Digital scholarship blog

14 posts categorized "Comics-unmasked"

22 October 2021

Thought Bubble 2021 Wikithon

We are so excited to be working with Thought Bubble and our friends at Leeds Libraries to run our first in-person Wikithon since this residency started. Thought Bubble is an amazing comics festival spread across Yorkshire, culminating in a two day convention in Harrogate, where the British Library will be having a stall and curating a panel discussion, more details about these can be found here.

Thought Bubble Comic Convention Banner

The Thought Bubble website sums it up best when it says: ‘[w]e use our festival week to promote the power of comics! We believe they can inspire, educate and bring people together like no other medium [...]’. We at the library quite agree.

On Thursday November 11, from 1.30pm to 4.30pm, we’ll be taking up residence in the Sanderson Room of Leeds Central Library to demonstrate how to update, create and improve Wikipedia articles, and we'll even dabble in a bit of basic Wikidata editing for those who are interested. The Comics Wikithon event is free, but please book here.

Photograph of Leeds Central Library on a clear sunny day
Leeds Central Library by Lad 2011, CC BY-SA 4.0 via Wikimedia Commons

We’ll be focusing on underrepresented and marginalised voices in graphic novels and comics. We’re particularly interested in exploring the way Black, Asian and minority ethnic, disabled and LGBTQ+ creators and characters, and want to amplify representation at all levels!

As with all our Wikithons, no previous experience of editing Wikipedia is required. If you can write an email, you can edit Wikipedia! Whether it’s Widdershins, The Walking Dead or Wolverine that you like best, come along and learn some new skills and expand your comic horizons.

For those of you keen to get started, we’ll be following up next week with a blog post on how to get set up for the event. In the meantime you can freely register for the Comics Wikithon event here. 

This post is by Wikimedian in Residence Lucy Hinnie (@BL_Wikimedian).

29 September 2021

Sailing Away To A Distant Land - Mahendra Mahey, Manager of BL Labs - final post

Posted by Mahendra Mahey, former Manager of British Library Labs or "BL Labs" for short

[estimated reading time of around 15 minutes]

This is is my last day working as manager of BL Labs, and also my final posting on the Digital Scholarship blog. I thought I would take this chance to reflect on my journey of almost 9 years in helping to set up, maintain and enabling BL Labs to become a permanent fixture at the British Library (BL).

BL Labs was the first digital Lab in a national library, anywhere in the world, that gets people to experiment with its cultural heritage digital collections and data. There are now several Gallery, Library, Archive and Museum Labs or 'GLAM Labs' for short around the world, with an active community which I helped build, from 2018.

I am really proud I was there from the beginning to implement the original proposal which was written by several colleagues, but especially Adam Farquhar, former head of Digital Scholarship at the British Library (BL). The project was at first generously funded by the Andrew W. Mellon foundation through four rounds of funding as well as support from the BL. In April 2021, the project became a permanently funded fixture, helped very much by my new manager Maja Maricevic, Head of Higher Education and Science.

The great news is that BL Labs is going to stay after I have left. The position of leading the Lab will soon be advertised. Hopefully, someone will get a chance to work with my helpful and supportive colleague Technical Lead of Labs, Dr Filipe Bento, bright, talented and very hard working Maja and other great colleagues in Digital Research and wider at the BL.

The beginnings, the BL and me!

I met Adam Farquhar and Aly Conteh (Former Head of Digital Research at the BL) in December 2012. They must have liked something about me because I started working on the project in January 2013, though I officially started in March 2013 to launch BL Labs.

I must admit, I had always felt a bit intimidated by the BL. My first visit was in the early 1980s before the St Pancras site was opened (in 1997) as a Psychology student. I remember coming up from Wolverhampton on the train to get a research paper about "Serotonin Pathways in Rats when sleeping" by Lidov, feeling nervous and excited at the same time. It felt like a place for 'really intelligent educated people' and for those who were one for the intellectual elites in society. It also felt for me a bit like it represented the British empire and its troubled history of colonialism, especially some of the collections which made me feel uncomfortable as to why they were there in the first place.

I remember thinking that the BL probably wasn't a place for some like me, a child of Indian Punjabi immigrants from humble beginnings who came to England in the 1960s. Actually, I felt like an imposter and not worthy of being there.

Nearly 9 years later, I can say I learned to respect and even cherish what was inside it, especially the incredible collections, though I also became more confident about expressing stronger views about the decolonisation of some of these.  I became very fond of some of the people who work or use it, there are some really good kind-hearted souls at the BL. However, I never completely lost that 'imposter and being an outsider' feeling.

What I remember at that time, going for my interview, was having this thought, what will happen if I got the position and 'What would be the one thing I would try and change?'. It came easily to me, namely that I would try and get more new people through the doors literally or virtually by connecting them to the BL's collections (especially the digital). New people like me, who may have never set foot, or had been motivated to step into the building before. This has been one of the most important reasons for me to get up in the morning and go to work at BL Labs.

So what have been my highlights? Let's have a very quick pass through!

BL Labs Launch and Advisory Board

I launched BL Labs in March 2013, one week after I had started. It was at the launch event organised by my wonderfully supportive and innovative colleague, Digital Curator Stella Wisdom. I distinctly remember in the afternoon session (which I did alone), I had to present my 'ideas' of how I might launch the first BL Labs competition where we would be trying to get pioneering researchers to work with the BL's digital collections.

God it was a tough crowd! They asked pretty difficult questions, questions I myself was asking too which I still didn't know the answer too either.

I remember Professors Tim Hitchcock (now at Sussex University and who eventually sat (and is still sitting) on the BL Labs Advisory Board) and Laurel Brake (now Professor Emerita of Literature and Print Culture, Birkbeck, University of London) being in the audience together with staff from the Royal Library of Netherlands, who 6 months later launched their own brilliant KB Lab. Subsequently, I became good colleagues with Lotte Wilms who led their Lab for many years and is now Head of Research support at Tilburg University.

My first gut feeling overall after the event was, this is going to be hard work. This feeling and reality remained a constant throughout my time at BL Labs.

In early May 2013, we launched the competition, which was a really quick and stressful turnaround as I had only officially started in mid March (one and a half months). I remember worrying as to whether anyone would even enter!  All the final entries were pretty much submitted a few minutes before the deadline. I remember being alone that evening on deadline day near to midnight waiting by my laptop, thinking what happens if no one enters, it's going to be disaster and I will lose my job. Luckily that didn't happen, in the end, we received 26 entries.

I am a firm believer that we can help make our own luck, but sometimes luck can be quite random! Perhaps BL Labs had a bit of both!

After that, I never really looked back! BL Labs developed its own kind of pattern and momentum each year:

  • hunting around the BL for digital collections to make into datasets and make available
  • helping to make more digital collections openly licensed
  • having hundreds of conversations with people interested in connecting with the BL's digital collections in the BL and outside
  • working with some people more intensively to carry out experiments
  • developing ideas further into prototype projects
  • telling the world of successes and failures in person, meetings, events and social media
  • launching a competition and awards in April or May
  • roadshows before and after with invitations to speak at events around the world
  • the summer working with competition winners
  • late October/November the international symposium showcased things from the year
  • working on special projects
  • repeat!

The winners were announced in July 2013, and then we worked with them on their entries showcasing them at our annual BL Labs Symposium in November, around 4 months later.

'Nothing interesting happens in the office' - Roadshows, Presentations, Workshops and Symposia!

One of the highlights of BL Labs was to go out to universities and other places to explain what the BL is and what BL Labs does.  This ended up with me pretty much seeing the world (North America, Europe, Asia, Australia, and giving virtual talks in South America and Africa).

My greatest challenge in BL Labs was always to get people to truly and passionately 'connect' with the BL's digital collections and data in order to come up with cool ideas of what to actually do with them. What I learned from my very first trip was that telling people what you have is great, they definitely need to know what you have! However, once you do that, the hard work really begins as you often need to guide and inspire many of them, help and support them to use the collections creatively and meaningfully. It was also important to understand the back story of the digital collection and learn about the institutional culture of the BL if people also wanted to work with BL colleagues.  For me and the researchers involved, inspirational engagement with digital collections required a lot of intellectual effort and emotional intelligence. Often this means asking the uncomfortable questions about research such as 'Why are we doing this?', 'What is the benefit to society in doing this?', 'Who cares?', 'How can computation help?' and 'Why is it necessary to even use computation?'.

Making those connections between people and data does feel like magic when it really works. It's incredibly exciting, suddenly everyone has goose bumps and is energised. This feeling, I will take away with me, it's the essence of my work at BL Labs!

A full list of over 200 presentations, roadshows, events and 9 annual symposia can be found here.

Competitions, Awards and Projects

Another significant way BL Labs has tried to connect people with data has been through Competitions (tell us what you would like to do, and we will choose an idea and work collaboratively with you on it to make it a reality), Awards (show us what you have already done) and Projects (collaborative working).

At the last count, we have supported and / or highlighted over 450 projects in research, artistic, entrepreneurial, educational, community based, activist and public categories most through competitions, awards and project collaborations.

We also set up awards for British Library Staff which has been a wonderful way to highlight the fantastic work our staff do with digital collections and give them the recognition they deserve. I have noticed over the years that the number of staff who have been working on digital projects has increased significantly. Sometimes this was with the help of BL Labs but often because of the significant Digital Scholarship Training Programme, run by my Digital Curator colleagues in Digital Research for staff to understand that the BL isn't just about physical things but digital items too.

Browse through our project archive to get inspiration of the various projects BL Labs has been involved in or highlighted.

Putting the digital collections 'where the light is' - British Library platforms and others

When I started at BL Labs it was clear that we needed to make a fundamental decision about how we saw digital collections. Quite early on, we decided we should treat collections as data to harness the power of computational tools to work with each collection, especially for research purposes. Each collection should have a unique Digital Object Identifier (DOI) so researchers can cite them in publications.  Any new datasets generated from them will also have DOIs, allowing us to understand the ecosystem through DOIs of what happens to data when you get it out there for people to use.

In 2014, https://data.bl.uk was born and today, all our 153 datasets (as of 29/09/2021) are available through the British Library's research repository.

However, BL Labs has not stopped there! We always believed that it's important to put our digital collections where others are likely to discover them (we can't assume that researchers will want to come to BL platforms), 'where the light is' so to speak.  We were very open and able to put them on other platforms such as Flickr and Wikimedia Commons, not forgetting that we still needed to do the hard work to connect data to people after they have discovered them, if they needed that support.

Our greatest success by far was placing 1 million largely undescribed images that were digitally snipped from 65,000 digitised public domain books from the 19th Century on Flickr Commons in 2013. The number of images on the platform have grown since then by another 50 to 60 thousand from collections elsewhere in the BL. There has been significant interaction from the public to generate crowdsourced tags to help to make it easier to find the specific images. The number of views we have had have reached over a staggering 2 billion over this time. There have also been an incredible array of projects which have used the images, from artistic use to using machine learning and artificial intelligence to identify them. It's my favourite collection, probably because there are no restrictions in using it.

Read the most popular blog post the BL has ever published by my former BL Labs colleague, the brilliant and inspirational Ben O'Steen, a million first steps and the 'Mechanical Curator' which describes how we told the world why and how we had put 1 million images online for anyone to use freely.

It is wonderful to know that George Oates, the founder of Flickr Commons and still a BL Labs Advisory Board member, has been involved in the creation of the Flickr Foundation which was announced a few days ago! Long live Flickr Commons! We loved it because it also offered a computational way to access the collections, critical for powerful and efficient computational experiments, through its Application Programming Interface (API).

More recently, we have experimented with browser based programming / computational environments - Jupyter Notebooks. We are huge fans of Tim Sherrat who was a pioneer and brilliant advocate of OPEN GLAM in using them, especially through his GLAM Workbench. He is a one person Lab in his own right, and it was an honour to recognise his monumental efforts by giving him the BL Labs Research Award 2020 last year. You can also explore the fantastic work of Gustavo Candela and colleagues on Jupyter Notebooks and the ones my colleageue Filipe Bento created.

Art Exhibitions, Creativity and Education

I am extremely proud to have been involved in enabling two major art exhibitions to happen at the BL, namely:

Crossroads of Curiosity by David Normal

Imaginary Cities by Michael Takeo Magruder

I loved working with artists, its my passion! They are so creative and often not restricted by academic thinking, see the work of Mario Klingemann for example! You can browse through our archives for various artistic projects that used the BL's digital collections, it's inspiring.

I was also involved in the first British Library Fashion Student Competition won by Alanna Hilton, held at the BL which used the BL's Flickr Commons collection as inspiration for the students to design new fashion ranges. It was organised by my colleague Maja Maricevic, the British Fashion Colleges Council and Teatum Jones who were great fun to work with. I am really pleased to say that Maja has gone on from strength to strength working with the fashion industry and continues to run the competition to this day.

We also had some interesting projects working with younger people, such as Vittoria's world of stories and the fantastic work of Terhi Nurmikko-Fuller at the Australian National University. This is something I am very much interested in exploring further in the future, especially around ideas of computational thinking and have been trying out a few things.

GLAM Labs community and Booksprint

I am really proud of helping to create the international GLAM Labs community with over 250 members, established in 2018 and still active today. I affectionately call them the GLAM Labbers, and I often ask people to explore their inner 'Labber' when I give presentations. What is a Labber? It's the experimental and playful part of us we all had as children and unfortunately many have lost when becoming an adult. It's the ability to be fearless, having the audacity and perhaps even naivety to try crazy things even if they are likely to fail! Unfortunately society values success more than it does failure. In my opinion, we need to recognise, respect and revere those that have the courage to try but failed. That courage to experiment should be honoured and embraced and should become the bedrock of our educational systems from the very outset.

Two years ago, many of us Labbers 'ate our own dog food' or 'practised what we preached' when me and 15 other colleagues came together for 5 days to produce a book through a booksprint, probably the most rewarding professional experience of my life. The book is about how to set up, maintain, sustain and even close a GLAM Lab and is called 'Open a GLAM Lab'. It is available as public domain content and I encourage you to read it.

Online drop-in goodbye - today!

I organised a 30 minute ‘online farewell drop-in’ on Wednesday 29 September 2021, 1330 BST (London), 1430 (Paris, Amsterdam), 2200 (Adelaide), 0830 (New York) on my very last day at the British Library. It was heart-warming that the session was 'maxed out' at one point with participants from all over the world. I honestly didn't expect over 100 colleagues to show up. I guess when you leave an organisation you get to find out who you actually made an impact on, who shows up, and who tells you, otherwise you may never know.

Those that know me well know that I would have much rather had a farewell do ‘in person’, over a pint and praying for the ‘chip god’ to deliver a huge portion of chips with salt/vinegar and tomato sauce’ magically and mysteriously to the table. The pub would have been Mc'Glynns (http://www.mcglynnsfreehouse.com/) near the British Library in London. I wonder who the chip god was?  I never found out ;)

The answer to who the chip god was is in text following this sentence on white on white text...you will be very shocked to know who it was!- s

Spoiler alert it was me after all, my alter ego

Farwell-bl-labs-290921Mahendra's online farewell to BL Labs, Wednesday 29 September, 1330 BST, 2021.
Left: Flowers and wine from the GLAM Labbers arrived in Tallinn, 20 mins before the meeting!
Right: Some of the participants of the online farewell

Leave a message of good will to see me off on my voyage!

It would be wonderful if you would like to leave me your good wishes, comments, memories, thoughts, scans of handwritten messages, pictures, photographs etc. on the following Google doc:

http://tiny.cc/mahendramahey

I will leave it open for a week or so after I have left. Reading positive sincere heartfelt messages from colleagues and collaborators over the years have already lifted my spirits. For me it provides evidence that you perhaps did actually make a difference to somone's life.  I will definitely be re-reading them during the cold dark Baltic nights in Tallinn.

I would love to hear from you and find out what you are doing, or if you prefer, you can email me, the details are at the end of this post.

BL Labs Sailor and Captain Signing Off!

It's been a blast and lots of fun! Of course there is a tinge of sadness in leaving! For me, it's also been intellectually and emotionally challenging as well as exhausting, with many ‘highs’ and a few ‘lows’ or choppy waters, some professional and others personal.

I have learned so much about myself and there are so many things I am really really proud of. There are other things of course I wish I had done better. Most of all, I learned to embrace failure, my best teacher!

I think I did meet my original wish of wanting to help to open up the BL to as many new people who perhaps would have never engaged in the Library before. That was either by using digital collections and data for cool projects and/or simply walking through the doors of the BL in London or Boston Spa and having a look around and being inspired to do something because of it.

I wish the person who takes over my position lots of success! My only piece of advice is if you care, you will be fine!

Anyhow, what a time this has been for us all on this planet? I have definitely struggled at times. I, like many others, have lost loved ones and thought deeply about life and it's true meaning. I have also managed to find the courage to know what’s important and act accordingly, even if that has been a bit terrifying and difficult at times. Leaving the BL for example was not an easy decision for me, and I wish perhaps things had turned out differently, but I know I am doing the right thing for me, my future and my loved ones. 

Though there have been a few dark times for me both professionally and personally, I hope you will be happy to know that I have also found peace and happiness too. I am in a really good place.

I would like to thank former alumni of BL Labs, Ben O'Steen - Technical Lead for BL Labs from 2013 to 2018, Hana Lewis (2016 - 2018) and Eleanor Cooper (2018-2019) both BL Labs Project Officers and many other people I worked through BL Labs and wider in the Library and outside it in my journey.

Where I am off to and what am I doing?

My professional plans are 'evolving', but one thing is certain, I will be moving country!

To Estonia to be precise!

I plan to live, settle down with my family and work there. I was never a fan of Brexit, and this way I get to stay a European.

I would like to finish with this final sweet video created by writer and filmaker Ling Low and her team in 2016, entitled 'Hey there Young Sailor' which they all made as volunteers for the Malaysian band, the 'Impatient Sisters'. It won the BL Labs Artistic Award in 2016. I had the pleasure and honour of meeting Ling over a lovely lunch in Kuala Lumpa, Malaysia, where I had also given a talk at the National Library about my work and looked for remanants of my grandfather who had settled there many years ago.

I wish all of you well, and if you are interested in keeping in touch with me, working with me or just saying hello, you can contact me via my personal email address: mr.mahendra.mahey@gmail.com or follow my progress on my personal website.

Happy journeys through this short life to all of you!

Mahendra Mahey, former BL Labs Manager / Captain / Sailor signing off!

24 August 2020

Not Just for Kids: UK Digital Comics, from creation to consumption

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 do email her at Linda.Berube@city.ac.uk.

“There are those who claim that Britain no longer has a comics industry.” (John Freeman, downthetubes.net, quoting Lewis Stringer)

Freeman goes onto say that despite the evidence supporting such a view (have you ever really looked at a WH Smith comics rack? He has: see his photo of one here), the British comics industry is not just all licenced content from the United States, and it has continued to produce new publications. Maybe the newsstand is not necessarily the best place to look for them.
For the newsstand does not tell the whole story. Comics are not all kiddie and superhero characters now, if they ever were (Sabin 1993). Not that there is anything wrong with that content, but prevailing attitudes about the perceived lack of seriousness of these types of comics can inhibit a consideration of comics as cultural objects in their own right, worthy of research. Novelist Susan Hill (2017) expresses a widely held view when she stated: "Is it better for young people to read nothing at all than read graphic novels-which are really only comics for an older age group?". No amount of book awards, academic departments or academic journals have eliminated such sentiments[1].

The best place for looking at all UK comics have to offer is online. Digital comics have not only brought a whole new audience but new creators, as well as new business models and creative processes. My Arts and Humanities Research Council’s Collaborative Doctoral Partnership Programme funded research will take a deep dive into these models and processes, from creation to consumption. For this work, I have the considerable support of supervisors Ian Cooke and Stella Wisdom (British Library) and Ernesto Priego and Stephann Makri (Human-Computer Interaction Design Centre, City, University of London)[2].

A cartoon of a spaceship on the left and a large smartphone screen on the right, showing two people talking to each other
Figure 1: Charisma.ai uses innovative technology to create comics

This particular point in time offers an excellent opportunity to consider the digital comics, and specifically UK, landscape. We seem to be past the initial enthusiasm for digital technologies when babies and bathwater were ejected with abandon (see McCloud 2000, for example), and probably still in the middle of a retrenchment, so to speak, of that enthusiasm (see Priego 2011 pp278-280). To date, there have been few attempts at viewing the creation to consumption process of print comics in their entirety, and no complete studies of the production and communication models of digital comics. While Benatti (2019) analysed the changes to the roles of authors, readers, and publishers prompted by the creation of webcomics, she admits that “the uncertain future of the comics print communications circuit makes the establishment of a parallel digital circuit…more necessary than ever for the development of the comics medium”. (p316)

Screen capture of a website showing the covers of three comics, the first comic shows a rocket leaving earth, the second a Christmas wreath and a pair of crutches, the third 4 people next to a beach
Figure 2: Helen Greetham is part of the international Spider Forest Webcomic collective, one way of distributing and marketing digital comics

Benatti was using the wider publishing industry’s process models and the disruption caused by digital technology as a lens through which to view webcomics. Indeed, historians have discovered cohesive patterns in the development of ideas, especially as embodied in print books. These patterns, most often described as cycles, chains, or circuits, follow the book through various channels of creation, production, and consumption. (See Darnton 1982, diagram of Communication Circuit below, for example). However, they have undergone a significant transformation, disruption even, when considered in the context of the digital environment (Murray and Squires 2013 have update Darnton for the digital and self-publishing age). And at first, it seemed that the disruption would prove terminal for certain types of communication, but most especially books and newspapers in print.

A diagram of Darntons Communication Circuit
Figure 3: Robert Darnton’s Communication Circuit

What about the production patterns for comics within this publishing context? Have print comics given way to digital comics? And are digital comics the revolution they once seemed?
My research, a scoping study in its first year looking at the UK comics landscape and interviewing comics gatekeepers-mediators (CGMs)[3], seeks to address the gap in the understanding of the creation to consumption process for digital comics. This first year’s work will be followed up by research into the creative process of digital comics writers and artists and what readers might contribute to that process. It will be the first such research to investigate cohesive patterns and production models through interdisciplinary empirical research for UK digital comics: analysing how an idea and digital comic object is formed, communicated, discussed and transformed by all the participants involved, from authors to CGMs to readers.

References:

Benatti, Francesca (2019). ‘Superhero comics and the digital communications circuit: a case study of Strong Female Protagonist’, Journal of Graphic Novels and Comics,10 (3), pp306-319. Available at: DOI: 10.1080/21504857.2018.1485720.

Darnton, R. (1982). ‘What Is the History of Books?’ Daedalus,111(3), pp65-83. Available at: www.jstor.org/stable/20024803.  Also available at:  https://dash.harvard.edu/bitstream/handle/1/3403038/darnton_historybooks.pdf

Freeman, John (2020).   ‘British Comics Industry Q&A’, downthetubes.net: exploring comics and more on the web since 1998. Quoting British comics creator and archivist Lew Stringer in a 2015 assessment of news stand comics on his Blimey! It’s Another Blog About Comics blog.  Available at: https://downthetubes.net/?page_id=7110).

Hill, Susan (2017). Jacob’s Room Is Full of Books: A Year of Reading. Profile Books.

McCloud, Scott (2000). Reinventing Comics: How Imagination and Technology Are Revolutionizing an Art Form.  New York, N.Y: Paradox Press.

Murray, P.R.  and Squires, C. (2013). ‘Digital Publishing Communications Circuit’, Book 2.0, 3(1), pp3-23. Available at: DOI: https://doi.org/10.1386/btwo.3.1.3_1. See also: Stirling University, Book Unbound https://www.bookunbound.stir.ac.uk/research/.

Priego, Ernesto (2011). The Comic Book in the Age of Digital Reproduction. City, University of London. Journal contribution. https://doi.org/10.6084/m9.figshare.754575.v4.

Sabin, Roger (1993). Adult comics: An introduction. London: Routledge. See Part 1: Britain 1. The first adult comics 2. Kid's stuff 3.Underground comix  4. 2000AD: 'The Comic of tomorrow!'  5. Fandom and direct sales 6. 'Comics grow up!': dawn of the graphic novel  7.From boom to bust 8.Viz: 'More fun than a jammy bun!'  9. The future.


Footnotes

1. For example, the Pulitzer Prize[Maus]; The Guardian’s First Book Award 2001 [Jimmy Corrigan]; Man Booker Prize longlist [Sabrina], not to mention the Journal of Graphic Novels and Comics. The fact that graphic novels are singled out from comics here is another entire blog post… ↩︎

2. Ernesto does a nice line in comics himself: see Parables of Care. Creative Responses to Dementia Care, As Told by Carers and I Know How This Ends: Stories of Dementia Care, as well as The Lockdown Chronicles. ↩︎

3. The word ‘publisher’, at least in its traditional sense, just does not seem to apply to the various means of production and distribution. ↩︎


 

15 June 2020

Marginal Voices in UK Digital Comics

I am an AHRC Collaborative Doctoral Partnership student based at the British Library and Central Saint Martins, University of the Arts London (UAL). The studentship is funded by the Arts and Humanities Research Council’s Collaborative Doctoral Partnership Programme.

Supervised jointly by Stella Wisdom from the British Library, Roger Sabin and Ian Hague from UAL, my research looks to explore the potential for digital comics to take advantage of digital technologies and the digital environment to foster inclusivity and diversity. I aim to examine the status of marginal voices within UK digital comics, while addressing the opportunities and challenges these comics present for the British Library’s collection and preservation policies.

A cartoon strip of three vertical panel images, in the first a caravan is on the edge of a cliff, in the second a dog asleep in a bed, in the third the dog wakes up and sits up in bed
The opening panels from G Bear and Jammo by Jaime Huxtable, showing their caravan on The Gower Peninsula in South Wales, copyright © Jaime Huxtable

Digital comics have been identified as complex digital publications, meaning this research project is connected to the work of the broader Emerging Formats Project. On top of embracing technological change, digital comics have the potential to reflect, embrace and contribute to social and cultural change in the UK. Digital comics not only present new ways of telling stories, but whose story is told.

One of the comic creators, whose work I have been recently examining is Jaime Huxtable, a Welsh cartoonist/illustrator based in Worthing, West Sussex. He has worked on a variety of digital comics projects, from webcomics to interactive comics, and also runs various comics related workshops.

Samir's Christmas by Jaime Huxtable, this promotional comic strip was created for Freedom From Torture’s 2019 Christmas Care Box Appeal. This comic was  made into a short animated video by Hands Up, copyright © Jaime Huxtable

My thesis will explore whether the ways UK digital comics are published and consumed means that they can foreground marginal, alternative voices similar to the way underground comix and zine culture has. Comics scholarship has focused on the technological aspects of digital comics, meaning their potentially significant contribution reflecting and embracing social and cultural change in the UK has not been explored. I want to establish whether the fact digital comics can circumvent traditional gatekeepers means they provide space to foreground marginal voices. I will also explore the challenges and opportunities digital comics might present for legal deposit collection development policy.

As well as being a member of the Comics Research Hub (CoRH) at UAL, I have already begun working with colleagues from the UK Web Archive, and hope to be able to make a significant contribution to the Web Comic Archive. Issues around collection development and management are central to my research, I feel very fortunate to be based at the British Library, to have the chance to learn from and hopefully contribute to practice here.

If anyone would like to know more about my research, or recommend any digital comics for me to look at, please do contact me at Tom.Gebhart@bl.uk or @thmsgbhrt on Twitter. UK digital comic creators and publishers can use the ComicHaus app to send their digital comics directly to The British Library digital archive. More details about this process are here.

This post is by British Library collaborative doctoral student Thomas Gebhart (@thmsgbhrt).

02 November 2016

An Overview of 6 Second History Animated British Library Photographs & Illustrations

Posted by Mahendra Mahey on behalf of Nick Cave, entrant in the BL Labs Awards 2016 under the 'Artistic Category'. 

Nick-cave
Nick Cave - Animator

Today’s blockbuster films sees long forgotten dinosaurs, futuristic warping spaceships and metallic looking beings the size of our tallest buildings, transforming from a car to a giant robot in the blink of an eye. There are even whole planets of giant alien creatures walking amongst people and trees and all of these incredible visual showcases are invading our cinema screens week in, week out.

However, back before the advent of sophisticated computer generated graphics technology, artists were using simpler photographic techniques to create short animations with zany characters, new landscapes and everyday objects to bring laughter to the masses on the small screen. One such artist was Terry Gilliam of Monty Python fame who used a technique known as stop motion animation to bring a variety of household magazine pictures to life. By cutting out different pictures, photographing and filming them individually moving over time, they became very funny animated cartoon like sketches.


Terry Gilliam - Monty Python animations

I’ve always been fascinated by this amazing technique, even if it is a very time consuming one, but modern computer animation software makes this process easier. Stop motion animations simply have a quirky charm. More often than not they’re animations which are not polished, or even necessarily slick looking. It’s a style of animation which creates imaginary worlds and characters, often moving in a jagged, staccato fashion, but still somehow one that looks and feels as engaging and interesting as modern visual effects which have cost millions to create. So, with the Terry Gilliam magazine picture ideas in mind where to start, social media of course! 

Stop-motion-1
An example of working on stop motion animation

Social media is dominated by celebrity gossip and tittle tattle, breaking news, but major events also continue to play a key part in posts. This could be when celebrating sporting achievements, raving about a new film, TV show, or even an anniversary event and significantly, nostalgia.

People always like to look back and remember, which is where my 6SecondHistory idea spawned from. I chose Instagram as my social media delivery platform, partly because mini web episodes, such as crime thriller, Shield5, had been very successful on it and partly because it’s a social media platform created specifically to showcase photographs and short videos.

As copyright can be a contentious legal minefield, where to source the modern equivalent of historical magazine photos from? Well, easy, the British Library has a massive collection of freely available copyright free Flickr archive photographs and illustrations to choose from. Animals, places, people, fancy illustrations from old manuscripts, basically a wealth of interesting material. The interesting and sometimes vexing challenge in bringing these pictures to life are many, because they’re often hand drawn with no clear differentiation between foreground and background objects, plus searching for specific pictures can sometimes bring up an interesting results set. Six second animations seemed a good starting point because of the success of internet vines, also six second gifs, or videos etc.

Shakespeare-small
Images taken from the British Library Flickr Commons Site

Left - British Library Flickr Shakespeare Character (https://flic.kr/p/i2ba1M): Image taken from page 252 of 'The Oxford Thackeray. With illustrations. [Edited with introductions by George Saintsbury.]’

Top Right - British Library Flickr Skull (https://flic.kr/p/hVgqkH): Image taken from page 246 of 'Modern Science in Bible Lands ... With maps and illustrations’ - 1888

Bottom Right - British Library Flickr Shakespeare Theatre (https://flic.kr/p/i6ymLe): Image taken from page 76 of 'The Works of Shakspeare; from the text of Johnson, Steevens, and Reed. With a biographical memoir, and a variety of interesting matter, illustrative of his life and writings. By W. Harvey’ - 1825

As an example, 2016 saw the 400th anniversary of Shakespeare’s death.  Whenever the focus is on Shakespeare famous speeches are cited and one such speech is Hamlet’s Act 5 Scene 1 lament to a disembodied skull. Perfect material for a funny 6SecondHistory animation and one that could truly show off the merging of a variety of British Library archive pics, repurposed and coloured to create a comical short Hamlet animation with an element of 3D perspective in it. This was a labour of love, but I hope you agree that my short animation has brought the speech to life.

Here is a link to my animation: https://www.instagram.com/p/BDA8BhWju0D/

Enjoy!

See more of my work at: https://www.instagram.com/6secondhistory and http://www.anitatoes.com/

You can meet me, Nick Cave at the British Library Labs Symposium on Monday 7th of November 2016 at the British Library in London (we still have a few tickets left so book now).

 

03 October 2016

Comics and Play In The Sunshine State

Posted by Mahendra Mahey on behalf of Matt Finch.

I’m currently a BL Labs Creative/Researcher alongside my role as Creative in Residence for the State Library of Queensland. SLQ is an Australian institution which serves a population of over four and a half million people…spread over an area three times the size of France.

Matt_finch
Matt Finch Creative in Residence at the State Library of Queensland

Our footprint stretches from our headquarters in Brisbane’s cultural precinct to the Indigenous communities of the Torres Strait Islands in the north, the Great Barrier Reef to the east and the edge of the Simpson Desert to the west.

Such a demanding geography means we blend physical and digital activities, embracing our collections but also creating opportunities for local communities to surprise us with their own plans, schemes, dreams, and innovations. We seek to imagine a digital future for Queensland which acknowledges Traditional Owners of the land and pays respect to Indigenous elders past, present, and future, as well as embracing all the many and diverse communities who live, work, and play here.

So what does a Creative in Residence do? You’re equally likely to find someone in my role unearthing new material for our collections, reimagining panel discussions for a writers’ festival, helping teens fight zombies in an abandoned showground , or working in digital spaces.

Given the huge distances involved when you work in a state like ours, we’re especially interested in geolinked collections and mobile digital access. Partnering with BL Labs, we’re currently working on ways to celebrate and share Queensland-related material from the BL collections.

We also make stuff which is brand spanking new. This month, the State Library has released an online comic maker for the global Fun Palaces event which takes place every October.

Comic maker
Online Comic Maker

The Fun Palaces manifesto is “everyone an artist, everyone a scientist” which chimes well with libraries’ mission to ensure everyone has freedom to explore human knowledge and culture on their own terms. (In my mind, the secret manifesto is “hit the library get a drink start a riot”).

The comic maker was piloted in 2015 and this year has been fully integrated into the Fun Palaces site – but we’ve also released the code behind the comic maker on Github.

Comic code
Online Comic Maker in action!

In 2015, users around the world surprised us by using the simple comic maker to create non-narrative comics, cheeky horror storiesand even comics in Te Reo Māori – this year we look forward to people reimagining, repurposing, and reworking the code behind the comic maker into weird and wonderful new forms. We’d also love to see friends of the BL Labs, sister institutions, and communities worldwide put their own image sets into the drag-and-drop image inventory.

You can contact Matt on Twitter @DrMattFinch

Please don't forget to book for our latest events:

Black Abolitionists in 19th Century Britain. 

Thu 6 Oct, 19:00 – 21:00

British Library Conference Centre, 96 Euston Road, NW1 2DB

Cost: £8 (Concessions available)

An informative and entertaining evening of talks, performances and discussion about the antislavery movement with scholar Hannah-Rose Murray, actor and writer Joe Williams and actress Martelle Edinborough. 

For more information, please visit: https://goo.gl/WxigUQ

Fourth annual British Library Labs Symposium.

Mon 7 Nov, 9:30 – 17:30

British Library Conference Centre, 96 Euston Road, NW1 2DB

Cost: FREE

The Symposium showcases innovative projects which use the British Library's digital content and provides a platform for development, networking and debate in the digital scholarship field.  This year’s keynote will be given by Melissa Terras , Professor of Digital Humanities at University College London, entitled 'Unexpected repurposing: the British Library's Digital Collections and UCL teaching, research and infrastructure'.

For more information, please visit:  https://goo.gl/2twnr5

We Are Amused! A Night of Victorian Humour.

Mon 7 Nov, 19:00 – 21:00

British Library Conference Centre, 96 Euston Road, NW1 2DB

Cost: £12 (Concessions available)

Following the BL Labs Symposium, join Dr Bob Nicholson (Edge Hill University) and comedians Zoe Lyons, Bob Mills and Iszi Lawrence for the evening as they unearth thousands of old puns, sketches, one-liners, mother-in-law jokes, saucy songs and other comic clippings from the 19th century.

For more information, please visit: https://goo.gl/QASR6K

The Way Ahead? Map Making and Digital Skills for Geography Teaching.

Sat 12 Nov, 9:45 – 13:30

British Library Conference Centre, 96 Euston Road, NW1 2DB

Cost: £12 - £24

This half-day conference for Geography teachers at Key Stages 2–5 uncovers the British Library’s forthcoming major exhibition Maps and the 20th Century: Drawing the Line and explores a range of approaches to interpreting and creating maps, with a focus on digital resources, to support and enrich Geography in the Primary and Secondary classroom. 

For more information, please visit: https://goo.gl/f014YR

Black Abolitionist Walking Tour.

Sat 26 Nov, 13:30 – 17:00

Starting at the Freemasons’ Hall, Great Queen Street, London WC2B 5AZ

Cost: FREE (places limited)

An afternoon walking tour around central London which will visit six sites where African American abolitionists made an indelible mark on the British landscape. The walking tour will be followed by food, drinks and a short re-enactment of an antislavery meeting at the Old Crown Public House.

For more information, please visit: https://goo.gl/N4acXE

28 January 2016

Book Now! Nottingham @BL_Labs Roadshow event - Wed 3 Feb (12.30pm-4pm)

Do you live in or near Nottingham and are you available on Wednesday 3 Feb between 1230 - 1600? Come along to the FREE UK @BL_Labs Roadshow event at GameCity and The National Video Game Arcade, Nottingham (we have some places left and booking is essential for anyone interested).

 

BL Labs Roadshow in Nottingham - Wed 3 Feb (1200 - 1600)
BL Labs Roadshow at GameCity and The National Video Game Arcade, Nottingham, hosted by the Digital Humanities and Arts (DHA) Praxis project based at the University of Nottingham, Wed 3 Feb (1230 - 1600)
  • Discover the digital collections the British Library has, understand some of the challenges of using them and even take some away with you.
  • Learn how researchers found and revived forgotten Victorian jokes and Political meetings from our digital archives.
  • Understand how special games and computer code have been developed to help tag un-described images and make new art.
  • Find out about a tool that links digitised handwritten manuscripts to transcribed texts and one that creates statistically representative samples from the British Library’s book collections.
  • Consider how the intuitions of a DJ could be used to mix and perform the Library's digital collections.
  • Talk to Library staff about how you might use some of the Library's digital content innovatively.
  • Get advice, pick up tips and feedback on your ideas and projects for the 2016 BL Labs Competition (deadline 11 April) and Awards (deadline 5 September). 

Our hosts are the Digital Humanities and Arts (DHA) Praxis project at the University of Nottingham who are kindly providing food and refreshments and will be talking about two amazing projects they have been involved in:

ArtMaps: putting the Tate Collection on the map project
ArtMaps: Putting the Tate Collection on the map

Dr Laura Carletti will be talking about the ArtMaps project which is getting the public to accurately tag the locations of the Tate's 70,000 artworks.

The 'Wander Anywhere' free mobile app developed by Dr Benjamin Bedwell.
The 'Wander Anywhere' free mobile app developed by Dr Benjamin Bedwell.

Dr Benjamin Bedwell, Research Fellow at the University of Nottingham will talk about the free mobile app he developed called 'Wander Anywhere'.  The mobile software offers users new ways to experience art, culture and history by guiding them to locations where it downloads stories intersecting art, local history, architecture and anecdotes on their mobile device relevant to where they are.

For more information, a detailed programme and to book your place, visit the Labs and Digital Humanities and Arts Praxis Workshop event page.

Posted by Mahendra Mahey, Manager of BL Labs.

The BL Labs project is funded by the Andrew W. Mellon Foundation.

27 January 2016

Come to our first @BL_Labs Roadshow event at #citylis London Mon 1 Feb (5pm-7.30pm)

Labs Roadshow at #citylis London, Mon 1 Feb (5pm-7.30pm)

Live in or near North-East London and are available on Monday 1 Feb between 1700 - 1930? Come along to the first FREE UK Labs Roadshow event of 2016 (we have a few places left and booking is essential for anyone interested) and:

#citylis London BL Labs London Roadshow Event Mon 1 Feb (1730 - 1930)
#citylis at the Department for Information ScienceCity University London,
the first BL Labs Roadshow event Mon 1 Feb (1700 - 1930)
  • Discover the digital collections the British Library has, understand some of the challenges of using them and even take some away with you.
  • Learn how researchers found and revived forgotten Victorian jokes and Political meetings from our digital archives.
  • Understand how special games and computer code have been developed to help tag un-described images and make new art.
  • Talk to Library staff about how you might use some of the Library's digital content innovatively.
  • Get advice, pick up tips and feedback on your ideas and projects for the 2016 BL Labs Competition (deadline 11 April) and Awards (deadline 5 September). 

Our first hosts are the Department for Information Science (#citylis) at City University London. #citylis have kindly organised some refreshments, nibbles and also an exciting student discussion panel about their experiences of working on digital projects at the British Library, who are:

#citylis student panel  Top-left, Ludi Price and Top-right, Dimitra Charalampidou Bottom-left, Alison Pope and Bottom-right, Daniel van Strien
#citylis student panel.
Top-left, Ludi Price 
Top-right, Dimitra Charalampidou
Bottom-left, Alison Pope
Bottom-right, Daniel van Strien

For more information, a detailed programme and to book your place (essential), visit the BL Labs Workshop at #citylis event page.

Posted by Mahendra Mahey, Manager of BL Labs.

The BL Labs project is funded by the Andrew W. Mellon Foundation.

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