff Award complements the British Library Labs Awards, introduced in 2015, which recognises outstanding work that has been done in the broader community. Last year’s winners drew attention to artistic, research, and entrepreneurial activities that used our digital collections.

British Library Labs is a project within the Digital Scholarship department at the British Library that supports and inspires the use of the Library's digital collections and data in exciting and innovative ways. It is funded by the Andrew W. Mellon Foundation.

If you have any questions, please contact us at labs@bl.uk.

@bl_labs #bldigital @bl_digischol

24 July 2018

Workshop for South Asian Archivists and Librarians

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Members of the Two Centuries of Indian Print team have just returned from a fascinating trip to Delhi where we took part in a packed programme of activities organised as part of the Association for Asian Studies conference.

We spent most of the week with a group of archivists brought together from a variety of academic and cultural institutions across India and as far away as Cambodia and Australia. What united us was a shared passion for preserving South Asian heritage. As part of the program we led a workshop on Digitisation Standards as practiced by the British Library which also considered the key challenges organisations face when digitising cultural heritage material, including everything from selecting material and scanning, through to post-processing, online display and user engagement. The workshop also featured a paper on the IFLA guidelines for digitisation and (what we hope) was fun activity in which archivists were presented with different case studies of archival collections and asked to consider a digitisation strategy. It certainly sparked a lot of conversation! See photo below

 

Group activity

Workshop participants taking part in a group activity

 

Undeterred by the inhospitable weather occupying Delhi, we ventured out and were fortunate enough to receive some very thorough and illuminating tours of the Archives and Research Centre for Ethnomusicology, Centre for Art and Archaeology, The National Archives, Indira Gandhi National Centre for the Arts, and Sangeet Natak Akademi where we learned about their respective collections, conservation facilities and digitisation projects.

 

ARCE_audiovisual
Taking part in a tour of the audiovisual lab at the Archives and Research Centre for Ethnomusicology 

 

This marked the end of a trip which has connected us with inspiring professionals who we hope to collaborate on more events in the near future.

Our thanks go out to the organisers of what turned out to be a very engaging week of activities, to the American Institute of Indian Studies, to Ashoka University, and to the hosts of our workshop, the India International Centre.

 

16 July 2018

Crowdsourcing comedy: date and genre results from In the Spotlight

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Beatrice Ashton-Lelliott is a PhD researcher at the University of Portsmouth studying the presentation of nineteenth-century magicians in biographies, literature, and the popular press. She is currently a research placement student on the British Library’s In the Spotlight project, cleaning and contextualising the crowdsourced playbills data. She can be found on Twitter at @beeashlell and you can join the In the Spotlight project at playbills.libcrowds.com.

In this blog post I discuss the data created so far by In the Spotlight volunteers via crowdsourcing – which has already thrown out quite a few surprises along the way! All of the data which I discuss was cleaned using Open Refine, with some manual intervention by me to group categories such as genre. My first post below highlights the most notable results to come out of the date and genre tasks so far, and a second post will present similar findings for play titles and playwrights.

Dates

I started off by analysing the dates generated by the projects as, to be honest, it seemed easiest! One of the problems we’ve encountered with the date tasks, however, is that a number of the playbills do not show a full date.  This is notable in itself but unsurprising – why would a playbill in the eighteenth or nineteenth century need a full date when they weren’t expected to last two hundred years into the future? With that in mind, this is by no means an exhaustive data set.

After creating a simple graph of the most popular dates, it became clear that we had a huge spike in the number of performances in 1825. Was something relevant to theatre history happening during this year, or were the sources of the playbill collections just unusually pro-active in 1825 after taking some time off? Was the paper stock quality better, so more playbills have lasted? The outside influence of the original collector or owner of these playbills is also something to consider, for instance, maybe he was more interested in one type of performance than others, had more time to collect playbills in certain years or in certain places, and so on. A final potential factor is that this data also only comes from the volumes added to the site projects so far, and so isn’t indicative of the Library’s playbills as a whole.

Aside from source or collector influence, some other possible explanations do present themselves. Britain in general was growing exponentially, with London in particular becoming one of the biggest cities in the world, and this era also saw the birth of railways and the extravagant influence of figures such as George IV. As this is coming off the back of what seems to be a very slow year in 1824, however, perhaps it is best just to chalk this up to the activity of the collectors. We also have another noticeable spike in 1829, but by no means as dramatic as that of 1825. I’ve spent a bit of time comparing the number of performances seen in the volumes with other online performance date tools, such as UMass's Adelphi calendar and Godwin’s Diary to compare numbers, but would love to hear any further insights into this!

alt="Graph of most popular dates"
A graph showing the most popular performance dates

Genre

The main issue I faced in working with the genre data was the wide variety of descriptors used on the playbills themselves. For instance, I encountered burlesque, burletta and burlesque burletta – which of the first two categories would the last one go under? When I went back to the playbills themselves, it was also clear that many of the ‘genres’ generated were more like comments from theatre managers or just descriptions e.g. ‘an amusing sketch’. With this in mind, genre was the dataset which I ‘interfered’ with the most from a cleaning point of view.

Some of the calls I made were to group anything cited as ‘dramatic ___’ with drama more widely, unless it had a notable second qualifier, such as pantomime, Romance or sketch. I also grouped anything mentioning ‘historical’ together, as from a research point of view this is probably the most prominent aspect, grouped harlequinades with pantomimes (although I know this might be controversial!) and grouped anything which involved a large organisation, such as military, Masonic or national performances, under ‘organisational’. Some were difficult to separate – I did wonder about grouping variety and vaudeville together, but as there were so few of each it seemed better to leave them be.

With these qualifications in mind, by far the most popular genre in the collections was farce, which I kept distinct from comedy, clocking up 537 performances from the projects. This was closely followed by comedy more generally with 527 performances, with the drama (197), melodrama (150) and tragedy (135) trailing afterwards. Once again, it could purely be that the original collectors of these volumes had more of a taste for comedy than drama, but there is such a wide gap in popularity from the volumes so far that it seems fair to conclude that the regional theatre-going public of the late eighteenth and early nineteenth centuries preferred to be cheered rather than saddened by their entertainment.

alt="Graph of the most popular genres"
A graph showing the most popular genres in records transcribed to date

You can contribute to this research

The more contributions we receive, the more accurate the titles, genre and dates results will be, so whether you’re looking out for your local theatre or interested in the more unusual performances which crop up, get involved with the project today at playbills.libcrowds.com. In the Spotlight is well on the way to hitting 100,000 contributions – make sure that you’re one of them!

08 May 2018

The Italian Academies database – now available in XML

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Dr Mia Ridge writes: in 2017, we made XML and image files from a four-year, AHRC-funded project: The Italian Academies 1525-1700 available through the Library's open data portal. The original data structure was quite complex, so we would be curious to hear feedback from anyone reusing the converted form for research or visualisations.

In this post, Dr Lisa Sampson, Reader in Early Modern Italian Studies at UCL, and Dr Jane Everson, Emeritus Professor of Italian literature, RHUL, provide further information about the project...

New research opportunities for students of Renaissance and Baroque culture! The Italian Academies database is now available for download. It's in a format called XML which represents the original structure of the database.

This dedicated database results from an eight-year project, funded by the Arts and Humanities Research Council UK, and provides a wealth of information on the Italian learned academies. Around 800 such institutions flourished across the peninsula over the sixteenth and seventeenth centuries, making major contributions to the cultural and scientific debates and innovations of the period, as well as forming intellectual networks across Europe. This database lists a total of 587 Academies from Venice, Padua, Ferrara, Bologna, Siena, Rome, Naples, and towns and cities in southern Italy and Sicily active in the period 1525-1700. Also listed are more than 7,000 members of one or more academies (including major figures like Galileo, as well as women and artists), and almost 1,000 printed works connected with academies held in the British Library. The database therefore provides an essential starting point for research into early modern culture in Italy and beyond. It is also an invitation to further scholarship and data collection, as these totals constitute only a fraction of the data relating to the Academies.

Terracina
Laura Terracina, nicknamed Febea, of the Accademia degli Incogniti, Naples

The database is designed to permit searches from many different perspectives and to allow easy searching across categories. In addition to the three principal fields – Academies, People, Books – searches can be conducted by title keyword, printer, illustrator, dedicatee, censor, language, gender, nationality among others. The database also lists and illustrates the mottoes and emblems of the Academies (where known) and similarly of individual academy members. Illustrations from the books entered in the database include frontispieces, colophons, and images from within texts.

Intronati emblem
Emblem of the Accademia degli Intronati, Siena


The database thus aims to promote research on the Italian Academies in disciplines ranging from literature and history, through art, science, astronomy, mathematics, printing and publishing, censorship, politics, religion and philosophy.

The Italian Academies project which created this database began in 2006 as a collaboration between the British Library and Royal Holloway University of London, funded by the Arts and Humanities Research council and led by Jane Everson. The objective was the creation of a dedicated resource on the publications and membership of the Italian learned Academies active in the period between 1525 and 1700. The software for the database was designed in-house by the British Library and the first tranche of data was completed in 2009 listing information for academies in four cities (Naples, Siena, Bologna and Padua). A second phase, listing information for many more cities, including in southern Italy and Sicily, developed the database further, between 2010 and 2014, with a major research grant from the AHRC and collaboration with the University of Reading.

The exciting possibilities now opened up by the British Library’s digital data strategy look set to stimulate new research and collaborations by making the records even more widely available, and easily downloadable, in line with Open Access goals. The Italian Academies team is now working to develop the project further with the addition of new data, and the incorporation into a hub of similar resources.

The Italian Academies project team members welcome feedback on the records and on the adoption of the database for new research (contact: www.italianacademies.org).

The original database remains accessible at http://www.bl.uk/catalogues/ItalianAcademies/Default.aspx 

An Introduction to the database, its aims, contents and objectives is available both at this site and at the new digital data site: https://data.bl.uk/iad/

Jane E. Everson, Royal Holloway University of London

Lisa Sampson, University College, London

21 April 2018

On the Road (Again)

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Flickr image: Wanderer
Image from the British Library’s Million Images on Flickr, found on p 198 of 'The Cruise of the Land Yacht “Wanderer”; or, thirteen hundred miles in my caravan, etc' by William Gordon Stables, 1886.

Now that British Summer Time has officially arrived, and with it some warmer weather, British Library Labs are hitting the road again with a series of events in Universities around the UK. The aim of these half-day roadshows is to inspire people to think about using the library's digitised collections and datasets in their research, art works, sound installations, apps, businesses... you name it!

A digitised copy of a manuscript is a very convenient medium to work on, especially if you are unable to visit the library in person and order an original item up to a reading room. But there are so many other uses for digitised items! Come along to one of the BL Labs Roadshows at a University department near you and find out more about the methods used by researchers in Digital Scholarship, from data-mining and crowd sourcing to optical character recognition for transcribing the words from an imaged page into searchable text. 

At each of the roadshow events, there will be speakers from the host institution describing some of the research projects they have already completed using digitised materials, as well as members of the British Library who will be able to talk with you about proposed research plans involving digitised resources. 

The locations of this year's roadshows are: 

Mon 9th April - BL Labs Roadshow 2018 (Open University) - internal event

Mon 26th March - BL Labs Roadshow 2018 (CityLIS) - internal event

Thu 12th April - BL Labs Roadshow 2018 (University of Bristol & Cardiff Digital Cultures Network)

Tue 24th April - BL Labs Roadshow 2018 (UCL)

Wed 25th April - BL Labs Roadshow 2018 (University of Kent)

Wed 2nd May - BL Labs Roadshow 2018 (University of Edinburgh)

Tue 15th May - BL Labs Roadshow 2018 (University of Wolverhampton)

Wed 16th May - BL Labs Roadshow 2018 (University of Lincoln)

Tue 5th June - BL Labs Roadshow 2018 (University of Leeds)

  BL Labs Roadshows 2018
See a full programme and book your place using the Eventbrite page for each event.

If you want to discover more about the Digital Collections, and Digital Scholarship at the British Library, follow us on Twitter @BL_Labs, read our Blog Posts, and get in touch with BL Labs if you have some burning research questions!

12 April 2018

The 2018 BL Labs Awards: enter before midnight Thursday 11th October!

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With six months to go before the submission deadline, we would like to announce the 2018 British Library Labs Awards!

The BL Labs Awards are a way of formally recognising outstanding and innovative work that has been created using the British Library’s digital collections and data.

Have you been working on a project that uses digitised material from the British Library's collections? If so, we'd like to encourage you to enter that project for an award in one of our categories.

This year, the BL Labs Awards is commending work in four key areas:

  • Research - A project or activity which shows the development of new knowledge, research methods, or tools.
  • Commercial - An activity that delivers or develops commercial value in the context of new products, tools, or services that build on, incorporate, or enhance the Library's digital content.
  • Artistic - An artistic or creative endeavour which inspires, stimulates, amazes and provokes.
  • Teaching / Learning - Quality learning experiences created for learners of any age and ability that use the Library's digital content.

BLAwards2018
BL Labs Awards 2018 Winners (Top-Left- Research Award Winner – A large-scale comparison of world music corpora with computational tools , Top-Right (Commercial Award Winner – Movable Type: The Card Game), Bottom-Left(Artistic Award Winner – Imaginary Cities) and Bottom-Right (Teaching / Learning Award Winner – Vittoria’s World of Stories)

There is also a Staff award which recognises a project completed by a staff member or team, with the winner and runner up being announced at the Symposium along with the other award winners.

The closing date for entering your work for the 2018 round of BL Labs Awards is midnight BST on Thursday 11th October (2018)Please submit your entry and/or help us spread the word to all interested and relevant parties over the next few months. This will ensure we have another year of fantastic digital-based projects highlighted by the Awards!

The entries will be shortlisted after the submission deadline (11/10/2018) has passed, and selected shortlisted entrants will be notified via email by midnight BST on Friday 26th October 2018. 

A prize of £500 will be awarded to the winner and £100 to the runner up in each of the Awards categories at the BL Labs Symposium on 12th November 2018 at the British Library, St Pancras, London.

The talent of the BL Labs Awards winners and runners up from 2017, 2016 and 2015 has resulted in a remarkable and varied collection of innovative projects. You can read about some of the 2017 Awards winners and runners up in our other blogs, links below:

BLAwards2018-Staff
British Library Labs Staff Award Winner – Two Centuries of Indian Print


Research category Award (2017) winner: 'A large-scale comparison of world music corpora with computational tools', by Maria Panteli, Emmanouil Benetos and Simon Dixon. Centre for Digital Music, Queen Mary University of London

  • Research category Award (2017) runner up: 'Samtla' by Dr Martyn Harris, Prof Dan Levene, Prof Mark Levene and Dr Dell Zhang
  • Commercial Award (2017) winner: 'Movable Type: The Card Game' by Robin O'Keeffe
  • Artistic Award (2017) winner: 'Imaginary Cities' by Michael Takeo Magruder
  • Artistic Award (2017) runner up: 'Face Swap', by Tristan Roddis and Cogapp
  • Teaching and Learning (2017) winner: 'Vittoria's World of Stories' by the pupils and staff of Vittoria Primary School, Islington
  • Teaching and Learning (2017) runner up: 'Git Lit' by Jonathan Reeve
  • Staff Award (2017) winner: 'Two Centuries of Indian Print' by Layli Uddin, Priyanka Basu, Tom Derrick, Megan O’Looney, Alia Carter, Nur Sobers khan, Laurence Roger and Nora McGregor
  • Staff Award (2017) runner up: 'Putting Collection metadata on the map: Picturing Canada', by Philip Hatfield and Joan Francis

For any further information about BL Labs or our Awards, please contact us at labs@bl.uk.