Digital scholarship blog

One half of the 2023 British Library Labs Symposium will be dedicated to digital storytelling. This has been a significant part of BL Labs work over the years; we have collaborated with experimental artists from David Normal’s creative reuse of British Library Flickr images for his giant lightbox collage Crossroads of Curiosity installation at the 2014 Burning Man festival, to working with first runner up in the BL Labs 2016 competition Michael Takeo Magruder on his 2019 exhibition Imaginary Cities.

Crossroads of Curiosity by David Normal

In the last few years, due to the COVID-19 pandemic disruption, digital stories and engagement have become mainstream across the Galleries, Libraries, Archives and Museums (GLAM) sector. New types of digital storytelling mixing social media, online exhibitions embedding narratives and digital objects, and interactive online events reaching entirely new audiences, delighted us all. However, we also discovered that there can be a saturation point with online engagement, and that many digital developments have some way to go to reach their full potential.

As we are hopefully entering healthier times, new opportunities to mix virtual and physical worlds are starting to open up. With this in mind, we felt that this is the right moment to explore a new age of digital storytelling at the 2023 BL Labs Symposium.

The idea is to explore what is changing in the world of technological possibilities and how they are continuing to develop. We have envisaged a journey that will take us from the big picture of the arising digital possibilities to more specific examples from the British Library’s work. In true BL Labs spirit we will also celebrate initiatives that creatively reuse the Library’s digital collections.

To help us look into the big trends, we are delighted to be joined by Zillah Watson, whose extraordinary breath of experience working with BBC, Meta, BFI and Royal Shakespeare Company amongst many others, will help us to get a deeper sense of the opportunities of virtual reality (VR). Zillah will look into what it means, not just to be dazzled with technological possibilities, but also to enter the magic of storytelling.

Talking of magic, we are lucky to welcome award winning Director, Anrick Bregman, and award winning Producer, Grace Baird. Anrick and Grace will take us deeper into the potential of using VR to uncover hidden stories. Anrick’s film A Convict Story is an interactive VR project built on British Library data that brings to life a story discovered by the linking of data from centuries ago, using data research powered by machine learning.

Even closer to home, our own Stella Wisdom and Ian Cooke, will talk about their current work on curating the British Library’s forthcoming Digital Storytelling exhibition (2 June – 15 October 2023), which will explore the ways technology provides opportunities to transform and enhance the way writers write and readers engage. Drawing on the Library’s collection of contemporary digital publications and emerging formats to highlight the work of innovative and experimental writers. It will feature interactive works that invite and respond to user input, reading experiences influenced by data feeds, and immersive story worlds created using multiple platforms and audience participation. This is an exciting development, as we can see how earlier British Library creative digital experiments, collaborations and research projects are building into an exhibition in its own right.

We hope you can join us for discussion at the BL Labs Symposium on Thursday 30 March 2023. For the full programme, and further information on all our speakers, please read our earlier blog post.

 You can book your place here. 

If you work in the galleries, libraries, archives, and museums (GLAM) sector and want to learn more about research repositories, this event is for you.

The British Library’s Repository Training Programme for cultural heritage professionals is funded as part of AHRC’s iDAH programme to support GLAM organisations in establishing or expanding open scholarship activities and sharing their outputs through research repositories.

We had the first event in Edinburgh, in-person, hosted by the National Museums Scotland on 31 January. An online training event followed this on 8 March tailored on the basis of audience feedback in Edinburgh.

Our third training event will be in-person, the University of York will kindly host us in York on Thursday, 23 March 2023.

Photograph by Jonas Kakaroto from Pexels

Who is this training for?

We invite everyone who are working in cultural heritage or a collection-holding organisation in roles where they are involved in managing digital collections, supporting research lifecycle from funding to dissemination, providing research infrastructure and developing policies. However, anyone interested in the given topics are welcome to attend.

What will you learn?

This one-day training session is designed as a starting point to a broader set of knowledge that will help you to:

• Understand research landscape in cultural heritage organisations, benefits of openness for heritage research, basic concepts of open principles and influencing decision makers.
• Lay foundation for repository services including stakeholder engagement, policy development, technical overview and project planning.
• Adopt common principles and frameworks, technical standards and requirements in establishing repository services in a cultural heritage organisation.
• Explore basics of the scholarly communications ecosystem in the context of cultural heritage practices.

Prerequisites

No previous knowledge of the topic is required. However, an understanding of open access will maximise the benefit of the taught content for attendees.

Programme

10: 30  Welcome and introductions

11:00   Session 1 Opening up heritage research

This session covers the topics of understanding the research landscape in GLAM organisations, benefits of openness for heritage research, basic concepts of open principles and frameworks.

11:45   Break time

12:00   Workshop

12:30   Lunch

13:30   Session 2 Getting started with heritage GLAM repositories

This session covers the topics on role of repository infrastructure in open access to heritage research and positioning research repositories in an organisation including policy and development.

14:15   Break time

14:30   Session 3: Realising and expanding the benefits

This module covers technical overview and requirements for running a cultural heritage repository including an overview of BL’s Shared Research Repository, platforms and software, content administration, technical features. 

15:15   Closing remarks

15:30   Closure

Book your place

In-person sessions are planned for a maximum of 35 people per event and registrants from cultural heritage institutions will be prioritised. Registration for the event is free. Please fill this form to book your place by 20th March. Confirmation and event details will be sent to the registered email address.

Members of the Research Infrastructure Services Team at the British Library will be delivering the training programme. The team has over ten years of broad experience and extensive knowledge in supporting open scholarship across the sector and with international partners. They also provide a Shared Research Repository Service for cultural heritage organisations.

Please contact openaccess@bl.uk if you have any questions or comments about this training programme.

In January James Baker and I visited the Lewis Walpole Library at Yale, who are the US partner of the Legacies of catalogue descriptions collaboration. The visit had to be postponed several times due to the pandemic, so we were delighted to finally meet in person with Cindy Roman, our counterpart at Yale. The main reason for the trip was to disseminate the findings of our project by running workshops on tools for computational analysis of catalogue data and delivering talks about Researching the Histories of Cataloguing to (Try to) Make Better Metadata. Two of these events were kindly hosted by Kayla Shipp, Programme Manager of the fabulous Franke Family Digital Humanities Lab (DH Lab).

(left to right) Cindy Roman, Rossitza Atanassova, James Baker and Kayla Shipp in the Yale Digital Humanities Lab

This was my first visit to Yale University campus, so I took the opportunity to explore its iconic library spaces, including the majestic Sterling Memorial Library building, a masterpiece of Gothic Revival architecture, and the world renowned Beinecke Rare Book and Manuscripts Library, whose glass tower inspired the Kings’ Library Tower at the British Library. As well as being amazing hubs for learning and research, the Library buildings and exhibition spaces are also open to public visitors. At the time of my visit I explored the early printed treasures on display at the Beinecke Library, the exhibit about Martin Luther King Jr’s connection with Yale and the splendid display of highlights from Yale’s Slavic collections, including Vladimir Nabokov’s CV for a job application to Yale and a family photo album that belonged to the Romanovs.

Outside Yale's Stirling Memorial Library

A real highlight of my visit was the day I spent at the Lewis Walpole Library (LWP), located in Farmington, about 40 miles from the Yale campus. The LWP is a research centre of eighteenth-century studies and an essential resource for the study of Horace Walpole. The collections including important holdings of British prints and drawings were donated to Yale by Wilmarth and Annie Lewis in 1970s, together with several eighteenth-century historic buildings and land.

Prior to my arrival James had conducted archival research with the catalogues of the LWP satirical prints collections, a case study for our project. As well as visiting the modern reading room to take a look at the printed card catalogues many in hand of Mrs Lewis, we were given a tour of Mr and Mrs Lewis’ house which is now used for classes, workshops and meetings. I enjoyed meeting the LWP staff and learned much about the history of the place, the collectors' lives and LWP current initiatives.

The Root House which houses residential fellows

Thomas Curricomp House

The Cowles House, where Mr and Mrs Lewis lived

The two project events I was involved with took place at the Yale DH Lab. During the interactive workshop, Yale Library, faculty and students worked through the training materials on using AntConc for computational analysis and performed a number of tasks with the LWP satirical prints descriptions. There were discussions about the different ways of querying the data and the suitability of this tool for use with non-European languages and scripts. It was great to hear that this approach could prove useful for querying and promoting Yale’s own open access metadata.

James presenting at the workshop about AntConc

Rossitza presenting her research with incunabula catalogue descriptions

The talks addressed the questions around cataloguing labour and curatorial voices, the extent to which computational analysis enables new research questions and can assist practitioners with remedial work involving collections metadata. I spoke about my current RLUK fellowship project with the British Library incunabula descriptions and in particular the history of cataloguing, the process to output text data and some hypotheses to be tested through computational analysis. The following discussion raised questions about the effort that goes into this type of work and the need to balance a greater user access to library and archival collections with the very important considerations about the quality and provenance of metadata.

During my visit I had many interesting conversations with Yale Library staff, Nicole Bouché, Daniel Lovins, Daniel Dollar, and caught up with folks I had met at the 2022 IIIF Conference, Tripp Kirkpatrick, Jon Manton and Emmanuelle Delmas-Glass. I was curious to learn about recent organisational changes aimed to unify the Yale special collections and enhance digital access via IIIF metadata; the new roles of Director of Computational Data and Methods in charge of the DH Lab and Cultural Heritage Data Engineer to transform Yale data into LOUD.

This has been a truly informative and enjoyable visit and my special thanks go to Cindy Roman and Kayla Shipp who hosted my visit and project events at the start of a busy term and to James for the opportunity to work with him on this project.

This blogpost is by Dr Rossitza Atanassova, Digital Curator for Digitisation, British Library. She is on Twitter @RossiAtanassova  and Mastodon @ratanass@glammr.us

This is a guest post by Linda Berube, an AHRC Collaborative Doctoral Partnership student based at the British Library and City, University of London. If you would like to know more about Linda's research, please email her at Linda.Berube.2@city.ac.uk.

In my last blog post, I spoke of my PhD research into UK digital comics creation to consumption practices. I have interviewed comics creators about the creative process and the extent to which digital technology has informed it, as well as with publishers who discussed the impact of digital technology on workflows producing both print and digital.  

I also talked about a UK comics mapping exercise that revealed “the visibility of digital comics across sectors including health, economics, education [for example Figure 1 on legal deposit], literacy, and even the hard sciences”, as well as autobiography (see Figure 2), superheroes, horror, and science fiction.

Figure 1: Panel from 'The Legal Deposit and You', by Olivia Hicks (British Library, 2018). Reproduced with permission from the British Library.

In publisher and creator interviews for this research, it has to be admitted that print comics loomed large in discussions. This attachment to print even extended to some webcomics creators who, while firmly grounded in the digital environment, harboured aspirations of print versions somewhere down the line.

Still, one webcomic creator interviewed presented a rather balanced view:

“There are things digital can do that print can't do…Hyper linking I think is interesting. There's different things that you can do with page layouts and the way that information is presented on the page. Where it's something that goes in a new direction or different direction from print, I think that's interesting, there's strong potential there”.

 

Figure 2: Archive capture of 'Our Super Adventure' by Sarah Graley. Retrieved from https://www.webarchive.org.uk/wayback/archive/20170828084711/http://www.oursuperadventure.com/

Readers Reading Digital Comics

What kind of impact do different page layouts and hypertext have on readers reading digital comics? To understand whether these “new directions” are truly unique affordances that only digital comics can provide requires extending the research to the another major participant in the creation to consumption process: the consumer or digital comics reader.

For the third phase of data collection, UK-based digital comics readers will be consulted through semi-structured interviews, reading observations and think aloud sessions. Emphasis will be placed on determining not just how readers find and consume comics, but what their response is, how it can be defined, from passive to transactional to performative.  Aims and objectives include:

• To understand the reader role in the publishing and communication process of UK digital comics, their response to digital comics, and how that response contributes to digital comics narratives.
• To learn about how readers discover new comics and share their reading preferences and experiences with others.
• To understand how comics portals, devices etc. contribute to the reader’s experience of and response to the text.
• To use HCI/HII methods and understand the value of these approaches in collecting data about readers of digital comics.

It is important to note that the research is not about assessing the useability of digital comics platforms (although readers will not be discouraged from talking about them), but how readers read digital comics, which can include the devices they use, the platforms they use to read from, and their transactional behaviour with the texts themselves.

Calling All UK-Based Digital Comics Readers

Of course, in order to achieve these aims, I need readers to talk to me about their reading. If you are a UK-based digital comics reader, I’d like to speak to you whether you read comics via apps or web platforms on your phone, laptop, tablet etc., or even through PDF downloads. I would also like to hear about how you learn about new comics and share the comics you love with others.

Right now, I am looking for expressions of interest. If you would like to participate in this research, please contact me at linda.berube.2@city.ac.uk.

The second year of the Wikimedia residency has allowed us to pay specific attention to the work being done on the Lord Chamberlain’s Plays, specifically the excellent research project work by Professor Kate Dossett (University of Leeds). Kate teaches American History at the University of Leeds, and is currently working on ‘Black Cultural Archives & the Making of Black Histories: Archives of Surveillance and Black Transnational Theatre’, a project supported by an Independent Social Research Foundation Fellowship and a Fellowship from the Eccles Centre. Her work focuses on the understudied area of Black theatre history in the first half of the twentieth century, and when we had the chance to collaborate, we leapt on it!

One of the things we wanted to do was run a series of three Wikithons, each celebrating a different aspect of the collection: in this case, the role of women; the ways in which censorship impacted creativity for Black theatre makers and the political surveillance of Black creatives. Alongside these Wikithons, we are developing a Wikibase structure to enable users to search the Lord Chamberlain’s Plays index cards from anywhere in the world. A blog on this work is forthcoming.

What transpired from our Wikithon dream was a series of three excellent events, interactions and collaborative work with a number of exceptional researchers and historians, all mixed in with a year of administrative tumult as we felt the impact of numerous strikes (academic and transport), the Royal funeral and the ongoing implications of the pandemic. 

This was an important learning opportunity for us to examine the role and impact of Wikithons, and consider different methods of delivery and engagement, tying into bigger conversations happening around Wikipedia on an international scale. It was a year in three Wikithons!

Photo by Omar Al-Ghosson on Unsplash

Event One (March 2022)

Our first event took place in March 2022. Having only just gotten over the dreaded Covid myself, the long-term impact of the pandemic was sorely felt: we were just out of some winter restrictions, and we felt it was best to hold this event as an online session, due to the uncertainty of the months ahead. Further to this, we had to look at dates that would not interrupt or clash with the ongoing University and College Union strikes. Once we had this in hand, we were ready to open the (virtual) doors to Black Theatre and the Archive: Making Women Visible, 1900-1950. 

We were lucky to have speakers from the Library, Alexander Lock and Laura Walker, to talk about and contextualise the materials, while Kate herself offered a thematic and political overview of the importance of the work we were to embark upon. Despite the strikes, the pandemic and the demands of early 2022, 9 editors added over 1600 words, 21 references and 84 total edits. Changes made on this day have now been viewed over 25000 times. For a small batch of changes, that is a significant impact! Articles edited included Elisabeth Welch, Anna Lucasta and Edric Connor. I was grateful to Stuart Prior and Dr Francesca Allfrey for the training support at this event, and to Heather Pascall from the News Reference Team who offered her expertise on the day. The British Newspaper Archive also gave us access to their online resource for this event, which was both generous and very helpful.

Image of Pauline Henriques, BBC UK Government, Public domain, via Wikimedia Commons

Event Two (November 2022)

After a summer of political upheaval, a royal funeral and further transport strikes, we finally made it to Leeds Playhouse on the 7th of November 2022. As luck would have it, there was a train strike running that day, but as most of our participants were local to Leeds, there was thankfully very little impact on our numbers. Leeds Playhouse was the perfect home for this Wikithon: Furnace Producer Rio Matchett was a fantastic ambassador for the venue, and made sure we were fed and watered in style. Hope Miyoba was there to support me in training both sessions and I am so grateful to her for her support, particularly as my laptop wasn’t working!

We took over the Playhouse for the full day, running Wikithon sessions in the morning and afternoon, with a lunchtime talk by Joe Williams of Heritage Corner Leeds which was attended by morning and afternoon attendees, as well as some members of the public. Joe’s talk on Sankofa Yorkshire was a brilliant overview of Black creativity in the Leeds area throughout history, and informed a lot of our conversation around the politics and practicalities of Wiki editing in an equitable way. Articles edited included Una Marson, a central figure in Kate’s research and the Lord Chamberlain’s Plays.

It was fantastic to be in person again, and to meet the excellent community of creatives at Leeds Playhouse. Joe’s talk was inspirational and the questions it provoked regarding the way in which the Wikimedia guidelines for notability can negatively impact the prevalence of Black creatives on Wiki were a much needed point of discussion.

Anthony Robling, CC BY-SA 4.0, via Wikimedia Commons

Event Three (January 2023)

Our arrival at the iconic National Archives building at Kew was long awaited and months in the planning. Drs Jo Pugh and Kevin Searle were exceptionally helpful and supportive as we planned our way to the ‘Black Theater Making and Surveillance’ event in January 2023. We were delighted to be in the building, and even happier to welcome Perry Blankson of the Young Historians Project to present his work on The Secret War on Black Power in Britain and the Caribbean. Gathering in a central space in the Archives, Dr Searle curated an amazing selection of archival materials for participants to view and utilise, including documents from the Information Research Department.

Some of the documents on display at Kew, image by the author

Our conversations on this day turned towards the idea of Wiki notability and the use of primary sources in establishing authority on Wikipedia in particular. I was grateful once again to Stuart Prior and Dr Francesca Allfrey for their support and training assistance, and moreover for the thoughtful and important conversations we fostered around the ways in which the politics of the present day can cloud and impact what happens on Wiki and how events and politics can be reported. A truly breathtaking moment was when Dr Searle and his colleagues allowed us to look at the Windrush manifest, a material reminder of a significant and hugely important moment in modern Britain. It was wonderful, also, to welcome Dr Cara Rodway, Head of Research Development and Philip Abraham, Deputy Head of the Eccles Centre, to join us in seeing this final event in the Wikithon series.

The National Archives, Kew by Christopher Hilton, CC BY-SA 2.0, via Wikimedia Commons

Conclusion

Despite a year of unforeseeable events, disruption and obstacles, I am immensely proud of what this series of Wikithons achieved, bringing aspects of modern society into direct conversation with our literary archives, asking questions about race, equality and diversity in Britain. We were lucky to work with creative practitioners and speakers like Joe Williams and Perry Blankson, and to be afforded the chance to really think about what it is to edit Wiki, and to try to improve the world in this way. It has allowed me to think more deeply about the wider Wiki conversations around how best to engage with and train new Wiki editors, and how to look at collections in new and impactful ways. I am very grateful to the American Trust for the British Library and the Eccles Centre for American studies for their support in achieving this work.

This blogpost is by Dr Lucy Hinnie, Wikimedian in Residence, British Library. She is on Twitter @BL_Wikimedian.

Here in Digital Scholarship we are looking forward to the Library’s upcoming exhibitions in 2023, including Digital Storytelling (2 June – 15 October 2023), which we are curating with colleagues in Contemporary British Collections and Digital Preservation. This display will explore the ways technology provides opportunities to transform and enhance the way writers write and readers engage. Drawing on the Library’s collection of contemporary digital publications and emerging formats to highlight the work of innovative and experimental writers. It will feature interactive works that invite and respond to user input, reading experiences influenced by data feeds, and immersive story worlds created using multiple platforms and audience participation.

A number of the selected works for this exhibition have been previous shortlisted and winning entries of the New Media Writing Prize (NMWP). An annual international award, which celebrates exciting and inventive born digital stories and poetry that integrate a variety of formats, platforms, and media. In recent years the Library has been working with the prize organisers to collect and preserve entries in the UK Web Archive (UKWA) New Media Writing Prize collection, which is the topic of this recently published Electronic British Library Journal article:

G.C. Rossi, T. Pyke, J. Pope, R.L. Skains and S. Wisdom, ‘The New Media Writing Prize Special Collection’, Electronic British Library Journal (2022), art. 8, pp. 1-19, https://doi.org/10.23636/kw7j-0274

The NMWP UKWA collection is an ongoing initiative with works added from each year’s prize. To hear more about the 2022 shortlist entries, Library curators will be virtually attending the upcoming Awards Evening on Wednesday 18 January 2023. This online event is free and open to all, if you would like to attend please book a place here. Writer Deena Larsen will give a keynote lecture and winners will be announced for the 2022 Chris Meade Memorial Main Prize, the FIPP Digital Journalism Prize, the Writing Magazine Student Prize and the Wonderbox Opening Up (People's Choice) Prize, which celebrates all eligible entries submitted to the Main and Student Prizes. Opening Up does not affect the shortlist/winners in the other categories, but provides an opportunity for a public vote for a favourite; you can browse entries and vote for your favourite here, the deadline is 11:59pm GMT on Sunday 15 January 2023.  NMWP organisers are also holding a virtual two day Digital Literature for Social Good Unconference on 17-18 January 2023.

Looking ahead to summer, we are collaborating with Bath Spa University to host the MIX 2023 Storytelling in Immersive Media conference at the Library on Friday 7 July 2023. This event will provide an opportunity for scholars and practitioners to share current research and practice in the rapidly developing field of storytelling in immersive environments.

MIX 2023 themes include storytelling with AI, interactive and locative works, digital and film poetry, narrative games, digital preservation, archiving, and enhanced curation. The call for presentations and papers is open until Monday 13 February 2023. Proposals are invited for 15 minute papers or presentations and 6 minute lightning talks from technologists, artists, creative writers and poets working in the digital realm, as well as academic researchers and independent scholars, submissions focused on teaching and pedagogy are also welcome. After the conference there will be an opportunity to publish papers on The Writing Platform, an online magazine for sharing knowledge and expertise around digital innovation in publishing and storytelling. If you have any questions about the MIX 2023 conference please email MIX@bathspa.ac.uk for more information. 

Digital Curator Mia Ridge writes...Following a twitter conversation with Jessica BrodeFrank and Isabel Brador in mid-2021, I collaborated with them and Bri Watson on two conference panels. Our first was ' Expanding and Enriching Metadata through Engagement with Communities' for the Museum Computer Network (MCN) conference in October 2021:

'This panel discusses how cultural institutions are engaging various communities to co-create academic research and/or object metadata in order to increase representation and access to collections; highlighting how this is done in different ways to engage specific audiences and goals, i.e. graduate student assistantships, museum interactive experiences, crowdsourcing, and professional action groups'.

Earlier this year we got together again to record a panel for the National Council on Public History (NCPH) conference held in May 2022.

'As social justice movements challenge power structures, the ways in which public historians and cultural institutions create expert knowledge are also under scrutiny. Instead of using traditional top-down approaches to cataloguing, public historians and cultural institutions should be actively co-creating object metadata and research with the public. Discussion centers on how public involvement enriches the narratives we share, building transparency and trust within organizations and the surrounding communities. We hope to present various ways in which institutions are beginning this work and focus on a variety of audiences from graduate students and emerging professionals, to online citizen science communities and onsite museum audiences'.

Panelists:

"Collaboration and Citizen Science Approaches to Enriching Access to Scientific Collections," Jessica BrodeFrank, Adler Planetarium and University of London

"creating names together: homosaurus international thesaurus & the trans metadata collective," B.M. Watson, University of British Columbia iSchool; Homosaurus; Trans Metadata Collective

"Embedding Crowdsourcing in a Collaborative Data Science Project", Mia Ridge, British Library

Isabel Brador Sanz, Wolfsonian-FIU

We're sharing the video we pre-recorded for the NCPH conference so that we can include more people in the discussion: Expanding Voices, Expanding Access: Social and Community Centered Metadata.

Digital Curator, and Living with Machines Co-Investigator Dr Mia Ridge writes…

The Living with Machines research project is a collaboration between the British Library, The Alan Turing Institute and various partner universities. Our free exhibition at Leeds City Museum, Living with Machines: Human stories from the industrial age, opened at the end of July. Read on for information about adult events around the exhibition…

Museum Late: Living with Machines, Thursday 24 November, 2022

6 - 10pm • Leeds City Museum • £5, booking essential https://my.leedstickethub.co.uk/19101

The first ever Museum Late at Leeds City Museum! Come along to experience the museum after hours with music, pub quiz, weaving, informal workshops, chats with curators, and a quiz. Local food and drinks in the main hall.

Full programme: https://museumsandgalleries.leeds.gov.uk/events/leeds-city-museum/museum-late-living-with-machines/

Tickets: https://my.leedstickethub.co.uk/19101

Study Day: Living with Machines, Friday December 2, 2022

10:00 am - 4:00 pm • Online • Free but booking essential: https://my.leedstickethub.co.uk/18775

A unique opportunity to hear experts in the field illuminate key themes from the exhibition and learn how exhibition co-curators found stories and objects to represent research work in AI and digital history. This study day is online via Zoom so that you can attend from anywhere.

Full programme: https://museumsandgalleries.leeds.gov.uk/events/leeds-city-museum/living-with-machines-study-day/

Tickets: https://my.leedstickethub.co.uk/18775

Living with Machines Wikithon, Saturday January 7, 2023

1 – 4:30pm • Leeds City Museum • Free but booking essential: https://my.leedstickethub.co.uk/19104

Ever wanted to try editing Wikipedia, but haven't known where to start? Join us for a session with our brilliant Wikipedian-in-residence to help improve Wikipedia’s coverage of local lives and topics at an editathon themed around our exhibition. 

Everyone is welcome. You won’t require any previous Wiki experience but please bring your own laptop for this event. Find out more, including how you can prepare, in my blog post on the Living with Machines site, Help fill gaps in Wikipedia: our Leeds editathon.

The exhibition closes the next day, so it really is your last chance to see it!

Full programme: https://museumsandgalleries.leeds.gov.uk/events/leeds-city-museum/living-with-machines-wikithon-exploring-the-margins/

Tickets: https://my.leedstickethub.co.uk/19104

If you just want to try out something more hands on with textiles inspired by the exhibition, there's also a Peg Loom Weaving Workshop, and not one but two Christmas Wreath Workshops.

You can find out more about our exhibition on the Living with Machines website.