THE BRITISH LIBRARY

Digital scholarship blog

76 posts categorized "Tools"

07 December 2018

Introducing an experimental format for learning about content mining for digital scholarship

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This post by the British Library’s Digital Curator for Western Heritage Collections, Dr Mia Ridge, reports on an experimental format designed to provide more flexible and timely training on fast-moving topics like text and data mining.

This post covers two topics – firstly, an update to the established format of sessions on our Digital Scholarship Training Programme (DSTP) to introduce ‘strands’ of related modules that cumulatively make up a ‘course’, and secondly, an overview of subjects we’ve covered related to content mining for digital scholarship with cultural heritage collections.

Introducing ‘strands’

The Digital Research team have been running the DSTP for some years now. It’s been very successful but we know that it's hard for people to get away for a whole day, so we wanted to break courses that might previously have taken 5 or 6 hours of a day into smaller modules. Shorter sessions (talks or hands-on workshops) only an hour or at most two long seemed to fit more flexibly into busy diaries. We can also reach more people with talks than with hands-on workshops, which are limited by the number of training laptops and the need to offer more individual

A 'strand' is a new, flexible format for learning and maintaining skills, with training delivered through shorter modules that combine to build attendees’ knowledge of a particular topic over time. We can repeat individual modules – for example, a shorter ‘Introduction to’ session might run more often, or target people with some existing knowledge for more advanced sessions. I haven’t formally evaluated it but I suspect that the ability to pick and choose sessions means that attendees for each module are more engaged, which makes for a better session for everyone. We've seen a lot of uptake – in some cases the 40 or so places available go almost immediately - so offering shorter sessions seems to be working.

Designing courses as individual modules makes it easier to update individual sections as technologies and platforms change. This format has several other advantages: staff find it easier to attend hour-long modules, and they can try out methods on their own collections between sessions. It takes time for attendees to collect and prepare their own data for processing with digital methods (not to mention preparation time and complexity for the instructor), so we've stayed away from this in traditional workshops.

New topics can be introduced on a 'just in time' basis as new tools and techniques emerge. This seemed to address lots of issues I was having in putting together a new course on content mining. It also makes it easier to tackle a new subject than the established 5-6 hour format, as I can pilot short sessions and use the lessons learnt in planning the next module.

The modular format also means we can invite international experts and collaborators to give talks on their specialisms with relatively low organisational overhead, as we regularly run ‘21st Century Curatorship’ talks for staff. We can link relevant staff talks, or our monthly ‘Hack and Yack’ and Digital Scholarship Reading Groups sessions to specific strands.

We originally planned to start each strand with an introductory module outlining key concepts and terms, but in reality we dived into the first one as we already had talks that'd fit lined up.

Content mining for digital scholarship with cultural heritage collections

Tom and Nora trying out AntConcFrom the course blurb: ‘Content mining (sometimes ‘text and data mining’) is a form of computational processing that uses automated analytical techniques to analyse text, images, audio-visual material, metadata and other forms of data for patterns, trends and other useful information. Content mining methods have been applied to digitised and digital historic, cultural and scientific collections to help scholars answer new research questions at scale, analysing hundreds or hundreds of thousands of items. In addition to supporting new forms of digital scholarship that apply content mining methods, methods like Named Entity Recognition or Topic Modelling can make collection items more discoverable. Content mining in cultural heritage draws on data science, 'distant reading' and other techniques to categorise items; identify concepts and entities such as people, places and events; apply sentiment analysis and analyse items at scale.’

An easily updatable mixture of introductory talks, tutorial sessions, hands-on workshops and case studies from external experts fit perfectly into the modular format, and it's worked out well, with a range of topics and formats offered so far. Sessions have included: an Introduction to Machine Learning; Computational models for detecting semantic change in historical texts (Dr Barbara McGillivray, Alan Turing Institute); Computer vision tools with Dr Giles Bergel, from the University of Oxford's Visual Geometry Group; Jupyter Notebooks/Python for simple processing and visualisations of data from In the Spotlight; Listening to the Crowd: Data Science to Understand the British Museum's Visitors (Taha Yasseri, Turing/OII); Visualising cultural heritage collections (Olivia Fletcher Vane, Royal College of Art); An Introduction to Corpus Linguistics for the Humanities (Ruth Byrne, BL and Lancaster PhD student); Corpus Analysis with AntConc.

What’s next?

My colleagues Nora McGregor, Stella Wisdom and Adi Keinan-Schoonbaert have some great ‘strands’ planned for the future, including Stella’s on ‘Emerging Formats’ and Adi’s on ‘Place’, so watch this space for updates!

11 September 2018

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

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Posted by Mahendra Mahey, BL Labs Manager.

Original labs lab (not cropped)
Building Library Labs

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

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

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

Our packed programme includes:

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

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

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

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

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

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

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

 

 

 

23 August 2018

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

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

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

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

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

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

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

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

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

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

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

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

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

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

30 July 2018

British Library Labs Staff Awards 2018: Looking for entries now!

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Four-light-bulbs

Nominate a British Library staff member or a team that has done something exciting, innovative and cool with the British Library’s digital collections or data.

The 2018 British Library Labs Staff Award, now in its third year, gives recognition to current British Library staff who have created something brilliant using the Library’s digital collections or data

Perhaps you know of a project that developed new forms of knowledge, or an activity that delivered commercial value to the library. Did the person or team create an artistic work that inspired, stimulated, amazed and provoked? Do you know of a project developed by the Library where quality learning experiences were generated using the Library’s digital content? 

You may nominate a current member of British Library staff, a team, or yourself, for the Staff Award using this form.

The deadline for submission is 12:00 (BST), Friday 12 October 2018.

Nominees will be highlighted on Monday 12 November 2018 at the British Library Labs Annual Symposium where some (winners and runners-up) will also be asked to talk about their projects.

You can see the projects submitted by members of staff for the last two years' awards in our online archive, as well as blogs for last year's winners and runners-up.

The Staff Award complements the British Library Labs Awards, introduced in 2015, which recognise outstanding work that has been done in the broader community. Last year’s winners in the public competition drew attention to artistic, research, teaching & learning, and commercial activities that used our digital collections.

British Library Labs is a project within the Digital Scholarship department at the British Library that supports and inspires the use of the Library's digital collections and data in exciting and innovative ways. It is funded by the Andrew W. Mellon Foundation.

If you have any questions, please contact us at labs@bl.uk.

@bl_labs #bldigital @bl_digischol

16 July 2018

Crowdsourcing comedy: date and genre results from In the Spotlight

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Beatrice Ashton-Lelliott is a PhD researcher at the University of Portsmouth studying the presentation of nineteenth-century magicians in biographies, literature, and the popular press. She is currently a research placement student on the British Library’s In the Spotlight project, cleaning and contextualising the crowdsourced playbills data. She can be found on Twitter at @beeashlell and you can join the In the Spotlight project at playbills.libcrowds.com.

In this blog post I discuss the data created so far by In the Spotlight volunteers via crowdsourcing – which has already thrown out quite a few surprises along the way! All of the data which I discuss was cleaned using Open Refine, with some manual intervention by me to group categories such as genre. My first post below highlights the most notable results to come out of the date and genre tasks so far, and a second post will present similar findings for play titles and playwrights.

Dates

I started off by analysing the dates generated by the projects as, to be honest, it seemed easiest! One of the problems we’ve encountered with the date tasks, however, is that a number of the playbills do not show a full date.  This is notable in itself but unsurprising – why would a playbill in the eighteenth or nineteenth century need a full date when they weren’t expected to last two hundred years into the future? With that in mind, this is by no means an exhaustive data set.

After creating a simple graph of the most popular dates, it became clear that we had a huge spike in the number of performances in 1825. Was something relevant to theatre history happening during this year, or were the sources of the playbill collections just unusually pro-active in 1825 after taking some time off? Was the paper stock quality better, so more playbills have lasted? The outside influence of the original collector or owner of these playbills is also something to consider, for instance, maybe he was more interested in one type of performance than others, had more time to collect playbills in certain years or in certain places, and so on. A final potential factor is that this data also only comes from the volumes added to the site projects so far, and so isn’t indicative of the Library’s playbills as a whole.

Aside from source or collector influence, some other possible explanations do present themselves. Britain in general was growing exponentially, with London in particular becoming one of the biggest cities in the world, and this era also saw the birth of railways and the extravagant influence of figures such as George IV. As this is coming off the back of what seems to be a very slow year in 1824, however, perhaps it is best just to chalk this up to the activity of the collectors. We also have another noticeable spike in 1829, but by no means as dramatic as that of 1825. I’ve spent a bit of time comparing the number of performances seen in the volumes with other online performance date tools, such as UMass's Adelphi calendar and Godwin’s Diary to compare numbers, but would love to hear any further insights into this!

alt="Graph of most popular dates"
A graph showing the most popular performance dates

Genre

The main issue I faced in working with the genre data was the wide variety of descriptors used on the playbills themselves. For instance, I encountered burlesque, burletta and burlesque burletta – which of the first two categories would the last one go under? When I went back to the playbills themselves, it was also clear that many of the ‘genres’ generated were more like comments from theatre managers or just descriptions e.g. ‘an amusing sketch’. With this in mind, genre was the dataset which I ‘interfered’ with the most from a cleaning point of view.

Some of the calls I made were to group anything cited as ‘dramatic ___’ with drama more widely, unless it had a notable second qualifier, such as pantomime, Romance or sketch. I also grouped anything mentioning ‘historical’ together, as from a research point of view this is probably the most prominent aspect, grouped harlequinades with pantomimes (although I know this might be controversial!) and grouped anything which involved a large organisation, such as military, Masonic or national performances, under ‘organisational’. Some were difficult to separate – I did wonder about grouping variety and vaudeville together, but as there were so few of each it seemed better to leave them be.

With these qualifications in mind, by far the most popular genre in the collections was farce, which I kept distinct from comedy, clocking up 537 performances from the projects. This was closely followed by comedy more generally with 527 performances, with the drama (197), melodrama (150) and tragedy (135) trailing afterwards. Once again, it could purely be that the original collectors of these volumes had more of a taste for comedy than drama, but there is such a wide gap in popularity from the volumes so far that it seems fair to conclude that the regional theatre-going public of the late eighteenth and early nineteenth centuries preferred to be cheered rather than saddened by their entertainment.

alt="Graph of the most popular genres"
A graph showing the most popular genres in records transcribed to date

You can contribute to this research

The more contributions we receive, the more accurate the titles, genre and dates results will be, so whether you’re looking out for your local theatre or interested in the more unusual performances which crop up, get involved with the project today at playbills.libcrowds.com. In the Spotlight is well on the way to hitting 100,000 contributions – make sure that you’re one of them!

15 June 2018

Team @BL_DigiSchol join @thecarpentries at #CarpentryCon2018 in Dublin

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Conference opening
CarpentryCon 2018
UCD campus
UCD Dublin

Members of the Digital Scholarship team, Alex, Rossitza and Stella, attended The Carpentries community inaugural conference held on the relaxing campus of University College Dublin 29 May-1 June. The atmosphere at the event was energising thanks to the enthusiasm of the community members who volunteer to teach computational, coding and data science skills to researchers worldwide.

The theme of the event “Building Locally, Connecting Globally” permeated the rich programme of talks and interactive sessions that focused on sharing knowledge, networking and developing new content and strategies for strengthening and growing The Carpentries. A report on the conference has been published by Belinda Weaver and this blog post by Raniere Silva summarises well some of the key messages.

Our team exhibited a poster on the Digital Scholarship staff training programme that creates opportunities for staff at The British Library to develop the necessary skills and knowledge to support emerging areas of modern scholarship.

Poster
Digital Scholarship poster
Team poster
Rossitza, Stella and Alex

Thus, particularly relevant for us were the sessions led by Belinda Weaver and Chris Erdmann about growing the software and data skills training provision for library professionals. We engaged in a conversation with members of The Library Carpentry community about how best to review and create new curricula and resources, as well as how the needs of the broader culture heritage professionals may vary. There are opportunities to work with university departments, professional bodies and regional consortia to get library and other GLAM professionals involved with The Library Carpentry. Watch this space for our team's involvement with The Carpentries and for further updates follow The Library Carpentry blog and Twitter feed, and The Carpentry Clippings newsletter.

Below are just few highlights from the sessions we took part in:

@frameshiftlic : Diversity and inclusion go hand in hand. Much more needs to be done to increase diversity and inclusivity in the technology sector.

The Carpentries community uses GitHub to maintain training materials and good guidance was provided on how to clone and fork repositories and submit pull requests.  A great teaching resource Happy Git and GitHub for the useR is being developed for Software Carpentry by Jennifer Bryan

Greg Wilson offered advice on how to keep refreshing teaching methods and content for both the learners’ and instructors’ benefit. His reading list for engaging learners includes The discussion book: 50 great ways to get people talking and Understanding how we learn: A Visual Guide

Tracy Teal talked about the funding model, operations and infrastructure of The Carpentries who have updated their website, logo, handbook and a Code of Conduct. Curriculum development, equality and inclusion, and building local capacity for training remain high priorities for the community.

Most engaging was the interactive breakout session on developing a new software carpentry lesson on High Performance Computing (HPC). The session leader Alan O’Cais used the classroom engagement platform Socrative to gather attendees’ feedback on existing lessons, appropriate content and the learner profile.

Other great sessions covered best approaches to teaching live coding at university, post workshop community development strategies, and how organisations, such as The Software Sustainability Institute and ELIXIR, have been supporting The Carpentries community initiatives.

CarpentryCon group photo Flickr 6000x4000
#CarpentryCon 2018 delegates. Image by Bérénice Batut available at https://flic.kr/p/252fVid under CC-BY-SA 2.0



14 May 2018

Seeing British Library collections through a digital lens

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Digital Curator Mia Ridge writes: in this guest post, Dr Giles Bergel describes some experiments with the Library's digitised images...

The University of Oxford’s Visual Geometry Group has been working with a number of British Library curators to apply computer vision technology to their collections. On April 5 of this year I was invited by BL Digital Curator Dr. Mia Ridge to St. Pancras to showcase some of this work and to give curators the opportunity to try the tools out for themselves.  

Image1
Visual Geometry’s VISE tool matching two identical images from separate books digitised for the British Library’s Two Centuries of Indian Print project.

Computer vision - the extraction of meaning from images - has made considerable strides in recent years, particularly through the application of so-called ‘deep learning’ to large datasets. Cultural collections provide some of the most interesting test-cases for computer vision researchers, due to their complexity; the intensity of interest that researchers bring to them; and to their importance for human well-being. Can computers see collections as humans do? Computer vision is perhaps better regarded as a powerful lens rather than as a substitute for human curation. A computer can search a large collection of images far more quickly than can a single picture researcher: while it will not bring the same contextual understanding to bear on an image, it has the advantage of speed and comprehensiveness. Sometimes, a computer vision system can surprise the researcher by suggesting similarities that weren’t readily apparent.

As a relatively new technology, computer vision attracts legitimate concerns about privacy, ethics and fairness. By making its state of the art tools freely available, Visual Geometry hope to encourage experimentation and responsible use, and to enlist users to help determine what they can and cannot do. Cultural collections provide a searching test-case for the state of the art, due to their diversity as media (prints, paintings, stamped images, photographs, film and more) each of which invite different responses. One BL curator made a telling point by searching the BBC News collection with the term 'football': the system was presented with images previously tagged with that word that related to American, Gaelic, Rugby and Association football. Although inconclusive due to lack of sufficiently specific training data, the test asked whether a computer could (or should) pick the most popular instances; attempt to generalise across multiple meanings; or discern separate usages. Despite increases in processing power and in software methods, computers' ability to generalise; to extract semantic meaning from images or texts; and to cope with overlapping or ambiguous concepts remains very basic.  

Other tests with BL images have been more immediately successful. Visual Geometry's Traherne tool, developed originally to detect differences in typesetting in early printed books, worked well with many materials that exhibit small differences, such as postage stamps or doctored photographs. Visual Geometry's Image Search Engine (VISE) has shown itself capable of retrieving matching illustrations in books digitised for the Library's Indian Print project, as well as certain bookbinding features, or popular printed ballads. Some years ago Visual Geometry produced a search interface for the Library's 1 Million Images release. A collaboration between the Library's Endangered Archives programme and Oxford researcher David Zeitlyn on the archive of Cameroonian studio photographer Jacques Toussele employed facial recognition as well as pattern detection. VGG's facial recognition software works on video (BBC News, for example) as well as still photographs and art, and is soon to be freely released to join other tools under the banner of the Seebibyte Project.    

I'll be returning to the Library in June to help curators explore using the tools with their own images. For more information on the work of Visual Geometry on cultural collections, subscribe to the project's Google Group or contact Giles Bergel.      

Dr. Giles Bergel is a digital humanist based in the Visual Geometry Group in the Department of Engineering Science at the University of Oxford.  

The event was supported by the Seebibyte project under an EPSRC Programme Grant EP/M013774/1

 

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!