THE BRITISH LIBRARY

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20 posts categorized "Sound and vision"

03 October 2019

BL Labs Symposium (2019): Book your place for Mon 11-Nov-2019

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Posted by Mahendra Mahey, Manager of BL Labs

The BL Labs team are pleased to announce that the seventh annual British Library Labs Symposium will be held on Monday 11 November 2019, from 9:30 - 17:00* (see note below) in the British Library Knowledge Centre, St Pancras. The event is FREE, and you must book a ticket in advance to reserve your place. Last year's event was the largest we have ever held, so please don't miss out and book early!

*Please note, that directly after the Symposium, we have teamed up with an interactive/immersive theatre company called 'Uninvited Guests' for a specially organised early evening event for Symposium attendees (the full cost is £13 with some concessions available). Read more at the bottom of this posting!

The Symposium showcases innovative and inspiring projects which have used the British Library’s digital content. Last year's Award winner's drew attention to artistic, research, teaching & learning, and commercial activities that used our digital collections.

The annual event provides a platform for the development of ideas and projects, facilitating collaboration, networking and debate in the Digital Scholarship field as well as being a focus on the creative reuse of the British Library's and other organisations' digital collections and data in many other sectors. Read what groups of Master's Library and Information Science students from City University London (#CityLIS) said about the Symposium last year.

We are very proud to announce that this year's keynote will be delivered by scientist Armand Leroi, Professor of Evolutionary Biology at Imperial College, London.

Armand Leroi
Professor Armand Leroi from Imperial College
will be giving the keynote at this year's BL Labs Symposium (2019)

Professor Armand Leroi is an author, broadcaster and evolutionary biologist.

He has written and presented several documentary series on Channel 4 and BBC Four. His latest documentary was The Secret Science of Pop for BBC Four (2017) presenting the results of the analysis of over 17,000 western pop music from 1960 to 2010 from the US Bill Board top 100 charts together with colleagues from Queen Mary University, with further work published by through the Royal Society. Armand has a special interest in how we can apply techniques from evolutionary biology to ask important questions about culture, humanities and what is unique about us as humans.

Previously, Armand presented Human Mutants, a three-part documentary series about human deformity for Channel 4 and as an award winning book, Mutants: On Genetic Variety and Human Body. He also wrote and presented a two part series What Makes Us Human also for Channel 4. On BBC Four Armand presented the documentaries What Darwin Didn't Know and Aristotle's Lagoon also releasing the book, The Lagoon: How Aristotle Invented Science looking at Aristotle's impact on Science as we know it today.

Armands' keynote will reflect on his interest and experience in applying techniques he has used over many years from evolutionary biology such as bioinformatics, data-mining and machine learning to ask meaningful 'big' questions about culture, humanities and what makes us human.

The title of his talk will be 'The New Science of Culture'. Armand will follow in the footsteps of previous prestigious BL Labs keynote speakers: Dan Pett (2018); Josie Fraser (2017); Melissa Terras (2016); David De Roure and George Oates (2015); Tim Hitchcock (2014); Bill Thompson and Andrew Prescott in 2013.

The symposium will be introduced by the British Library's new Chief Librarian Liz Jolly. The day will include an update and exciting news from Mahendra Mahey (BL Labs Manager at the British Library) about the work of BL Labs highlighting innovative collaborations BL Labs has been working on including how it is working with Labs around the world to share experiences and knowledge, lessons learned . There will be news from the Digital Scholarship team about the exciting projects they have been working on such as Living with Machines and other initiatives together with a special insight from the British Library’s Digital Preservation team into how they attempt to preserve our digital collections and data for future generations.

Throughout the day, there will be several announcements and presentations showcasing work from nominated projects for the BL Labs Awards 2019, which were recognised last year for work that used the British Library’s digital content in Artistic, Research, Educational and commercial activities.

There will also be a chance to find out who has been nominated and recognised for the British Library Staff Award 2019 which highlights 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 midday 5 November 2019).

As is our tradition, the Symposium will have plenty of opportunities for networking throughout the day, culminating in a reception for delegates and British Library staff to mingle and chat over a drink and nibbles.

Finally, we have teamed up with the interactive/immersive theatre company 'Uninvited Guests' who will give a specially organised performance for BL Labs Symposium attendees, directly after the symposium. This participatory performance will take the audience on a journey through a world that is on the cusp of a technological disaster. Our period of history could vanish forever from human memory because digital information will be wiped out for good. How can we leave a trace of our existence to those born later? Don't miss out on a chance to book on this unique event at 5pm specially organised to coincide with the end of the BL Labs Symposium. For more information, and for booking (spaces are limited), please visit here (the full cost is £13 with some concessions available). Please note, if you are unfortunate in not being able to join the 5pm show, there will be another performance at 1945 the same evening (book here for that one).

So don't forget to book your place for the Symposium today as we predict it will be another full house again and we don't want you to miss out.

We look forward to seeing new faces and meeting old friends again!

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

14 September 2019

BL Labs Awards 2019: enter before 2100 on Sunday 29th September! (deadline extended)

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We have extended our deadline for our BL Labs Awards to 21:00 (BST) on Sunday 29th September, submit your entry here. If you have already entered, you don't have to resubmit, however, we are happy to receive updated entries too.

The BL Labs Awards formally recognises outstanding and innovative work that has been created using the British Library’s digital collections and data.

Submit your entry, and help us spread the word to all interested parties!

This year, BL Labs is commending work in four key areas:

  • Research - A project or activity that shows the development of new knowledge, research methods, or tools.
  • Commercial - An activity that delivers or develops commercial value in the context of new products, tools, or services that build on, incorporate, or enhance the Library's digital content.
  • Artistic - An artistic or creative endeavour that inspires, stimulates, amazes and provokes.
  • Teaching / Learning - Quality learning experiences created for learners of any age and ability that use the Library's digital content.

After the submission deadline of 21:00 (BST) on Sunday 29th September for entering the BL Labs Awards has passed, the entries will be shortlisted. Selected shortlisted entrants will be notified via email by midnight BST on Thursday 10th October 2019. 

A prize of £500 will be awarded to the winner and £100 to the runner up in each Awards category at the BL Labs Symposium on 11th November 2019 at the British Library, St Pancras, London.

The talent of the BL Labs Awards winners and runners up over the last four years has led to the production of a remarkable and varied collection of innovative projects. In 2018, the Awards commended work in four main categories – Research, Artistic, Commercial and Teaching & Learning:

Photo collage

  • Research category Award (2018) winner: The Delius Catalogue of Works: the production of a comprehensive catalogue of works by the composer Delius, based on research using (and integrated with) the BL’s Archives and Manuscripts Catalogue by Joanna Bullivant, Daniel Grimley, David Lewis and Kevin Page from Oxford University’s Music department.
  • Artistic Award (2018) winner: Another Intelligence Sings (AI Sings): an interactive, immersive sound-art installation, which uses AI to transform environmental sound recordings from the BL’s sound archive by Amanda Baum, Rose Leahy and Rob Walker independent artists and experience designers.
  • Commercial Award (2018) winner: Fashion presentation for London Fashion Week by Nabil Nayal: the Library collection - a fashion collection inspired by digitised Elizabethan-era manuscripts from the BL, culminating in several fashion shows/events/commissions including one at the BL in London.
  • Teaching and Learning (2018) winner: Pocket Miscellanies: ten online pocket-book ‘zines’ featuring images taken from the BL digitised medieval manuscripts collection by Jonah Coman, PhD student at Glasgow School of Art.

For further information about BL Labs or our Awards, please contact us at labs@bl.uk.

Posted by Mahendra Mahey, Manager of of British Library Labs.

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. 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
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.

Dr Milena Dobreva-McPherson, Associate Professor Library and Information Studies at UCL Qatar 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.  

Mr Tuesday Bwalya, Lecturer, Library and Information Science Department, The University of Zambia (UNZA) 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 Phiri, Librarian at Moto Moto Museum and a visiting researcher at UCL Qatar 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.

15 August 2019

Creating Geo-located Digital Sound Walks

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A few months ago, here at the British Library we held an interesting Exploring with Sound Walks event, that discussed digital projects that connect literature, sound recordings, place, technology and walking. Several digital tools were mentioned by the presenters at this event, so this post, by Marcin Barski, is a practical guide for creating geo-located sound walks.

We hope you are inspired to create your own walks, listen to sound walks, vote for your favourite (you need to be logged in to vote), and maybe attend one of the Sound Walk Sunday events taking place on the 1st and throughout the month of September 2019. If you can easily travel to London, you may also be interested in attending a Sound Walk Sunday walkshop in and around the British Library, taking place 10:00-13:00 on Saturday 31st August.

Man standing next to a tree, wearing headphones and listening to a sound walk experience
Image copyright Stefaan van Biesen

Over to Marcin for his advice on creating sound walks:

Let's start with some basic definitions. A sound walk is any activity that involves both walking and some form of listening. Listening is a much broader term than most of us would ever suspect. It can basically relate to the very act of giving attention to sound, but if we focus on details we soon realise that, as much as it happens mostly involuntarily, in certain circumstances and contexts we can direct it at the topics or phenomena that otherwise would have been lost in the very rich audiosphere that incessantly surrounds us.

It's rather important to understand that those topics and phenomena do not necessarily need to be of audial nature. Using pre-recorded sets of narratives, spoken word or studio-engineered music, we can make our audience aware of stories normally hidden from sight.

In recent years several tools have been developed that help sound walk artists, educators and creators place sounds in exact locations. Once placed, we need to tell our audience how to find and experience them. This can be achieved by voice instructions, QR codes or most commonly (and conveniently) by using mobile apps that determine the user's position via GPS and trigger sounds in the exact locations where we would like them to be heard.

Below you will find a quick guide on how to start creating your own geo-located sound walk, along with descriptions of some of the tools that can make the process smooth and stress free.

  1. Know your subject

The very first thing you will need to do is to decide what story you want to tell. Do you know it well enough already, or is there a need to do some research? Is the story self-explanatory, or will you need to explain some or all details to your audience? And - actually, maybe the first question to ask - is it a story at all? Some sound walks can be based on natural recordings and music only, meaning the whole covered area changes its character without a single word.

Once your story is ready, decide how it should be conveyed to your audience. Do you prefer to tell the story yourself, or maybe it will be better to find and interview other people with significant knowledge of the topic? Creating a sound walk can sometimes be similar to working on a radio piece, in which important elements are delivered by experts or insiders. Will you need to record everything yourself or is it possible to find archival sounds that would add something valuable to your content?

  1. Choose the area

In the next step you will need to decide what area should be covered with your sounds and narratives. Would you like the sounds to be located only in the described and meaningful locations, or would you prefer to have the whole area covered with some more or less abstract background recordings? In the latter case, you need to take into consideration that the larger the area, the more sounds will be needed to fill all the silent spaces.

Bear in mind that your audience will most likely experience your piece by foot, hence the distances between the particular spots should not be too large. The best results are achieved when distances between the sounds allow for smooth and undistracted strolling.

Remember to consider safety! Don't force your audience to walk in hazardous or restricted areas. They will be using headphones, so choose a route away from busy roads.

  1. Choose your tools

Each app you are going to use will come with specific requirements for the format or duration of your recordings. In most cases these requirements will be easy to meet, but make sure you are doing it correctly right from the beginning to avoid the hassle of file conversion or additional editing in later stages. You will find helpful descriptions of some of the available apps below.

Creating a geo-located sound walk can be fun not only for you, but also for others. Consider working in a group in which all of you have assigned tasks or subjects to cover. You will be surprised how much a socially creative activity it can become. Some people create sound walks with children, or with their local community groups.

  1. Recording and editing

We don't all carry high quality microphones in our pockets. Of course, if you want to create an audiophile experience, you will need to secure professional audio recorders and microphones, however technology is not a barrier anymore. You can even use your smartphone to make your recordings - their quality will definitely be good enough to record speech.

If you'd like to use background sounds, and you have no means of making the recordings yourself, there are repositories of sounds available on the Internet. Impressive collection of sounds can be found, for example, on the British Library's SoundCloud channel. You can also search at http://archive.org and http://freesound.org - which are available for you to use free of charge.

There's quite a number of open-source and free sound editing software on the Internet. If you're not a professional sound designer, most likely Audacity will be enough for you. It's easy to use and has all the features you may need. It's also quite popular so you will find many helpful tutorials online.

  1. Placing sounds

This is probably the most pleasant and at the same time the most challenging part of the work. Be prepared to spend hours in your chosen area and to have your patience tested. Although most of the apps allow for fairly accurate placing of sounds, you will need to test each single location yourself. Sometimes you will need to move a sound by a few metres, other times you will want to change the way in which two sounds interact with each other. Wear comfortable shoes and submit to the trial and error process. Despite the challenges, trust us, it's fun!

  1. Go public and advertise

Once you are sure that all of your recordings are out there and in the exact places you want them to be, you can make your walk public. In most of the available apps you can publish with just one click. And when it's public, don't forget to tell everyone to try it. It's very rewarding to hear back from your audience - you will realise how much your work has re-shaped their perception of the chosen space.

Person standing in front of a church building, they are wearing headphones and listening to a sound walk
Image copyright Stefaan van Biesen

Here is a list of digital tools and platforms available for making sound walks:

Echoes

Echoes gives you the freedom to explore breath-taking GPS-triggered audio tours wherever you are. With the Echoes Creator, you can quickly and easily upload audio, images, and text, geolocate them on the map, and publish them for the world to see. Just add shapes to the map, which create geofenced areas. These will trigger content when your listeners physically walk inside them.

Echoes is free to use and available at http://echoes.xyz

PlaceCloud

Placecloud's mission is to reveal the cultural significance of everyday places. To achieve this, they have invented something called 'placecasts', or place-specific podcasts: short audio recordings with GPS coordinates attached to them. Users can listen to them while being physically present in the places they refer to.

Placecloud keeps the process simple: many of the steps described above won't be necessary when working with this tool. By adding your recordings you become part of a wider community of 'placecasters'.

http://www.placecloud.io

VoiceMap

VoiceMap is a tool for digital storytelling in public spaces. It's designed for storytellers and passionate locals all over the world who can - in an easy way - share their thoughts and narratives about the places they live in. As a creator you can guide your audience around your city - and get paid for this.

http://voicemap.me

Locosonic

Similar to Echoes, Locosonic is designed for creating "movies for your ears" - as they call it. Locosonic Soundscapes link sounds, music and stories to a location. While exploring an area, you will hear the Soundscape that matches your location. Like an additional sense, Locosonic allows you to experience places through their stories and music.

http://www.locosonic.com

CGeomap

CGeomap  is a collaborative tool which allows people to work together on the same project. Very easy to use, it creates simultaneously an online map and a browser-based web app, geolocating audio, text and visual content, without the need to install on your device.

It is more limited in terms of sound than Echoes or Locosonic, but adds media to your walk, and generates simultaneously an online media map, accessible for all on desktop. An extra feature allows the user to shift, while walking, from one map to the other, activating up to three layers of content in one place.

Info: http://bit.ly/300hpMS

Aporee

radio aporee ::: miniatures for mobiles is a platform for (creating) sound walks. These are created and organised by a web-based editing tool and listened to with a mobile phone app, while walking outside, at the site where the piece is created for. In addition to the phone apps, a (prototype) browser-based web app is also available, without the need to install the app on your device.

https://aporee.org/mfm/


We hope you have fun making and listening to sound walks! Sound Walk Sunday events are taking place on the 1st and throughout the month of September 2019. One of them "Ecumenopolis – the whole world is one city", by Geert Vermeire, is being made for walkers around the British Library London, the State Library of Moscow, the National Library of Greece and the City Library of Sao Paulo, so we can't wait to listen to this work.

This post is introduced by Digital Curator Stella Wisdom (@miss_wisdom) and Andrew Stuck from the Museum of Walking.  Many thanks to Marcin Barski, curator, music publisher, sound and installation artist, co-founder of the Instytut Pejzażu Dźwiękowego (Polish Soundscape Institute) for writing this practical guide to creating sound walks.

16 May 2019

Exploring with Sound Walks

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

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

Imaginary Cities exhibition trailer

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

Sound walk sunday 2019 logo

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

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

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

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

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

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

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

This post is by Digital Curator Stella Wisdom (@miss_wisdom

29 March 2019

Staying Late at the Library ... to Algorave

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

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

Alex Mclean live coding on stage with light projections
Alex Mclean AKA Yaxu

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

Carol Manton live coding on stage with light projections
Coral Manton AKA Coral

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

Shelly Knotts and Joanne Armitage live coding on stage with rear light projections
ALGOBABEZ AKA Shelly Knotts and Joanne Armitage

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

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

Antonio Roberts live coding on stage with rear light projections
Antonio Roberts AKA hellocatfood

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

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

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

13 February 2019

BL Labs 2018 Artistic Award Runner Up: 'Nomad'

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Nomad is a collaborative project between Abira Hussein, an independent researcher and curator, and Sophie Dixon and Ed Silverton of Mnemoscene. They were the runners up in the BL Labs Artistic Award category for 2018, and they've written a guest blog post about their project for the Digital Scholarship blog.

Nomad: Reconnecting Somali heritage

The project has been supported by the Heritage Lottery fund and premiered at the British Library and British Museum during the Somali Week Festival 2018. Centred around workshops engaging Somali communities in London, Nomad explores the creative use of Mixed Reality and web-based technology to contextualise archival Somali objects with the people and traditions to which they belong.

Woman wearing virtual reality goggles pointing at 3D objects on a screen

Nomad began with three Somali heritage objects - a headrest, bowl, and incense burner - which had been digitised at the British Museum. Thanks to Object Journeys, a previous project Abira was involved in, they were freely available to use.

Our goal was to reflect the utilitarian nature of the objects by showing their intended use. Furthermore, in Somali culture, songs and poetry are very important and we wanted to reconnect the objects to the sounds and traditions to which they belonged.

Our approach was to use Microsoft’s Mixed Reality HoloLens headset to show a Nomadic Somali family using the objects in real, everyday spaces. When wearing the headset the user can select different objects to reveal different members of the family, seeing how the object would be used, and hearing the songs which would have accompanied their use.

You can get a taste of the HoloLens experience in this short video (1 minute).

To create these ephemeral figures we used motion capture and 3D modelling, creating the clothing by referencing archival photographs held at the Powell Cotton Museum in Kent.

We used the British Library’s John Low collection as the source for the sounds you hear in the Mixed Reality experience. John Low travelled across Somalia between 1983-1986 working for an NGO to support community development. In his spare time he made field recordings with different tribes and dialects, providing an insight into the diversity of Somali oral traditions. The collection includes work songs reflecting pastoral life and poems, also known as Gabay, which are often recited in communal settings.

Workshop participants in a crowded room smiling
Workshop held at the British Museum during the Somali Week Festival

With support from the Heritage Lottery Fund we toured the Mixed Reality experience to different Somali communities in London. The immersive experience became a way to inspire and encourage communities to share their own stories, to be part of an openly accessible archive representing their own narratives for Somali cultural heritage.

These workshops were exciting events in which participants handled real objects, tried the Mixed Reality experience and took part in the photogrammetry process to capture 3D models of the objects they had brought to the workshops.

To make the objects and sounds accessible to all, we also created Web-based Augmented Reality postcards to be used in the workshops. 

Workshop participants looking at 3D objects using web-based Augmented Reality on their mobile phones
Workshop participants looking at 3D objects using web-based Augmented Reality on their mobile phones

From the workshops we have 3D models, photographs and audio recordings which we’re currently adding to an online archive using the Universal Viewer. For updates about the archive and to find out more about our project please visit us at nomad-project.co.uk.

Watch the Nomad team receiving their award and talking about their project on our YouTube channel (clip runs from 4:15 to 8:16):

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.