THE BRITISH LIBRARY

Digital scholarship blog

26 posts categorized "LIS research"

10 June 2019

Collaborative Digital Scholarship in Action: A Case Study in Designing Impactful Student Learning Partnerships

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The Arts and Sciences (BASc) department at University College London has been at the forefront of pioneering a renascence of liberal arts and sciences degrees in the UK. As part of its Core modules offering, students select an interdisciplinary elective in Year 2 of their academic programme – from a range of modules specially designed for the department by University College London academics and researchers.

When creating my own module – Information Through the Ages (BASC0033) – as part of this elective set, I was keen to ensure that the student learning experience was both supported and developed in tandem with professional practices and standards, knowing that enabling students to progress their skills developed on the module beyond the module’s own assignments would aid them not only in their own unique academic degree programmes but also provide substantial evidence to future employers of their employability and skills base. Partnering with the British Library, therefore, in designing a data science and data curation project as part of the module’s core assignments, seemed to me to provide an excellent opportunity to enable both a research-based educative framework for students as well as a valuable chance for them to engage in a real-world collaboration, as providing students with external industry partners to collaborate with can contribute an important fillip to their motivation and the learning experience overall – by seeing their assessed work move beyond the confines of the academy to have an impact out in the wider world.

Through discussions with my British Library co-collaborators, Mahendra Mahey and Stella Wisdom, we alighted on the Microsoft Books/BL 19th Century collection dataset as providing excellent potential for student groups to work with for their data curation projects. With its 60,000 public domain volumes, associated metadata and 1 million+ extracted images, it presented as exciting, undiscovered territory across which our student groups might roam and rove, with the results of their work having the potential to benefit future British Library researchers.

Structuring the group project around wrangling a subset of this data: discovering, researching, cleaning and refining it, with the output from each group a curated version of the original dataset we therefore felt presented a number of significant benefits. Students were enabled to explore and develop technical skills such as data curation, software knowledge, archival research, report writing, project development and collaborative working practices, alongside experiencing a real world, digital scholarship learning experience – with the outcomes in turn supporting the British Library’s Digital Scholarship remit regards enabling innovative research based on the British Library digital collections.

Students observed that “working with the data did give me more practical insight to the field of work involved with digitisation work, and it was an enriching experience”, including how they “appreciated how involved and hands-on the projects were, as this is something that I particularly enjoy”. Data curation training was provided on site at the British Library, with the session focused on the use of OpenRefine, “a powerful tool for working with messy data: cleaning it; transforming it from one format into another; and extending it with web services and external data.”[1] Student feedback also told us that we could have provided further software training, and more guided dataset exploration/navigation resources, with groups keen to learn more nuanced data curation techniques – something we will aim to respond to in future iterations of the module – but overall, as one student succinctly noted, “I had no idea of the digitalization process and I learned a lot about data science. The training was very useful and I acquired new skills about data cleaning.”

Overall, we had five student groups wrangling the BL 19th Century collection, producing final data subsets in the following areas: Christian and Christian-related texts; Queens of Britain 1510-1946; female authors, 1800-1900 (here's a heatmap this student group produced of the spread of published titles by female authors in the 19th century); Shakespearean works, other author’s adaptations on those works, and any commentary on Shakespeare or his writing; and travel-related books.

In particular, it was excellent to see students fully engaging with the research process around their chosen data subset – exploring its cultural and institutional contexts, as well as navigating metadata/data schemas, requirements and standards.

For example, the Christian texts group considered the issue of different languages as part of their data subset of texts, following this up with textual content analysis to enable accurate record querying and selection. In their project report they noted that “[u]sing our dataset and visualisations as aids, we hope that researchers studying the Bible and Christianity can discover insights into the geographical and temporal spread of Christian-related texts. Furthermore, we hope that they can also glean new information regarding the people behind the translations of Bibles as well as those who wrote about Christianity.”

Similarly, the student group focused on travel-related texts discussed in their team project summary that “[t]he particular value of this curated dataset is that future researchers may be able to use it in the analysis of international points of view. In these works, many cities and nations are being written about from an outside perspective. This perspective is one that can be valuable in understanding historical relations and frames of reference between groups around the world: for instance, the work “Travels in France and Italy, in 1817 and 1818”, published in New York, likely provides an American perspective of Europe, while “Four Months in Persia, and a Visit to Trans-Caspia”, published in London, might detail an extended visit of a European in Persia, both revealing unique perspectives about different groups of people. A comparable work, that may have utilized or benefitted from such a collection, is Hahner’s (1998) “Women Through Women’s Eyes:Latin American Women in Nineteenth Century Travel Accounts.” In it, Hahner explores nineteenth century literature written to unearth the perspectives on Latin American women, specifically noting that the primarily European author’s writings should be understood in the context of their Eurocentric view, entrenched in “patriarchy” and “colonialism” (Hahner, 1998:21). Authors and researchers with a similar intent may use [our] curated British Library dataset comparably – that is, to locate such works.”

Data visualisation by travel books group
Data visualisation by travel books group
Data visualisation by travel books group
Data visualisation by travel books group

Over the ten weeks of the module, alongside their group data curation projects, students covered lecture topics as varied as Is a Star a Document?, "Truthiness" and Truth in a Post-Truth World, Organising Information: Classification, Taxonomies and Beyond!, and Information & Power; worked on an individual archival GIF project which drew on an institutional archival collection to create (and publish on social media) an animated GIF; and spent time in classroom discussions considering questions such as What happens when information is used for dis-informing or mis-informing purposes?; How do the technologies available to us in the 21st century potentially impact on the (data) collection process and its outputs and outcomes?; How might ideas about collections and collecting be transformed in a digital context?; What exactly do we mean by the concepts of Data and Information?; How we choose to classify or group something first requires we have a series of "rules" or instructions which determine the grouping process – but who decides on what the rules are and how might such decisions in fact influence our very understandings of the information the system is supposedly designed to facilitate access to? These dialogues were all situated within the context of both "traditional" collections systems and atypical sites of information storage and collection, with the module aiming to enable students to gain an in-depth knowledge, understanding and critical appreciation of the concept of information, from historical antecedents to digital scientific and cultural heritage forms, in the context of libraries, archives, galleries and museums (including alternative, atypical and emergent sources), and how technological, social, cultural and other changes fundamentally affect our concept of “information.”

“I think this module was particularly helpful in making me look at things in an interdisciplinary light”, one student observed in module evaluation feedback, with others going on to note that “I think the different formats of work we had to do was engaging and made the coursework much more interesting than just papers or just a project … the collaboration with the British Library deeply enriched the experience by providing a direct and visible outlet for any energies expended on the module. It made the material seem more applicable and the coursework more enjoyable … I loved that this module offered different ways of assessment. Having papers, projects, presentations, and creative multimedia work made this course engaging.”

Situating the module’s assessments within such contexts I hope encouraged students to understand the critical, interdisciplinary focus of the field of information studies, in particular the use of information in the context of empire-making and consolidation, and how histories of information, knowledge and power intersect. Combined with a collaborative, interdisciplinary curriculum design approach, which encouraged and supported students to gain technical abilities and navigate teamwork practices, we hope this module can point some useful ways forward in creating and developing engaging learning experiences, which have real world impact.

This blog post is by Sara Wingate-Gray (UCL Senior Teaching Fellow & BASC0033 module leader), Mahendra Mahey (BL Labs Manager) and Stella Wisdom (BL Digital Curator for Contemporary British Collections).

12 April 2019

The British Library’s new Collection Metadata Strategy

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“Our vision is that by 2023 the Library’s collection metadata assets will be unified on a single, sustainable, standards-based infrastructure offering improved options for access, collaboration and open reuse”

Foundations for the Future
Fig. 1: The front cover of the new Collection Metadata Strategy 2019-2023

April 2019 sees the launch of the British Library’s latest Collection Metadata Strategy Foundations for the Future .

Metadata word cloud
Fig. 2: A collection metadata tag cloud

‘Collection metadata’ is an umbrella term for structured data capturing the key properties, relationships and holdings supporting collection management. The British Library’s collection metadata evolved from simple inventory lists to encompass all information required to access, preserve and coordinate resources. Efficient exploitation of metadata underpins user services in a networked world. It is therefore a key resource requiring dedicated management to maximise its potential. 

Unlocking the Value
Fig. 3: The front cover of the original Collection Metadata Strategy 2015-2018

The British Library formally acknowledged metadata’s importance in 2015 with the publication of its first collection metadata strategy. Unlocking the Value described the foundational principles required to manage metadata as an asset in its own right rather than as a by-product of other activities. This concept proved influential for other national and state libraries with several developing similar strategies. The first strategy period saw great progress in centralising management and support of metadata policy and best practice but also included other notable achievements, including creation of:

  • Automated workflows to upgrade publisher eBook metadata to library standards with minimal intervention
  • Software tools to convert print catalogues to contemporary metadata formats and to automatically enhance over 1 million older catalogue records
  • Open metadata services used by over 2150 institutions in 127 countries
Heatmap
Fig. 4: British Library open metadata users by country – 2019

‘Foundations for the Future’ will build on such achievements to ensure collection metadata becomes even more accessible, relevant and useful by addressing key challenges and new opportunities including:

Increasing Volume and Complexity -Traditional methods of metadata generation, management and dissemination are not scalable or appropriate to an era of rapid digital change, rising expectations and diminishing resources.

New Metadata Creation Options -The changing information landscape presents many new opportunities. Open web resources, automated metadata generation from full text and crowdsourcing offer interesting possibilities requiring exploration.

Improving Visibility - If collection metadata is unavailable, the resources described are effectively invisible. A programme of metadata creation is required to improve visibility of any ‘hidden’ content and enable use.

Metadata users
Fig 5: Users of British Library Collection Metadata

Rights Management – To manage increasingly diverse and dynamic options for hybrid print/digital and local/remote access to content, we must create an equally sophisticated rights metadata infrastructure.

Preservation Metadata – The long-term future of digital collections can only be secured by good preservation metadata. Only by accurately recording key content properties to recognised metadata standards will it be possible to offer current digital content to future users.

Unifying Infrastructure – Collection metadata’s potential is constrained by the requirement to address contemporary challenges with outdated systems, standards and practices. The new strategy proposes the creation of an integrated standards and systems infrastructure capable of unifying and presenting collection metadata in a way unachievable since the British Library’s foundation.

Metadata roadmap
Fig. 6: The Collection Metadata Strategy Roadmap, 2019-2023

A summary roadmap has been created to show the steps planned to address these challenges and ensure that by 2023:

  • The complexity of the British Library’s collection metadata infrastructure will be reduced by convergence on an agreed set of supported standards and systems
  • The unified collection metadata infrastructure will offer new access and processing options enabling improved user services
  • Efficient, sustainable collection metadata workflows will match the increasing scale and complexity of collection content via implementation of new techniques for record creation and exploitation of external data sources

Through the achievement of these goals ‘Foundations for the Future’ will ensure The British Library’s collection metadata will complete its evolution from passive descriptor to active agent, supporting sustainable and relevant services to new generations.

This is a guest post by Neil Wilson, Head of Collection Metadata at the British Library.

30 January 2019

Reading 35,000 Books: The UCD Contagion Project and the British Library Digital Corpus - Workshop & Roundtable

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A guest post by Geradine Meany, Professor of Cultural Theory in the School of English, Drama and Film and Derek Greene, Assistant Professor at the School of Computer Science, both at the University College Dublin who are organising a FREE workshop and roundtable together with the BL Labs team on Thursday 20 February 2019 at the British Library in London.

How do you set about finding specific references and thematic associations in the massive digital resource represented by the British Library Nineteenth Century Book Corpus, originally digitised through a collaboration with Microsoft?

The Contagion, Biopolitics and Cultural Memory project at UCD Dublin set out to illuminate culturally and historically specific understandings of disease and contagion that appear within the fiction in the corpus. In order to do so, the project team extracted over 35,000 unique volumes out of a total of 65,000 in English and built a searchable interface of 12.3 million individual pages of text, which can be filtered and sorted using the corpus metadata (e.g. author, title, year, etc). The interface incorporates an index of the topical catalogue of volumes used by the British Library from 1823-1985 (within Alston index). Using a combination of OCR text recognition and manual annotation, we have extracted data the two top levels of the index, covering over 98% of the English language texts in the corpus. So for the first time it is possible to reliably identify and extract fiction, drama, history, topography, etc, from the corpus.

35000books
Extracting data from 35,000 digitised books

To allow researchers to further filter the corpus to identify texts from niche topic areas, the interface supports the semi-automatic creation of word lexicons, built upon modern “word embedding” natural language processing methods. By combining the resulting lexicons with existing corpus metadata and the data extracted from digitised version of the Alston Index, researchers can efficiently create and export small topical sub-corpora for subsequent close reading.

The Contagion project team is currently using information retrieval and word embeddings to identify texts for close reading. This combination allows us to track key trends pertaining to illness and contagion in the corpus, and interpret these findings with particular reference to current and historical debates surrounding biopolitics, medical culture and migration. Clusters of associations between contagion, poverty and morality are identifiable within the corpus. However, to date our research indicates that Victorians were more worried about religious contamination from migrants and minorities than they were about contagious diseases.

A key feature of the project is the intersection of methodologies and concepts from English literature, automated text mining, and medical humanities. This involves using data analytics as a mode of interpretation not a substitute for it, a way of engaging with the extent and complexity of cultural production in the nineteenth century. Cultural data resists giving definitive yes or no answers to the questions put to it by researchers, but the more cultural data we analyse the better we can map the processes of cultural change and continuity, in all their complexity. The process of tracking themes, topics, and associations enabled by the new interface offers an opportunity to work with and far beyond the existing canon of nineteenth century fiction, itself radically expanded by the last 20 years of scholarship. The identification within the corpus of a very large collection of 3 volume novels indicates that the popular novel is very well represented, for example, while the ability to identify and extract ‘Collected Works’ indicates which writers their contemporaries expected to remain central to the tradition of fiction.

On February 20th 2019, the FREE ‘Reading 35,000 Books’ workshop and roundtable will present the project’s work to date, and will also include discussion by scholars of nineteenth century literature and the British Library Labs of the future development and use of the new searchable interface, including exporting topical sub-corpora for further research.

The event is supported by the Irish Research Council.

 

28 January 2019

BL Labs 2018 Teaching & Learning Award Winner: 'Pocket Miscellanies'

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This guest blog is by the 2018 BL Labs Teaching & Learning Award winner, Jonah Coman.

Pocket Miscellanies were born as a response to a cluster of problems posed by digitisation and access to medieval content. Medieval images are rarely seen by non-medievalists and members of the general public outside of meme-based content. Offline and analog, the medievalist has no freely-available tools to educate or illustrate to a non-specialist what their research is about. The digital and physical zines showcase close-reading snippets of the digitised medieval manuscripts held by the British Library, as well as over 70 other institutions.

PocketMisc fig 1

Figure 1. Leather binder with the first ten issues of Pocket Miscellanies. Photo © Eleanor May Baker.

Teaching and learning resource

The Pocket Miscellany choice of topics was selected to showcase the diversity of human representation in medieval manuscripts. This project is as political as it is educational. The first ten little volumes (#1 Adam, #2 Eve, #3 Temptation by the Snake, #4 Sex, #5 Sodom, #6 Trans bodies, #7 People of colour, #8 Racism #9 Disability and #10 Mobility aids) set up the political project of this ongoing collection, concentrating on disenfranchised communities, such as people of colour, LGBTQ people and disability in medieval visual culture. To date, there are ten published zines, but the project is expanded to include over 80 topics to be gradually released in the future.

The Pocket Miscellanies are distributed both online and offline as pocket-sized concertina books (usually distributed as collections), so that learners from different communities outwith most obvious user groups (researchers, teachers, educators) gain access to digital content provided by national, regional and university libraries with comprehensive medieval digital content.

Publication DIY: online and offline

From a feminist medievalist position, the format of the zine was the obvious choice for distributable political scholarship. Zines (short from magazines) are DIY radical publications that elide strictures of book publishing. Zine distribution models rely on sharing via social interaction: a zine can be a reminder of a discussion or political statement. Zines democratise knowledge that mainstream works might be afraid to tackle, or might be suppressed by mainstream publication systems concerned with sales rather than radical ideas. The small, folded formats native to zines are also reminiscent to the materiality and physical formats of medieval and early modern books created for English readers, such as the Sarum books of hours and the folding almanac.

The Pocket Miscellanies have two pathways to impact: the digital version has been shared with medievalist and historian teachers and educators via the Issuu publication platform, garnering nearly a thousand unique readers in the months they have been online. The paper copy, of very small size, can and was distributed at conferences (Bodies Ignored in Leeds, Permeable Bodies in London), other public events (Edinburgh Pride, Glasgow and Dundee Zine Fest, Edinburgh book art and comic book conventions) and to non-specialists in casual conversation. Over 3000 paper copies were printed and distributed for free since August. Both of these impact pathways have the advantage of accessibility - they are quick-and-dirty guides for non-specialists to learn about the most common depictions of a specific motif – as well as a history within DIY teaching community.

PocketMisc fig 2

Figure 2. Poster and zine display at the BL Labs Symposium, 11 Nov 2018. Photo © Ash.

The online version of the zines links to the digitised source hosted on the library’s own website, and is easily editable/correctable. After the initial publication of the online zines. Due to their digital form, each individual zine is permanently undergoing improvement via the open loop of online feedback and consumption facilitated by Twitter and Issuu. I use crowd-sourced information about the specific themes and amended the content to reflect spearheading scholarship in the field - information that has not been published yet, nor, sometimes, may be published in the future. This way, state-of-the-art research can be integrated in a quick publication and distribution circuit. 

PocketMisc fig 3

Figure 3. Screenshot from the Issuu.com/MxComan online library.

The paper copies are easily distributable in offline, analog spaces and provide a physical token of the learning experience. I use an independent publishing method historically widespread in queer communities, the zine, to create an analog version to 'viral content'. Zines are bricolage-fuelled, cheaply-printed, freely distributed and easily discarded methods of teaching and information. Using the independent publishing medium of the zine I created small chapbooks that can be printed at home, mixed and shared, carried in a pocket and left in community spaces and flier racks.

PocketMisc fig 4

Figure 4. A bundle of the ten original zines. Photo (c) Ana Hine.

Rip-and-mix: how copyright can the enemy of knowledge

Working with digitised content from tens of libraries across the world has proved frustrating because of the diversity of copyright policies. Modern libraries and research centres have a lot of power as gatekeepers of historical material. Texts and images that would be long out of copyright (virtually anything produced in the middle ages) is protected by many institutions under copy rights, prohibiting (esp. commercial) reproduction. This affects what images researchers choose to present to wider public; most academic publications will never be able to include the amount of colour illustrations that the self-published zine format allows. The collaborative and radical DIY ethics of zine-making allows Pocket Miscellanies to be a disruptive alternative to mainstream publication industry, bringing cutting-edge research in print (and full-colour illustration) right now, at very small costs and an extremely agile pace.

The whole issue of copyright is where zines have been historically and still are so radical. Reproduction rights are different than publication rights; strict reproduction and redistribution rights are essentially violated by any dissemination of an image anywhere else but on its origin website. Attaching a ‘medieval reaction’ image to a tweet or Facebook post, as well as pining it on a Pinterest board, are essentially in violation with the most museums’ and auction houses’ extremely strict CC-BY-NC-ND+ rules. On the other side, 'publication' rights are eschewed by zines since, technically, zines are not publications. Unlike magazines, journals or books, zines do not have ISBNs, cannot count towards REFs etc so are essentially outlaws in terms of publication rights. Unlike mainstream publications, zines are predicated on anarchist, bootleg, rip-and-mix aesthetic.

The Pocket Miscellany zines posed hard choices: do I follow the anarchic, disruptive and historically radical tradition of the zine, and use any digitised image that I can find, disregarding the copyright statements and challenging the hegemonical hold institutions have over historical images via aberrant legalities, or do I create a series of zines only with images obtained by legitimate venues, choosing academic strictures for the advantage of being able to share them far and wide without breaking copyright terms? In the end, the content of the zines, showing collections of the same visual motif in a context of continuity, dictated my choice: having as varied examples of one image as possible was more important than being able to sell these zines in bookshops and gift-shops. At the same time, I chose to only use images that are ok to use in a non-commercial capacity, so none from libraries with ‘non-derivatives’ policies. These choices (half-punk, half-tame) made selling these zines in any form and at any price point impossible, so their production relies on donations

The Pocket Miscellanies are an ongoing project. As I mentioned, I have over 80 topics planned, and half a dozen collaborations in the works. If you would want to share your expertise on a specific topic, please get in touch via Twitter @MxComan; if you want to support the project, as well as get your hands on some paper goodies, you can do so on Patreon. If you are organising a conference and you want to distribute any of the zines related to the conference, or even better, have me deliver an impact, public engagement and zine-making workshop at your conference, get in touch and we can discuss it further.

Watch Jonah receiving the winning award for Teaching and Learning, and talking about Pocket Miscellanies on our YouTube channel (clip runs from 10.32):

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.

25 January 2019

BL Labs 2018 Artistic Award Winner: 'Another Intelligence Sings'

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This guest blog is by the winners of the BL Labs Artistic Award for 2018, Robert Walker, Rose Leahy and Amanda Baum, for 'Another Intelligence Sings'.AI Sings 1

When the natural world is recorded, it is quantised for the human ear, to wavelengths within our perception and timeframes within our conception. Yet the machine learning algorithm sits outside the human sensorium, outside the human lifespan. An algorithm is agnostic to the source, the intention and the timescale of data. By feeding it audio samples of lava and larvae, geological tensions and fleeting courtship, the seismic and the somatic, the many voices of life are woven into a song no one lifespan or life form could sing.

Another Intelligence Sings ( AI Sings ) is an immersive audio-tactile installation inviting you to experience the sounds of our biological world as recounted through an AI. Through the application of neural networks to field recordings from the British Library sound archive a nonhuman reading of the data emerges. Presenting an alternative composition of Earth’s songs, AI Sings explores an expanded view of what might be perceived as intelligent.

The breadth of the British Library Wildlife and Environmental Sounds archive enabled us to take a cross section of the natural world from primordial physical phenomena to the great beasts of the savannas to the songbirds of the British countryside. The final soundscape is created from using two different neural networks, Wavenet and Nsynth. We trained Wavenet, Google’s most advanced human speech synthesis neural network, on many hours of field recordings, including those from the British Library archives.

Nsynth is an augmented version of Wavenet that was built and trained by Magenta, Google AI’s creative lab. Nsynth creates sounds that are not a simple crossfade or blend but something genuinely new based on the perceived formal musical qualities of the two source sounds. This was used to create mixtures between specific audio samples, for example, sea lion meets mosquito, leopard meets horse, and mealworm meets ocean.

Click here to play a 4 minute clip of the sound from the installation.

AI Sings 2
Through this use of the technology, AI Sings reorients the algorithm’s focus, away from the human expression of individual thought and towards an amalgam of geological and biological processes. The experience aims to enable humans to meditate on the myriad intelligences around and beyond us and expand our view of what might be perceived as intelligent. This feeds into our ongoing body of shared work, which raises questions about the use of artificial intelligence in society. Previously, we have used a neural network to find linguistic patterns not perceivable to human reading to mediate our collectively written piece Weaving Worlds (2016). In AI Sings we continue this thread of asking which perspectives an AI can bring that human perception cannot.

AI Sings 3

AI Sings takes digital archive content and makes it into a tactile, sensuous, and playful experience. By making the archive material an experiential encounter, we were able to encourage listeners to enter into a world where they could be immersed and engaged in the data. Soft, tactile materials such as hair and foam invited people to enter into and interact with the work. In particular, we found that the playful nature of the materials in the piece meant that children were keen to experience the work, and listen to the soundscape, thereby extending the audience of the archive material to one it may not usually reach.

By addressing the need for experiential, visceral and poetic encounters with AI, Another Intelligence Sings goes beyond the conceptual and engages people in the technology which is so rapidly transforming society. We hope this work shows how the creative application of AI opens up new possibilities in the field of archivology, from being a tool of categorisation to becoming a means of expanding the cultural role of the library in the future.

The piece premiered at the V&A Digital Design Weekend 2018 on 22nd of September as part of London Design Festival, where it was exhibited to over 22,000 visitors. Following the weekend we were invited by Open Cell, London’s newly opened bioart- and biodesign studio and exhibition space, to be showcased on their site.

More about the project can be found on our websites:

www.baumleahy.com + www.irr.co + www.amandabaum.com + www.roseleahy.com

Watch the AI Sings team receiving their award and talking about their project on our YouTube channel (clip runs from 8.18):

 

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.

11 September 2018

Building Library Labs around the world - the event and complete our survey!

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Posted by Mahendra Mahey, BL Labs Manager.

Original labs lab (not cropped)
Building Library Labs

Around the world, leading national, state, university and public libraries are creating 'digital lab type environments' so that their digitised and born digital collections / data can be opened up and re-used for creative, innovative and inspiring projects by everyone such as digital researchers, artists, entrepreneurs and educators.

BL Labs, which has now been running for five years, is organising what we believe will be the first ever event of its kind in the world! We are bringing together national, state and university libraries with existing or planned digital 'Labs-style' teams for an invite-only workshop this Thursday 13 September and Friday 14 September, 2018.

A few months ago, we sent out special invitations to these organisations. We were delighted by the excitement generated, and by the tremendous response we received. Over 40 institutions from North America, Europe, Asia and Africa will be attending the workshop at the British Library this week. We have planned plenty of opportunities for networking, sharing lessons learned, and telling each other about innovative projects and services that are using digital collections / data in new and interesting ways. We aim to work together in the spirit of collaboration so that we can continue to build even better Library Labs for our users in the future.

Our packed programme includes:

  • 6 presentations covering topics such as those in our international Library Labs Survey;
  • 4 stories of how national Library Labs are developing in the UK, Austria, Denmark and the Netherlands;
  • 12 lightning talks with topics ranging from 3D-Imaging to Crowdsourcing;
  • 12 parallel discussion groups focusing on subjects such as funding, technical infrastructure and user engagement;
  • 3 plenary debates looking at the value to national Libraries of Labs environments and digital research, and how we will move forward as a group after this event.

We will collate and edit the outputs of this workshop in a report detailing the current landscape of digital Labs in national, state, university and public Libraries around the world.

If you represent one of these institutions, it's still not too late to participate, and you can do so in a few ways:

  • Our 'Building Library Labs' survey is still open, and if you work in or represent a digital Library Lab in one of our sectors, your input will be particularly valuable;
  • You may be able to participate remotely in this week's event in real time through Skype;
  • You can contribute to a collaborative document which delegates are adding to during the event.

If you are interested in one of these options, contact: mahendra.mahey@bl.uk.

Please note, that event is being videoed and we will be putting up clips on our YouTube channel soon after the workshop.

We will also return to this blog and let you know how we got on, and how you can access some of the other outputs from the event. Watch this space!

 

 

 

23 August 2018

BL Labs Symposium (2018): Book your place for Mon 12-Nov-2018

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The BL Labs team are pleased to announce that the sixth annual British Library Labs Symposium will be held on Monday 12 November 2018, from 9:30 - 17:30 in the British Library Knowledge Centre, St Pancras. The event is free, and you must book a ticket in advance. Last year's event was a sell out, so don't miss out!

The Symposium showcases innovative and inspiring projects which use the British Library’s digital content, providing a platform for development, networking and debate in the Digital Scholarship field as well as being a focus on the creative reuse of digital collections and data in the cultural heritage sector.

We are very proud to announce that this year's keynote will be delivered by Daniel Pett, Head of Digital and IT at the Fitzwilliam Museum, University of Cambridge.

Daniel Pett
Daniel Pett will be giving the keynote at this year's BL Labs Symposium. Photograph Copyright Chiara Bonacchi (University of Stirling).

  Dan read archaeology at UCL and Cambridge (but played too much rugby) and then worked in IT on the trading floor of Dresdner Kleinwort Benson. Until February this year, he was Digital Humanities lead at the British Museum, where he designed and implemented digital practises connecting humanities research, museum practice, and the creative industries. He is an advocate of open access, open source and reproducible research. He designed and built the award-winning Portable Antiquities Scheme database (which holds records of over 1.3 million objects) and enabled collaboration through projects working on linked and open data (LOD) with the Institute for the Study of the Ancient World (New York University) (ISAWNYU) and the American Numismatic Society. He has worked with crowdsourcing and crowdfunding (MicroPasts), and developed the British Museum's 3D capture reputation. He holds Honorary posts at UCL Institute of Archaeology and the Centre for Digital Humanities and publishes regularly in the fields of museum studies, archaeology and digital humanities.

Dan's keynote will reflect on his years of experience in assessing the value, impact and importance of experimenting with, re-imagining and re-mixing cultural heritage digital collections in Galleries, Libraries, Archives and Museums. Dan will follow in the footsteps of previous prestigious BL Labs keynote speakers: Josie Fraser (2017); Melissa Terras (2016); David De Roure and George Oates (2015); Tim Hitchcock (2014); and Bill Thompson and Andrew Prescott in 2013.

Stella Wisdom (Digital Curator for Contemporary British Collections at the British Library) will give an update on some exciting and innovative projects she and other colleagues have been working on within Digital Scholarship. Mia Ridge (Digital Curator for Western Heritage Collections at the British Library) will talk about a major and ambitious data science/digital humanities project 'Living with Machines' the British Library is about to embark upon, in collaboration with the Alan Turing Institute for data science and artificial intelligence.Throughout the day, there will be several announcements and presentations from nominated and winning projects for the BL Labs Awards 2018, which recognise work that have used the British Library’s digital content in four areas: Research, Artistic, Commercial, and Educational. The closing date for the BL Labs Awards is 11 October, 2018, so it's not too late to nominate someone/a team, or enter your own project! There will also be a chance to find out who has been nominated and recognised for the British Library Staff Award 2018 which showcases the work of an outstanding individual (or team) at the British Library who has worked creatively and originally with the British Library's digital collections and data (nominations close 12 October 2018).

Adam Farquhar (Head of Digital Scholarship at the British Library) will give an update about the future of BL Labs and report on a special event held in September 2018 for invited attendees from National, State, University and Public Libraries and Institutions around the world, where they were able to share best practices in building 'labs style environmentsfor their institutions' digital collections and data.

There will be a 'sneak peek' of an art exhibition in development entitled 'Imaginary Cities' by the visual artist and researcher Michael Takeo Magruder. His practice  draws upon working with information systems such as live and algorithmically generated data, 3D printing and virtual reality and combining modern / traditional techniques such as gold / silver gilding and etching. Michael's exhibition will build on the work he has been doing with BL Labs over the last few years using digitised 18th and 19th century urban maps bringing analog and digital outputs together. The exhibition will be staged in the British Library's entrance hall in April and May 2019 and will be free to visit.

Finally, we have an inspiring talk lined up to round the day off (more information about this will be announced soon), and - as is our tradition - the symposium will conclude with a reception at which delegates and staff can mingle and network over a drink and nibbles.

So book your place for the Symposium today and we look forward to seeing new faces and meeting old friends again!

For any further information, please contact labs@bl.uk

Posted by Mahendra Mahey and Eleanor Cooper (BL Labs Team)

20 July 2018

Conference on Human Information Interaction and Retrieval

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This a guest post is by Carol Butler, who is doing a collaborative PhD research project with the Centre for Human Computer Interaction Design at City University of London and the British Library on the topic of  new technologies challenging author and reader roles. There is an introduction to her project in this previous post, and you can follow her on twitter as @fantomascarol.

The cold weather back in March seems a distant memory with all the warm weather we've been having recently. However, earlier in the year I braved the snow with my Doc Martens and woolly hat to visit New Brunswick, NJ, for the annual ACM SIGIR Conference on Human Information Interaction and Retrieval (CHIIR), hosted this year by Rutgers University.

An intimate and welcoming conference with circa 130 attendees, CHIIR (pronounced ‘cheer’) attracts academics and industry professionals from the fields of Library and Information Science and Human Computer Interaction. I went to present early findings from my PhD study at their Doctoral Consortium, from which I have my first ever academic publication and where I gained helpful feedback and insight from a group of senior academics and fellow PhD students. Most notable was the help of Hideo Joho from the University of Tsukuba, who kindly shared his time for a one-to-one mentoring session.

A single-track conference, I was able to attend the majority of talks. In the main, presentations looked at better understanding how people search for information using digital tools and catalogues, and how we can improve their experience beyond offering the standard ’10 blue links’ we have come to expect from search results. Examples included early-stage research into search interfaces that understand vocal, ‘conversational’ enquiries and the new challenges this may present, and concepts such as VR goggles that can show us useful information about the world around us.

As well as seeking to better connect people with useful new information, talks also detailed how people re-find information they’ve already seen, for example in emails; on Twitter; or from their entire browsing history and file directory. There were also fascinating discussions about how people search in different languages, whether switching between languages fluidly if bilingual, or through viewing search results in different languages, side by side.

How people learn from the information they find was an important and tricky issue raised by a number of speakers, reminding us that finding information is not, in fact, the end goal. All in all, it was a very thought-provoking and enjoyable conference, and I am thankful to the organisers (ACM SIGIR), who awarded me a student travel grant to enable me to attend. Next year’s conference is considerably closer to home, in Glasgow, for more details check out http://sigir.org/chiir2019 – I very much hope to go again, and maybe I'll see some of you there!

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Not all UX problems are digital : I concluded my journey with a fascinating chat with the conductor on the train home, who shared top secret info about how he and his colleagues workaround usability problems with their paper ticketing process