THE BRITISH LIBRARY

Digital scholarship blog

16 posts categorized "Sound and vision"

16 May 2019

Exploring with Sound Walks

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

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

Imaginary Cities exhibition trailer

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

Sound walk sunday 2019

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

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

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

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

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

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

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

This post is by Digital Curator Stella Wisdom (@miss_wisdom

29 March 2019

Staying Late at the Library ... to Algorave

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

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

Alex Mclean
Alex Mclean AKA Yaxu

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

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Coral Manton AKA Coral

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

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ALGOBABEZ AKA Shelly Knotts and Joanne Armitage

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

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

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Antonio Roberts AKA hellocatfood

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

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

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

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.

Nomad 1

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.

Nomad 2
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. 

Nomad 3
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.

17 January 2019

BL Labs 2018 Research Award Winner: 'The Delius Catalogue of Works'

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This guest blog is by the winners of the BL Labs Research Award for 2018: Joanna Bullivant and Daniel M. Grimley of the Faculty of Music, University of Oxford; and David Lewis and Kevin Page of the University of Oxford e-Research Centre.

The Delius Catalogue of Works is a new, freely accessible digital catalogue of the complete works of Frederick Delius (1862-1934).

Explore more here: https://delius.music.ox.ac.uk

The Delius Catalogue (DCW) was created as part of a project called ‘Delius, Modernism, and the Sound of Place’ (https://deliusmodernism.wordpress.com), a collaboration between the University of Oxford, the British Library, and the Royal Library, Denmark, which was funded by the Arts and Humanities Research Council. The project as a whole sought to better understand Delius and his music. Delius has been understood as an English portraitist, someone who wrote impressionistic works depicting natural scenes, whose music was strongly linked to the English landscape, and who had little interest in large-scale musical construction or in the details of performance.

However, Delius also lived and wrote music all over the world (in Scandinavia, Florida, Germany and France), and was the friend of many important modern artists, writers and musicians including Edvard Grieg, Edvard Munch, August Strindberg and Paul Gauguin. He also left behind very substantial sketches and other manuscripts that help us to understand his music, the vast majority of which are in the British Library.

Within the project, our aim in creating the DCW was to make a clear and up-to-date catalogue of Delius’s works which was both of a high scholarly standard and accessible to a variety of users (such as scholars, performers and students). We also wanted to integrate the catalogue as far as possible with the British Library’s own manuscript catalogue, to showcase the Library’s Delius collections and enable users of the catalogue to understand and have access to the physical manuscripts. This was a challenge both in terms of research (collecting and presenting information in a clear and concise manner) and web design (presenting it in the best possible manner).

Creating the catalogue was greatly helped by the decision to use MerMEId (Metadata Editor and Repository for MEI Data), specialist software created by Axel Teich Geertinger and his team at the Royal Library, Denmark, originally for creating a catalogue of the works of Carl Nielsen (http://www.kb.dk/dcm/cnw/navigation.xq). MerMEId is built on an eXist XML database with Lucene-based searching, and most of its functionality is implemented using xquery and xslt.

The core catalogue data is stored as MEI, an XML-based standard for the encoding and markup of musical data, inspired by TEI for text. MerMEId’s combination of open-source, standards-based technologies gave great flexibility to customise both the data model and the user interface to suit the application. In the DCW, we adapted genre categories, improved site accessibility, and adapted things like instrumental abbreviations and references to Delius reference works for our purposes. We also adapted the conceptual cataloguing model FRBR (https://www.ifla.org/files/assets/cataloguing/frbr/frbr_2008.pdf) in order to create records for each work that were narrative and hierarchical.

In the case of a work with a straightforward history like Brigg Fair, this meant adopting a standard presentational format in which the catalogue gave catalogue numbers, dedicatee, date of composition, a short introduction, duration, instrumentation, a musical incipit, and information in chronological order on manuscript sources, performance history and documents such as letters or bibliographic items:

Delius image 1

See: https://delius.music.ox.ac.uk/catalogue/document.html?doc=delius_briggfair.xml

In a work with a more complicated history like the Piano Concerto, however, the model may be adapted to show a long compositional process and multiple versions:

Delius image 2

See: https://delius.music.ox.ac.uk/catalogue/document.html?doc=delius_pianoconc.xml

By creating multiple “versions” of the work in MerMEId to reflect its journey through different stages of composition, and by noting extant manuscript and print sources and performances in each case, we can clearly and consistently both narrate the story of each work and show how existing sources and versions fit into it.

The data available in the British Library Archives and Manuscripts catalogue was essential for creating the Delius catalogue. At the ‘Sources’ level of each catalogue record, users can link directly to the manuscript and thus see how to access the physical manuscript, and how extant manuscripts relate to the history of each work, as in the Caprice and Elegy:

Delius image 3

See: https://delius.music.ox.ac.uk/catalogue/document.html?doc=delius_capriceelegy.xml

As well as fostering understanding of Delius’s works and their connection to the British Library’s outstanding manuscript collections, this project has led to exciting ongoing work. A subsequent project involving the same team involved digitising some of the British Library’s Delius manuscripts and other materials and creating a variety of articles, teaching resources and other metadata to showcase them. These are now part of the Library’s new online learning resource Discovering Music: https://www.bl.uk/20th-century-music.

We intend to expand our work to other composers, continuing to explore ways to make their music and manuscripts more accessible to a wide variety of people.

Watch Joanna Bullivant and David Lewis receiving their award on behalf of their team, and talking about their project on our YouTube channel (clip runs from 10.36):

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

15 January 2019

The BL Labs Symposium, 2018

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On Monday 12th November, 2018, the British Library hosted the sixth annual BL Labs Symposium, celebrating all things digital at the BL. This was our biggest ever symposium with the conference centre at full capacity - proof, if any were needed, of the importance of using British Library digital collections and technologies for innovative projects in the heritage sector.

The delegates were welcomed by our Chief Executive, Roly Keating, and there followed a brilliant keynote by Daniel Pett, Head of Digital and IT at the Fitzwilliam Museum, Cambridge. In his talk, Dan reflected on his 3D modelling projects at the British Museum and the Fitzwilliam, and talked about the importance of experimenting with, re-imagining, and re-mixing cultural heritage digital collections in Galleries, Libraries, Archives and Museums (GLAMs).

This year’s symposium had quite a focus on 3D, with a series of fascinating talks and demonstrations throughout the day by visual artists, digital curators, and pioneers of 3D photogrammetry and data visualisation technologies. The full programme is still viewable on the Eventbrite page, and videos and slides of the presentations will be uploaded in due course.

Composite bl labs 2018 awardees

Each year, BL Labs recognises excellent work that has used the Library's digital content in five categories. The 2018 winners, runners up and honourable mentions were announced at the symposium and presented with their awards throughout the day. This year’s Award recipients were:

Research Award:

Winner: The Delius Catalogue of Works by Joanna Bullivant, Daniel Grimley, David Lewis and Kevin Page at the University of Oxford

Honourable Mention: Doctoral theses as alternative forms of knowledge: Surfacing ‘Southern’ perspectives on student engagement with internationalisation by Catherine Montgomery and a team of researchers at the University of Bath

Honourable Mention: HerStories: Sites of Suffragette Protest and Sabotage by Krista Cowman at the University of Lincoln and Rachel Williams, Tamsin Silvey, Ben Ellwood and Rosie Ryder of Historic England

Artistic Award:

Winner: Another Intelligence Sings by Amanda Baum, Rose Leahy and Rob Walker

Runner Up: Nomad by independent researcher Abira Hussein, and Sophie Dixon and Edward Silverton of Mnemoscene

Teaching & Learning Award:

Winner: Pocket Miscellanies by Jonah Coman

Runner Up: Pocahontas and After by Michael Walling, Lucy Dunkerley and John Cobb of Border Crossings

Commercial Award:

Winner: The Library Collection: Fashion Presentation at London Fashion Week, SS19 by Nabil Nayal in association with Colette Taylor of Vega Associates

Runner Up: The Seder Oneg Shabbos Bentsher by David Zvi Kalman, Print-O-Craft Press

Staff Award:

Winner: The Polonsky Foundation England and France Project: Manuscripts from the British Library and the Bibliothèque nationale de France, 700-1200 by Tuija Ainonen, Clarck Drieshen, Cristian Ispir, Alison Ray and Kate Thomas

Runner Up: The Digital Documents Harvesting and Processing Tool by Andrew Jackson, Sally Halper, Jennie Grimshaw and Nicola Bingham

The judging process is always a difficult one as there is such diversity in the kinds of projects that are up for consideration! So we wanted to also thank all the other entrants for their high quality submissions, and to encourage anyone out there who might be considering applying for a 2019 award!

We will be posting guest blogs by the award recipients over the coming months, so tune in to read more about their projects.

And finally, save the date for this year's symposium, which will be held at the British Library on Monday 11th November, 2019.

21 April 2018

On the Road (Again)

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Flickr image: Wanderer
Image from the British Library’s Million Images on Flickr, found on p 198 of 'The Cruise of the Land Yacht “Wanderer”; or, thirteen hundred miles in my caravan, etc' by William Gordon Stables, 1886.

Now that British Summer Time has officially arrived, and with it some warmer weather, British Library Labs are hitting the road again with a series of events in Universities around the UK. The aim of these half-day roadshows is to inspire people to think about using the library's digitised collections and datasets in their research, art works, sound installations, apps, businesses... you name it!

A digitised copy of a manuscript is a very convenient medium to work on, especially if you are unable to visit the library in person and order an original item up to a reading room. But there are so many other uses for digitised items! Come along to one of the BL Labs Roadshows at a University department near you and find out more about the methods used by researchers in Digital Scholarship, from data-mining and crowd sourcing to optical character recognition for transcribing the words from an imaged page into searchable text. 

At each of the roadshow events, there will be speakers from the host institution describing some of the research projects they have already completed using digitised materials, as well as members of the British Library who will be able to talk with you about proposed research plans involving digitised resources. 

The locations of this year's roadshows are: 

Mon 9th April - BL Labs Roadshow 2018 (Open University) - internal event

Mon 26th March - BL Labs Roadshow 2018 (CityLIS) - internal event

Thu 12th April - BL Labs Roadshow 2018 (University of Bristol & Cardiff Digital Cultures Network)

Tue 24th April - BL Labs Roadshow 2018 (UCL)

Wed 25th April - BL Labs Roadshow 2018 (University of Kent)

Wed 2nd May - BL Labs Roadshow 2018 (University of Edinburgh)

Tue 15th May - BL Labs Roadshow 2018 (University of Wolverhampton)

Wed 16th May - BL Labs Roadshow 2018 (University of Lincoln)

Tue 5th June - BL Labs Roadshow 2018 (University of Leeds)

  BL Labs Roadshows 2018
See a full programme and book your place using the Eventbrite page for each event.

If you want to discover more about the Digital Collections, and Digital Scholarship at the British Library, follow us on Twitter @BL_Labs, read our Blog Posts, and get in touch with BL Labs if you have some burning research questions!

12 April 2018

The 2018 BL Labs Awards: enter before midnight Thursday 11th October!

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With six months to go before the submission deadline, we would like to announce the 2018 British Library Labs Awards!

The BL Labs Awards are a way of formally recognising outstanding and innovative work that has been created using the British Library’s digital collections and data.

Have you been working on a project that uses digitised material from the British Library's collections? If so, we'd like to encourage you to enter that project for an award in one of our categories.

This year, BL Labs is awarding prizes for a winner and a runner up in four key areas:

  • Research - A project or activity which 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 which 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.

BLAwards2018
BL Labs Awards 2018 Winners (Top-Left- Research Award Winner – A large-scale comparison of world music corpora with computational tools , Top-Right (Commercial Award Winner – Movable Type: The Card Game), Bottom-Left(Artistic Award Winner – Imaginary Cities) and Bottom-Right (Teaching / Learning Award Winner – Vittoria’s World of Stories)

There is also a Staff award which recognises a project completed by a staff member or team, with the winner and runner up being announced at the Symposium along with the other award winners.

The closing date for entering your work for the 2018 round of BL Labs Awards is midnight BST on Thursday 11th October (2018). Please submit your entry and/or help us spread the word to all interested and relevant parties over the next few months. This will ensure we have another year of fantastic digital-based projects highlighted by the Awards!

Read more about the Awards (FAQs, Terms & Conditions etc), practice your application with this text version, and then submit your entry online!

The entries will be shortlisted after the submission deadline (11/10/2018) has passed, and selected shortlisted entrants will be notified via email by midnight BST on Friday 26th October 2018. 

A prize of £500 will be awarded to the winner and £100 to the runner up in each of the Awards categories at the BL Labs Symposium on 12th November 2018 at the British Library, St Pancras, London.

The talent of the BL Labs Awards winners and runners up from the last three years has resulted in a remarkable and varied collection of innovative projects. You can read about some of last year's Awards winners and runners up in our other blogs, links below:

BLAwards2018-Staff
British Library Labs Staff Award Winner – Two Centuries of Indian Print

To act as a source of inspiration for future awards entrants, all entries submitted for awards in previous years can be browsed in our online Awards archive.

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