THE BRITISH LIBRARY

Digital scholarship blog

37 posts categorized "Contemporary Britain"

19 June 2019

The Shape of Contemporary British Interactive Fiction

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When I started this Innovation Placement, I had no idea what I was doing. Six months on, and the main thing I’ve learned is that I know even less than I thought I did. Which is not to say that I haven’t learned a lot, just that archiving interactive narrative is an even more complex and varied task than I had imagined, as are the works of interactive fiction themselves.

One of my key goals was to explore how to preserve interactive works for future researchers. My first task was finding suitable works – they had to be web-based (no downloadable files), be recognisable as interactive narratives in some way and be identifiably created in the UK. Sites such as IFDB (the Interactive Fiction Database) and Sub-Q (the only commercial IF-focussed magazine) and competitions such as Spring Thing and IFComp were invaluable sources, but determining whether the authors were UK-based was more difficult. Some remained entirely anonymous, or gave no indication as to their location on their website or social media, which meant it was not possible to include them in this particular project.

Once found, capturing the works initially didn’t appear to be too much of a challenge. The UK Web Archive’s crawlers were able to get most hypertexts while Webrecorder made it possible to collect most other works. However, playback was where the difficulties crept in. Some works captured well, but wouldn’t play back. Or played back, but with errors. Or showed that actually, the works had still been pulling information from the live web, and when placed in the archive and severed from this outside contact, no longer worked. You can see the Webrecorder collection here, and the UKWA Collection here, although the latter is a work-in-progress. A full list of all works reviewed (some of which were not collectable for various reasons) can be found here.

If you’re a maker of interactive works, I strongly suggest that you submit your work to UKWA or make a copy on Webrecorder and download the WARC (Web ARChive) files it creates (or both), because it will likely be some time before libraries develop systematic collecting policies for these works due to the many challenges associated with collecting and sharing them. Having your work backed up in WARC format may help you stay ahead of the curve!

My other key goal was to get a sense of the ‘shape’ of contemporary British web-based interactive fiction. If I had to draw it, I’d probably do something like this:

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Or maybe even like this:

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It’s messy and disruptive and gloriously so. But that’s not to say there aren’t some common threads running through the work. Some themes and motifs cropped up many times in many different guises.  Trains, cats, mental health and interactive fiction itself were all addressed by multiple creators, some taking on several of these topics at once in one work. Librarians and archivists were surprisingly well-represented as creators of interactive works, with a piece by the British Library’s own Andy Jackson included in the collection, and creators based at various other UK libraries also contributing works.

Naturally, I wrote some more formal reports on the types of works being created, the tools being used, and the methods used to collect them. However, I felt that the only way to truly summarise the experience of reading and playing and attempting to collect all these amazing works was to create a piece of interactive fiction that mimics the experience of reading and playing and attempting to capture all these amazing works. The result was The Memory Archivist which hopefully goes some way towards conveying the challenges faced by archivists of complex digital works, but also why tackling those challenges is important. I hope you enjoy it.

This post is by the Library's Innovation Fellow for Interactive Fiction Lynda Clark, on twitter as @Notagoth. You can find out more about the Library's Emerging Formats project here.

16 May 2019

Exploring with Sound Walks

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Interested in literature, sound recordings, place, technology and walking? Then you may wish to attend our upcoming Exploring with Sound Walks event at the British Library on the afternoon of Friday 7th June. Places are free, but please book here; https://soundwalks.eventbrite.co.uk.

Following on from our recent ‘Season of Place’, which was about all things digital mapping; at this Sound Walks event Mahendra Mahey from BL Labs will talk about the Library’s current Imaginary Cities exhibition, which showcases fantastical cityscapes created by the Library’s artist in residence Michael Takeo Magruder. Michael used cutting–edge digital technologies to remix images and live data from the Library’s digital collection of historic urban maps to create fictional and beautiful cityscapes, including an explorable algorithmically generated virtual reality work.

Imaginary Cities exhibition trailer

Bringing us back to exploring real world physical cities; Andrew Stuck, Founder of the Museum of Walking and podcaster at Talking Walking will talk about sound walks, explaining what they are and giving an overview of Sound Walk Sunday, which is scheduled for Sunday 1st September 2019 and the week following.

Sound walk sunday 2019

A sound walk is any walk that focuses on listening to the environment, or adds to the experience for example through the use of sound recordings; a scripted narrator, or choreographed score etc.

Sound Walk Sunday has a map and directory of sound walks on their website, and they facilitate a worldwide network of creatives, institutions and museums to share practices and knowledge around sound walks and walking pieces. Furthermore, this initiative curates a collaborative resource of educative materials, which is available to the public, empowering people to create their own sound walks.

To give examples of the types of works and digital technologies that can be used to create sound walks, there will be a series of short talks and videos by:

Trailer for Alastair Horne's creative audio project set in Brompton Cemetery

We are hoping the Exploring with Sound Walks event will encourage people to make entries for the current Sound Walk Sunday open call, which is inviting people to create outdoor audio, geo-located, immersive performances, listening walks and sound walks.

Furthermore, we would be delighted if any new sound walk works use our Wildlife Sounds. To explain more about these recordings, Cheryl Tipp, Curator of Wildlife & Environmental Sounds at the British Library will talk about this fabulous collection, giving examples of how they have been used creatively by sound artists and game designers, to sow some seeds of inspiration.

Hope to see you there! - Friday 7th June, British Library, book here; https://soundwalks.eventbrite.co.uk.

This post is by Digital Curator Stella Wisdom (@miss_wisdom

18 April 2019

Collecting Emerging Formats

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The Emerging Formats project, started in 2017 by the British Library and the other five UK Legal Deposit Libraries, has been investigating the rise of new complex digital publications that could pose new challenges for libraries and other cultural institutions in terms of collection and preservation. In particular, this project has chosen to prioritise three formats: eBook mobile apps, web-based interactive narratives, and structured data.

These formats reflect the changes and developments in both technology and storytelling in contemporary digital culture. This project meets the Legal Deposit Libraries’ purpose to respond to innovation and to represent the changing nature and diversity of the UK publishing industry. It also fulfills the libraries’ role of long term preservation, as these formats are by their technical nature ephemeral and at risk of loss.

After holding a workshop last November to better define the challenges related to complex digital objects preservation, the British Library organised a series of user experience testing sessions, with the help of an external consultant, Bunnyfoot Ltd. A first round of interviews was carried out at the British Library and at the library of Trinity College Dublin and it identified a strong user interest in collecting and preserving emerging formats, which was later confirmed by two service design group workshops at Bunnyfoot Lab.

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Interacting with the 80 Days app for iPad

We are now in the process of testing different collection management methods, using a number of publications selected during the scoping phase as case studies. For example, we are collecting Inkle’s eBook mobile app 80 Days in different file formats (Android app; PC version) and through different acquisition methods (file transfer; download via access code) to test their viability and the different implications they might have in terms of access and preservation. 80 Days is a narrative-based interactive adventure, which offers a unique take on Jules Verne’s Around the World in Eighty Days – set in an alternative steampunk universe, the story requires the reader’s active participation in order to progress, with thousands of different routes and possible outcomes.

In the case of capturing web-based interactive fiction, two different web archiving tools have been tested – The British Library’s own Annotation and Curation Tool (ACT) and Rhizome’s WebRecorder. While each tool has distinct characteristics which might make it more suitable to a specific type of interactive fiction, both tools proved effective in capturing web-based narrative to a degree. A collection around the topic of e-publishing trends and emerging formats is currently being developed on the UK Web Archive website, with the possibility of nominating yours or someone else's work for inclusion.

As well as investigating collecting methods for complex objects, we are also exploring the requirements for access. At present, only the websites that we have collected using our ACT tool are available in the Library. We are also exploring the possibility of collecting contextual information around these publications. Collecting descriptive material around an object has been tried for time based digital media and digital games. Capturing and preserving sources of information such as websites, trailers, and press kits might prove invaluable in clarifying authorial intent and object use once a format is obsolete or cannot be accessed anymore.

To find out further information about the Emerging Formats project, please see our project page.

This post is by Giulia Carla Rossi, Curator of Digital Publications on twitter as @giugimonogatari.

16 April 2019

BL Labs 2018 Commercial Award Winner: 'The Library Collection'

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This guest blog post is by the team led by fashion designer, Nabil Nayal - winner of the BL Labs Commercial Award for 2018 - for his Spring/Summer 2019 collection, presented at the 2018 London Fashion Week.

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Nabil Nayal's SS19 Collection: fashion shoot at the British Library

The Nabil Nayal SS19 collection (The Library Collection) made history by becoming the first fashion show, on the official London Fashion Week schedule, to be hosted at the iconic British Library. The British Library’s digital archives deeply informed the collection. The Tilbury Speech, delivered by Queen Elizabeth I ahead of the attempted invasion of England by the Spanish Armada in 1588, was central to the use of print, as were other manuscripts, digitised images, maps and hymn sheets from the era. The collection encapsulates Nabil’s obsession with Elizabethan craftsmanship, whilst symbolising the power and strength of a woman who succeeded in bringing England into its Golden Age.

Nabil undertook historical research in the British Library for his PhD on Elizabethan dress, so the opportunity to collaborate with the Library in order to emphasise the importance of research in fashion education and practice was something he felt passionately about doing. Paying particular attention to the Library’s Elizabethan and Medieval Manuscripts archives, Nabil conducted his research with guidance from expert curators and with support from the Reading Room staff. Using key word search terms and date limitations to search through the digitised archives was particularly useful to find historically accurate documents to incorporate into the collection.

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Nabil's design takes inspiration from the British Library's digitised 1588 manuscript of Queen Elizabeth I's 'Tilbury Speech'  © Nabil Nayal 2018

Elizabethan silhouettes were modernised in this collection by printing these manuscripts onto Nabil’s designs, including a three-metre-long cloak featuring the Tilbury Speech. A UK-based supplier, Silk Bureau, digitally printed the archival material on to a range of fine silks and cottons, which were then used to make garments within the collection. Nabil’s love of the classic white shirt was further explored too, offering a puritan backdrop that ‘whitewashes’ the complex hand-cut embellishments made of bonded poplins and marcella.

The designs in the SS19 collection have been sold to prestigious international stores such as Dover Street Market and Joyce and the collection will be launching exclusively in Selfridges this May (2019). The presentation also generated a huge response in key press and social media, including coverage in Vogue.

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Nabil's Elizabethan-inspired designs at the BL Fashion Shoot © Nabil Nayal 2018

Nabil’s interest in promoting historical research within fashion was not limited to this collection. Currently, the brand is working with Collette Taylor of Vega Associates to continue to raise awareness of the potential of the Library’s collections to inspire the next generation of fashion researchers. Nabil held a Research Masterclass at the British Library in November 2018 to work with emerging designers as part of a fashion research competition to develop a capsule collection inspired by the Library’s collections.

This collaboration between Nabil Nayal and the British Library highlights the importance of design education and research for the future-proofing and continued success of UK creative industries, which is a pressing issue. Since 2010, there has been a 34% drop in GCSE entries across the arts, despite the fact that the UK fashion industry supports over 880,000 jobs and delivered a direct contribution of £28 billion to the UK economy in 2015. The wealth of free resources at the British Library provides ample opportunity for design students to explore how education and research can enrich their creativity and allow them to succeed within the fashion industry.

Nabil’s work has received praise from the late Karl Lagerfeld and celebrities such as Rihanna, Lorde and Florence Welch. His SS19 collection epitomises the way that the use of archival research within fashion can generate commercial success, suggesting that the ever-changing fashion industry can benefit from becoming more historically informed and that modernity can be evoked through an interest in the past.

Watch Jennifer Davies receiving the Commercial award on behalf of Nabil's team, and talking about the collection on our YouTube channel (clip runs from 7.26): 

You can read other blogs about Nabil Nayal at London Fashion Week and the fashion show at the British Library, and if you're feel inspired, use the British Library's online Fashion resources.

Find out more about Digital Scholarship and BL Labs. If you have a project which uses British Library digital content in innovative and interesting ways, consider applying for an award this year! The 2019 BL Labs Symposium will take place on Monday 11 November at the British Library.

15 April 2019

Net Art

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According to Tate, Net Art is art which uses ‘a computer in some form or other, whether to download imagery that is then exhibited online, or to build programs that create the artwork.’ Tate’s recent event, Lives of Net Art, sought to explore some of these unique digital works and the challenges and opportunities associated with creating, curating and collecting them. Highlights included Tate in Space, a BorderXing Guide and Rhizome’s preservation tools and goals.

Tate in Space was a 2002 project by Susan Collins which imagined how and why a British art institution might launch a gallery into space. Essentially an ARG (Alternate Reality Game) before they were a known concept, Tate in Space worked almost too well. Various newspapers, particularly those overseas, took the tongue-in-cheek work at face value and reported as if Tate really had launched a satellite. This provoked concern from the British National Space Centre, who got in touch to ensure all the necessary permissions had been obtained…

Heath Bunting’s BorderXing Guide considered space in an entirely different manner – the spaces between countries and how they are interpreted. Visiting borders across Europe and exploring their viability for making crossings, Bunting meticulously recorded his journeys and made them available via his website. Naturally, border agents became very interested in Bunting’s movements, and this led to his next work, The Status Project, an online database cataloguing how our identities are constructed from the information held about us.

What both these pieces had in common was that the ‘work’ could not be reduced to its website. Experiences outside of the work, reactions to the work (both public and governmental) and related online and offline content all come together in order for the viewer to contextualise it and make sense of it. They are net art not only in the sense of the technology used in part of their construction, but also in the sense of the network of meaning that radiates from them. It is this that Rhizome attempts to, at least partially address with their Webrecorder tool, a curation tool capable of capturing dynamic websites and online content.   

Webrecorder also enables the building of collections so that net art can not only be captured on the website on which it appears, but also in relation to other articles, sites and data that help to frame the work for audiences viewing it outside of its original context. However, Preservation Director Dragan Espenschied was keen to stress that such collections can perhaps never truly recreate the work as it was, but instead aim to create a more fitting record of its existence than merely collecting software and hardware.

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Michael Takeo Magruder, Imaginary Cities at the British Library, 2019. Photographs by David Steele (c) Michael Takeo Magruder

The British Library may soon face a similar challenge for its latest exhibition, Imaginary Cities by artist in residence Michael Takeo Magruder, which opened on 5th April and is on display until Sunday 14th July 2019. Drawing on 19th century maps found in the Library’s One Million Images from Scanned Books collection, the installations not only reflect real world cities and the techniques and practices involved in their construction, but also the digital structures associated with cityscapes, which change and regenerate via the user data of their visitors. Can such a work ever be considered to have been collected? Or, like the cities it seeks to represent, will it leave only a digital footprint of a highly specific experience?

This post is by the Library's Innovation Fellow for Interactive Fiction Lynda Clark, on twitter as @Notagoth. You can find out more about the Library's Emerging Formats project here.

29 March 2019

Staying Late at the Library ... to Algorave

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Blog article by Algorave audio-visual artist Coral Manton. Coral is curating this British Library Lates Algorave in collaboration with British Library Events, BL Labs, Digital Scholarship and The Alan Turing Institute.

On the 5th April British Library Lates will host an Algorave in the atrium. Algorave artists will live-code music and visuals, writing code sequences generating algorithmic beats beneath the iconic Kings’ Library Tower.

Alex Mclean
Alex Mclean AKA Yaxu

The scene grew out of a reaction to ‘black-boxing’ in electronic music - where the audience is unable to interface with the ‘live-ness’ of what the performer is making. Nothing is hidden at an Algorave. In an Algorave you can see what the performer is doing through code projected onto walls in realtime. The creative process is open and shared with the audience. Code is shared freely. Performers share their screens with the crowd, taking them on a journey through making - unmaking - remaking, thought processes laid bare in lines of improvised code weaving it’s way through practised shaping of sound.

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Coral Manton AKA Coral

As a female coder, becoming part of the Algorave community has led me to reflect on the power of seeing women coding live, and how this encourages greater participation from women. Algorave attempts to maintain a positive gender balance. More than this the joy of seeing women confidently and openly experimenting with code, sharing their practise, making mistakes, revelling in uncertainty and error, crashing-restarting-crashing again to cheers from the supportive crowd willing the performances to continue sharing the anarchic joy of failure in a community where failure leads to new possibilities.

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ALGOBABEZ AKA Shelly Knotts and Joanne Armitage

Algorave is a fun word - an algorithmic rave - a scene where people come to together to create and dance to music generate by code. Technically Algorave is described as "sounds wholly or partly characterised by the emission of a succession of repetitive conditionals”. The performers writes
 lines of code that create cyclic patterns of music, layered to create an evolving composition. The same is applied to the visuals: live coded audio reactive patterns, showing shapes bouncing, revolving, repeating to the beat of the music. All of this creates a shared club experience like no other.

Visual Artists Antonio Robert AKA hellocatfood: “I like to do Algorave because I think it runs an otherwise perfect black box computer into a live performance instrument. Playing at an Algorave forces me to abandon what I know and respond to everything happening around me. It shows me that even something as meticulously designed as a computer is a living tool that is subject to randomness and mistakes.”

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Antonio Roberts AKA hellocatfood

Algorave is an open, non-hierarchical global community, with it’s hub in Sheffield. There have been Algoraves in over 50 cities around the world. Algorave is not a franchise, it is a free culture, anyone can put on an Algorave - however their approach should align with the ethos of the community. Algorave collapses hierarchies - headliners are generally frowned upon. Diversity is key to the Algorave community. Algorave is open to everyone and actively promotes diversity in line-ups and audiences. The community is active both online and at live events organised by community members. The software people use is created within the community and open-source. There is little barrier to participation. If you are interested in Algorave come along, speak to the performers, join the online community, download some software
(e.g. IXI LangpuredataMax/MSPSuperColliderExtemporeFluxus, TidalCyclesGibberSonic PiFoxDot and Cyril) and get coding.

If this sounds like your scene or you want to know more, please join us at the Algorave Late Event. Tickets available here: https://www.bl.uk/events/late-at-the-library-algorave

Also check out https://algorave.com & https://toplap.org

19 February 2019

BL Labs 2018 Teaching & Learning Award Runner Up: 'Pocahontas and After'

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This guest blog is by Border Crossing, the 2018 BL Labs Teaching & Learning Award Runners Up, for their project, 'Pocahontas and After'.

BorderCross image 1

Two images, each showing two young women dressed to show their culture, their pride, their sense of self. The first image dates from 1907, and shows The Misses Simeon, from the Stoney-Nakoda people of Western Canada, photographed by Byron Harmon. The second was taken in 2018 by John Cobb at Marlborough Primary School, West London, and shows a pupil of Iraqi heritage called Rose Al Saria, pictured with her sister. It was Rose who chose the particular archive image as the basis for her self-portrait, and who conceptualised the way it would be configured and posed.

This pair of photos is just one example in Border Crossings' exhibition Pocahontas and After, which was recently honoured in the British Library’s Labs Teaching and Learning category. The exhibition - which was seen by more than 20,000 people at Syon House last summer, and goes to St Andrews in February - represents the culmination of a sustained period of education and community work, beginning with the 2017 ORIGINS Festival. During the Festival, we not only held a ceremony for three indigenous women to commemorate Pocahontas at Syon, where she had stayed in the summer of 1616: we also brought indigenous artists into direct contact with the diverse communities around the House, in the two Primary Schools where they led workshops and study sessions, in the wonderful CARAS refugee group, and through our network of committed and energetic festival volunteers. In the following months, a distilled group from each of these partners worked closely with heritage experts from the archives (including the British Library’s own Dr. Philip Hatfield), Native American cultural consultants, and our own artistic staff to explore the ways in which Native American people have been presented in the past.

Their journeys into the archives were rich and challenging. What we think of as "realistic" photographs of indigenous people often turned out to be nothing of the kind. Edward Curtis, for example, apparently carried a chest of "authentic" costumes and props with him, which he used in his photographs to recreate the life of "the vanishing race" as he imagined it may have been in some pre-contact Romantic idyll. In other words, the archive photos are often about the photographer and the viewer, far more than they are about the subject.

BorderCross image 2

BorderCross image 3

As our volunteers came to realise this, they became more and more assertive of the need for agency in contemporary portraiture. Complex and fascinating decisions started to be made, placing the generation of meaning in the bodies of the people photographed. For example, Sebastian Oliver Wallace-Odi, who has Ghanaian heritage, saw how Ronald Mumford’s archive photo had been contrived to show “British patriotism” from First Nations chiefs, riding a car bedecked in a Union Jack, during the First World War. Philip showed him how other photos demonstrated the presence of Mounties at the shoot, emphasising the lack of agency from the subjects. Sebastian countered it with an image in which the red white and blue flag is the symbol of the London Underground where his father works, and the car, like his shirt, is distinctly African.

What I love about this exhibition is that the meaning generated does not reside in one image or the other within the pair - but is rather in the energising of the space between, the dialogue between past and present, between different cultures, between human beings portrayed in different ways. It seems to me to be at once of way of honouring the indigenous subjects portrayed in the archive photographs, and of reinventing the form that was often too reductive in its attempts to categorise them.

Thanks to the Heritage Lottery Fund for supporting this project. Photos from the British Library digital collections.

Michael Walling - Artistic Director, Border Crossings. www.bordercrossings.org.uk

Watch the Border Crossing team receiving their Runner Up award and talking about their project on our YouTube channel (clip runs from 3.46 to 10.09):

Find out more about Digital Scholarship and BL Labs. If you have a project which uses British Library digital content in innovative and interesting ways, consider applying for an award this year! The 2019 BL Labs Symposium will take place on Monday 11 November at the British Library.

13 February 2019

Sign up for a research workshop on books written for mobile devices!

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Can you help us shape the future of our digital collection? London workshop 20th February

On 7- 8th February, we ran some user experience sessions in one of our Reading Rooms at the British Library, in order to better understand users’ expectations and requirements when accessing complex digital publications within our collections. Our focus is on “emerging formats” – eBook mobile apps and web-based interactive narratives – and exploring options for their future preservation and access. The first round of sessions was really informative and we are now pleased to announce that our research is continuing with a second round of research in London.

We are now looking for new participants to take part in a 2-and-a half-hour workshop, this time based at our partner agency, Bunnyfoot. As with the previous research sessions, we are looking for people who have familiarity with book apps and web-based interactive narratives designed for mobile devices, whether they’re using them for pleasure or as part of their practice. We would like participants to join a workshop on Wednesday 20th February, either in the morning or the afternoon, at Bunnyfoot’s research labs in London. The sessions will last for about 2-and-a-half hours and Bunnyfoot will offer a £120 incentive for anyone taking part.

If you are interested in taking part, please follow the link and complete the short survey to sign up: https://www.surveygizmo.com/s3/4841789/British-Library-Screener-Survey

To find out further information about the Emerging Formats project, please see our previous post on Emerging Formats and our project page.

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This post is by Ian Cooke, Head of Contemporary British Publications, on twitter as @IanCooke13 and Giulia Carla Rossi, Curator of Digital Publications on twitter as @giugimonogatari.