THE BRITISH LIBRARY

Digital scholarship blog

136 posts categorized "Projects"

21 August 2019

Chevening British Library Fellowship working with Chinese historical texts

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Chevening is the UK government’s international awards programme aimed at developing global leaders. In 2015, the Foreign and Commonwealth Office (FCO) has partnered with the British Library to offer professionals two new fellowships every year. These fellowships are unique opportunities for one-year placements at the Library, working with exceptional collections under the Library’s custodianship. Past and present Chevening Fellows at the Library have focused on geographically diverse collections, from Latin America through Africa to South Asia, with different themes such as Nationalism, Independence, and Partition in South Asia, 1900-1950 and Big Data and Libraries.

We are thrilled to announce that one of the two placements available for the 2020/2021 academic year will focus on automating the recognition of historical Chinese handwritten texts. This is a special opportunity to work in the Library’s Digital Scholarship Department, and engage with unique historical collections digitised as part of the International Dunhuang Project and the Lotus Sutra Manuscripts Digitisation Project. Focusing on material from Dunhuang (China), part of the Stein collection, this Fellowship will engage with new digital tools and techniques in order to explore possible solutions to automate the transcription of these handwritten texts.

Chinese Lotus Sutra scroll with Tibetan divination texts on the back (Shelfmark: Or.8210/S.155). Digitised as part of the Lotus Sutra Manuscripts Digitisation Project.
Chinese Lotus Sutra scroll with Tibetan divination texts on the back (Shelfmark: Or.8210/S.155). Digitised as part of the Lotus Sutra Manuscripts Digitisation Project.

 

The context for this fellowship is the Library’s efforts towards making its collection items available in machine-readable format, to enable full-text search and analysis. The Library has been digitising its collections at scale for over two decades, with digitisation opening up access to diversely rich collections. However, it’s important for us to further support discovery and digital research by unlocking the huge potential in automatically transcribing our collections. Until recently, Western language print collections have been the main focus, especially newspaper collections. A flagship collaboration with the Alan Turing Institute, a project called “Living with Machines,” is underway to apply Optical Character Recognition (OCR) to UK newspapers, design and implement new methods in data science and artificial intelligence, and analyse these materials at scale.

Taking a broader perspective on Library collections, we have started to explore opportunities with non-Latin collections too. Members of the Digital Scholarship team are engaging closely with the exploration of OCR and Handwritten Text Recognition (HTR) systems for Bangla and Arabic. Digital Curators Tom Derrick, Nora McGregor and Adi Keinan-Schoonbaert have teamed up with PRImA Research Lab and the Alan Turing Institute to ran four competitions in 2017-2019, inviting providers of text recognition methods to try them out on our historical material. Another initiative which Tom is engaged with is exploring Transkribus for Bengali printed texts. He trained Transkribus’ HTR+ recognition engine, which ended up transcribing this material at 94% character accuracy! Tom and Adi’s recent blog post in EuropeanaTech Insight (issue on OCR) summarises these initiatives.

Regions and text lines demarcated as ground truth for RASM2019 ICDAR2019 Competition on Recognition of Historical Arabic Scientific Manuscripts (Shelfmark: Add MS 7474). Digitised and available on Qatar Digital Library.
Regions and text lines demarcated as ground truth for RASM2019 ICDAR2019 Competition on Recognition of Historical Arabic Scientific Manuscripts (Shelfmark: Add MS 7474). Digitised and available on Qatar Digital Library.

 

The Chevening Fellow will contribute to our efforts to identify OCR/HTR systems that can tackle digitised historical collections. They will explore the current landscape of Chinese handwritten text recognition, look into methods, challenges, tools and software, use them to test our material, and demonstrate digital research opportunities arising from the availability of these texts in machine-readable format.

This fellowship programme will start in September 2020 for a 12-month period of project-based activity at the British Library. The successful candidate will receive support and supervision from Library staff, and will benefit from professional development opportunities, networking and stakeholder engagement, gaining access to a range of organisational training and development opportunities (such as the Digital Scholarship Training Programme), as well as staff-level access to unique British Library collections and research resources.

For more information and to apply, please visit the Chevening British Library Fellowship page: https://www.chevening.org/fellowship/british-library/, and the “Automating the recognition of historical Chinese handwritten texts” Fellow page: https://www.chevening.org/fellowship/british-library-chinese-handwritten-texts/.

Applications close at 12pm (GMT), 5 November 2019. Good luck!

 

This blog post is by Dr Adi Keinan-Schoonbaert, Digital Curator for Asian and African Collections, British Library. She's on Twitter as @BL_AdiKS.

20 August 2019

Innovation Labs and the digital divide

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Guest posting by Milena Dobreva-McPherson, Associate Professor Library and Information Studies UCL Qatar with contributions from Tuesday Bwalya, Lecturer, Library and Information Science Department, The University of Zambia (UNZA) and Fidelity Phiri, Visiting Researcher, UCL Qatar.

Can you recall seeing an interesting digital cultural heritage object from Zambia lately? If you search the Europeana Collections portal, you will find some 2500 digital objects coming from European heritage institutions. Alongside these items, you can enjoy the sound recording of a grunting and splashing Hippopotamus captured on 2 July 1985 on Luangwa river in Zambia. This object was aggregated from the British Library’s sound collection

Digitisation efforts of various Zambian institutions date back to 2002; for example, at the National Archives of Zambia (which does not have its own website at the time of writing this post), finding digital content originating from Zambian institutions is currently a challenge, unless you are visiting these institutions in person. One possible reason is that institutions in Zambia digitise for the purposes of internal collection management, preservation, and on-site use, like many other organisations. A rare exception is the digitised collection of the records of the United National Independence Party (UNIP) of Zambia, which was created in 2007 in collaboration with the Endangered Archives Programme of the British Library. While it cannot be accessed on any Zambian digital platform, it is available on the website of the British Library.

Is this situation (of very little accessible digital material online in the archives) common for all cultural sectors? Let us have a look at museums. In this domain, the Livingstone Museum was the first to carry out digitisation activities in 2009. The National Museum Board of Zambia, an umbrella organisation for 5 national and 2 community museums, also has an online presence with digitised images. However, trying to explore the Photo gallery or Audio/video files in the Multimedia section on the website returns the ominous 404 Page not found error although the Board definitely has plenty of objects to share. 

Certainly, one could argue that the poor institutional online digital presence is to be expected in a country within the Global South where a digital divide still exists.  After all, even finding data to assess the scale of this digital divide is a challenge, and the body of publications on digital divide in Africa had been quite limited with some 100 identified works over 12-year period (2000-2012). There is also a lack of recent estimates on the state of technological use in museums. Back in 2002, Lorna Abungu suggested that "[a]t present, out of 357 known museums throughout the African continent (including the Indian Ocean islands), only seventy-five have – on an institutional level – at least basic Internet access for e-mail." 

And, while tackling the digital divide is one of the big challenges of the Global South, when we look at it specifically from the digital cultural heritage perspective it has a global effect. Those within the divide are not able to use modern information and communication technologies to their full advantage. This is one of the reasons digitisation is either delayed or caters only for on-site use in Zambia, for example. But for those on the other side of the divide it results in impaired access to the digital heritage currently being accumulated in the regions affected by the digital divide. This is why the users searching for the sounds of hippopotamus splashing will have a chance to discover them only if they are deposited in a collection on the other side of the divide. 

To foster a change within this current situation of a lack of accessibility to the digital cultural heritage of Zambia, UCL Qatar joined forces with the National Museums Board of Zambia to deliver a day-long workshop on Innovation Labs in Cultural Heritage Institutions which was hosted on 1 August, 2019 by the Livingstone Museum. You can read more about this event , in a 'Reflections from the First Sub-Saharan African Workshop on Digital Innovation Labs in Cultural Heritage Institutions' blog post.

Fig. 4. Workshop participants
Fig. 1. After discussing how to overcome some of the disadvantages of the digital divide:
Participants in the Innovation Labs in Cultural Heritage Institutions which was hosted on 1 August, 2019 by the Livingstone Museum

There was a clear message from Mahendra Mahey, of British Library Labs that innovation in user engagement can start small, with the use of open source tools and popular web platforms. This event provided useful insights on the questions newcomers to the Innovation Lab community have to ask. In September, a Book Sprint to develop the first guide for setting up, running and maintaining a Digital Cultural Heritage Innovation Labs will be held in Doha, Qatar. 

Here are some of these interesting questions for the wider labs community:

  • Keeping in mind how the level of technological innovation is different on both sides of the divide; what should an innovation lab within the divide offer? Incremental innovation to the state of technology around or advanced innovation to match the global leaders?
  • How much can open platforms support innovation for these labs?
  • Can the route of using predominantly open tools and platforms for innovation labs be used also as a way to enhance open science in the Global South? 

Until a shift in the digital access happens, we will continue browsing some digital content on Zambian heritage coming from other cultural heritage organisations outside Zambia, beyond the digital divide.

Fig. 4. Workshop participants Dr Milena Dobreva-McPherson, is Associate Professor Library and Information Studies at UCL Qatar with international experience of working in Bulgaria, Scotland and Malta. Since graduating M.Sc. (Hons) in Informatics in 1991, Milena specialized in digital humanities and digital cultural heritage in the Bulgarian Academy of Sciences, where she earned her PhD in 1999 in Informatics and Applied Mathematics and served as the Founding Head of the first Digitisation Centre in Bulgaria (2004); she was also a member of the Executive Board of the National Commission of UNESCO. Milena’s research interests are in the areas of innovation diffusion in the cultural heritage sector; citizen science; and users of digital libraries. Milena is a member of the editorial board of the IFLA Journal - Sage, and of the International Journal on Digital Libraries (IJDL) - Springer and a member of the steering committed of the three biggest conference series in digital libraries, IJDL, TPDL and ICADL. Consultant of the Europeana Task Force on Research Requirements.  

Tuesday Mr Tuesday Bwalya, Lecturer, Library and Information Science Department, The University of Zambia (UNZA). He holds a Master’s Degree in Information Science from China. In addition, Mr. Bwalya has received training in India and Belgium in Library Automation with Free and Open Source Library Management Systems such as Koha and ABCD. His research interests include free and open source library management systems; open access publishing; database systems; web development; records management; cataloguing and classification.

Fidelity Fidelity Phiri is currently employed as Librarian at Moto Moto Museum and a visiting researcher at UCL Qatar. He has worked for National Museums Board of Zambia since 2001. He  holds a Bachelor's degree in Library and Information Science from the University of Zambia. Fidelity  also graduated in April 2019 from UCL Qatar and  is a holder of a Master’s degree in Library and Information studies. His research interests are in bibliometrics studies and digital humanities/units  that provide access to digital collections.

Acknowledgements: We would like to thank Fred Nyambe for the photos and Dania Jalees for the editing.

25 June 2019

Imaginary Cities Exhibition at the British Library

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Michael-takeo-magruder-imaginary-cities-4

Until 14 July 2019

Entrance Hall Gallery, British Library

Our new art exhibition, Imaginary Cities, by British Library Labs artist in residence, Michael Takeo Magruder, has been drawing a steady stream of curious visitors since its opening on the 5th April 2019. Staged in the Entrance Hall Gallery, the show features four large technology-based art installations specially commissioned by the Library.

The works represent the artist's creative responses to a set of four nineteenth century city maps of London, Paris, New York and Chicago.

A-plan-of-london-and-its-environs-from-a-topographical-dictionary-of-england-1834
One of the digitised maps: 'A Plan of London and its Environs', drawn by R. Creighton, engraved by J. Walker. In 'A Topographical Dictionary of England ...' by Samuel Lewis, 1835

These four original digitised maps come from the British Library’s One Million Images from Scanned Books collection, which was made available on Flickr Commons in 2013. In the intervening six years, it has received over one billion views and sparked a wealth of creative responses, from the development of new artificial intelligence research, image tagging software and video games to educational initiatives, commercial products and artworks that have been exhibited all over the world.

From the 65,000 books from the 17th, 18th and 19th centuries that were digitised, some 50,000 images of maps were identified and tagged by volunteers. Read more... Taking these maps as his initial inspiration, Michael then began to develop his ideas for this exhibition.

Quote with cabinet
Cabinet containing some of the map-rich 19th century books that were digitised at the BL

Imaginary Cities was borne out of Michael's collaboration with British Library Labs, an Andrew W. Mellon Foundation and British Library funded project that inspires and facilitates exciting and innovative uses of the Library’s digital collections and data. Michael has worked with BL Labs for several years as researcher and artist in residence, putting our digitised resources and the user-data associated with them to work in completely new ways.

Cropped gilded
A detail taken from Michael Takeo Magruder's gilded artwork based on the 1872 map of Paris and the public's digital interactions with it

In creating the art installations on display, Michael has employed traditional techniques such as precious metal gilding and woodworking alongside cutting edge digital technologies to produce four very different artworks. He worked closely with the computer scientist, David Steele, who used the digitised maps and data representing the public's live interaction with them to transform the singular into an endless set of iterations.

Michael-takeo-magruder-imaginary-cities-6
UV-active installation based on the 1874 map of Chicago and user interactions

Another of Michael's long-term collaborators, Drew Baker, took the static 2D plans and extruded them into 3D in a real-time virtual game environment – taking the map and creating a synthetic 'city' from it. The resulting artwork is housed in the small darkened room within the gallery space, with a large 2D screen and a VR headset... When you don the Oculus headset, what you see is a virtual reality cityscape based on New York City which is continuously regenerated to reflect the live visitor data associated with the historical map on Flickr Commons, such as page views, interactions and volunteer image tagging.

Michael-takeo-magruder-imaginary-cities-10
Visitor using the Oculus headset to explore the 3D imaginary city based on the digitised map, 'Plan of the City of New York,' created in 1766-76

The exhibition has been reviewed in the press and by leading art magazines such as Studio International and Artlyst as well as featuring in Techworld's Culture Crossover series, which showcases 'examples of projects that delightfully bridge the worlds of technology and culture'.

We encourage you to come and enjoy the free exhibition over the final weeks of its run. If you haven't yet visited, or are unable to make it to the British Library in person, you can take a virtual tour around the exhibition here (video duration 4:36 minutes):

More videos about Imaginary Cities are available here:

  • A guided tour of the exhibition by Michael Takeo Magruder, 4 April 2019 (duration 30:32 minutes).
  • A conversation with the artist, Michael Takeo Magruder, and his collaborators, Drew Baker, David Steele and the manager of BL Labs, Mahendra Mahey. Chaired by Adam Farquhar, Head of Digital Scholarship at the British Library, 5 April 2019 (duration 1 hour 15 minutes).
  • The opening night speeches by Prof Dame Carol Black and the artist Michael Takeo Magruder at the private view of Imaginary Cities, British Library, 4 April 2019 (duration 19:31 minutes).
  • Michael talking about his residency with BL Labs at the British Library, 19 October 2017 (duration 6 minutes).

For information on events associated with Imaginary Cities, see www.bl.uk/events/imaginary-cities.

Upcoming events include talks and exhibition tours as part of the Knowledge Quarter Conference on 26 June 2019 and the Imaginary Cities Book Launch on 10 July 2019 (at the British Library).

The Imaginary Cities exhibition is generously supported by The Eccles Centre for American Studies at the British Library.

Posted by Eleanor Cooper on behalf of BL Labs.

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:

Shapes1

Or maybe even like this:

Shapes2

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.

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).

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.

5 models together
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.

28 March 2019

Algorave till Late in the Imaginary City

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Cropped imag city

These are exciting and busy times for BL Labs and the digital scholarship team, and we have a few digital/art-themed events next week - book your tickets and come along!

Friday 5th April sees the long-anticipated launch of the Imaginary Cities exhibition in the entrance hall gallery. The exhibition is the work of the British Library's artist in residence, Michael Takeo Magruder, who has been collaborating with BL Labs since 2016, transforming digitised 19th century urban maps into fantastic installations. We will post more about the exhibition next week, so watch this space. The exhibition will run until 14th July and is free to visit.

You can learn about Michael's residency through British Library Labs here (six minute video):

To launch the public opening of the exhibition, Michael is giving a talk about his work on the evening of Friday 5th April at the British Library (18:45 - 20:00). The talk is free but you need to book a place. On the same evening, we are hosting a Late at the Library Algorave in the British Library atrium (19:00 - 23:00) where algorave artists will live-code music and visuals, writing code sequences generating algorithmic beats beneath the iconic Kings’ Library Tower. The event is curated by the audio-visual artist, Coral Manton, in collaboration with the British Library Events team, BL Labs, Digital Scholarship, and the Alan Turing Institute. 

Coral is a Research Affiliate of the British Library. She's interested in the aesthetics of stored knowledge and exploring this in VR. She led a research project with the EThOS team exploring multimedia research in UK PhD theses and future multimodal theses. This project was cited in the AHRC Academic Book of the Future Report and in multiple academic publications.

Back in November 2017, Coral and Joanne Armitage rounded off the BL Labs Symposium with a mini algorave. We didn't record ourselves raving, but you can find our more about the algorave scene and what live coding is in Coral and Joanne's short presentation from the symposium here: 

Book tickets for the talk [Friday 5th April - 18:45-20:00] by the Imaginary Cities artist, Michael Takeo Magruder, here: https://www.bl.uk/events/imaginary-cities-artist-talk-with-michael-takeo-magruder

Book tickets for the Algorave [Friday 5th April - 19:30-23:00] here: https://www.bl.uk/events/late-at-the-library-algorave

See here for a post about more details about the Algorave artists who are playing at the Algorave Late event, and about the Imaginary Cities exhibition on this blog soon.

Posted by BL Labs

26 March 2019

BL Labs Staff Award Runners Up: 'The Digital Documents Harvester'

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This guest blog is by Jennie Grimshaw on behalf of her team who were the BL Labs Staff Award runners up for 2018.

Harvest Haystack uk

The UK Legal Deposit Web Archive (LDWA) contains terabytes of data harvested from the UK web domain. It has a public search interface at https://webarchive.org.uk/ , but finding individual documents in what is in effect a vast unstructured dataset is challenging. The analogy of looking for a needle in a haystack comes to mind as being entirely appropriate.

The Digital Documents Harvesting and Processing Tool (DDHAPT) was designed to overcome the problem of finding individual known documents in the LDWA. It is an adaptation of the web archiving software that enables selectors to set up regular in-depth crawls of target, document heavy websites. The system then extracts new pdfs published since its previous visit from the target websites and presents them to the selector in a list with the most recent at the top:

DDH image 1

The selector can then view an image of the document on the screen by clicking on the title. If the document is in scope, basic metadata is created by completing an on-screen form. If the document doesn’t make the grade for the creation of an individual record, it can be removed from the list of new documents for selection by clicking on the green Ignore button on the right of the screen.

The metadata we create records the title and subtitle, publication year and publisher, edition, series, personal and corporate authors and ISBN (if present). Some fields such as title, publication year and publisher are automatically populated.  A broad subject heading is assigned from a pick list. Our aim is to create a “good enough” record that can stand without upgrading by the digital cataloguers, avoiding double handling.

DDH image 2

To save time and avoid transcription errors system allows the selector to highlight information in the document such as personal author, publisher, series title or ISBN. You then mouse up, which calls up a list of fields. Clicking on the appropriate field automatically transfers the data into it.

DDH image 3

Once the metadata has been created, the selector clicks on a submit button which starts the process of loading it into the British Library catalogue and the catalogues of the other five legal deposit libraries – the national libraries of Scotland and Wales, the Universities of Oxford and Cambridge, and Trinity College Dublin. The document remains in the Legal Deposit Web Archive. Its URL in the web archive is recorded in the metadata and creates the link between the document and its catalogue record. Readers who find the record in the British Library’s public catalogue or those of any of the legal deposit libraries can then click on the “I want this” button and view the document on screen.

The DDHAPT is currently being used to monitor the publications of Westminster government departments and help us ensure that future generations of researchers can reliably access known official documents via the catalogues of the six legal deposit libraries. However, we intend to extend its use to cover the output of other non-commercial publishers such as campaigning charities, think tanks, academic research centres, and pressure groups as a way of making their archived publications easily discoverable.

Normally material collected under the non-print legal deposit regulations can only be viewed by law on the premised on one of the six legal deposit libraries. However, the Libraries have negotiated licences with the UK government and many other non-commercial online publishers that allow us to make their archived websites and the documents on them open and available remotely. These licences lift non-print legal deposit restrictions and allow us to make the documents covered by them available 24/7 from anywhere in the world.

In these ways the DDHAPT improves the discoverability of non-commercially published documents collected under non-print legal deposit, facilitates metadata creation through auto-population of some fields, and avoids double handling through creation of good quality metadata at the point of selection.

Watch the Digital Documents Harvester team receiving their award and talking about their project on our YouTube channel (clip runs from 8.15 to 14.45):

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.