Digital scholarship blog

This week is International Games Week in libraries - “an initiative run by volunteers from around the world to reconnect communities through their libraries around the educational, recreational, and social value of all types of games.”

As a volunteer, participant and collaborator on game events organised by Stella Wisdom in the British Library's Digital Scholarship Team, I’ve particularly enjoyed the International Games Week events held at the Library during previous years, including Adventure X and WordPlay. It’s fitting that a national library acknowledges the value of narratives in games and interactive fiction, as well as those held in books and other formats.

In this post, I wanted to highlight some things that cut across projects I’ve been involved in with the British Library. These include curating UK websites and running online game jams, in addition to the game events mentioned above.

Back in 2018, I co-organised the online Gothic Novel Jam with Stella. In terms of the gothic and supernatural, it’s appropriate that this blog post is published today on Friday the 13th! We’ve blogged about this jam previously, but in summary, the intention was to encourage participants to create games, interactive fiction and other creative outputs using the theme of the gothic novel and British Library Flickr images as inspiration. The response was fantastic, and resulted in a large number of great narrative games being created. I particularly liked As a Glow Brings Out a Haze for the creative reuse of British Library images.

In addition to co-running game jams, I'm a volunteer curator for the UK Web Archive, and as representative for CILIP’s LGBTQ+ Network, I’ve been co-lead on the LGBTQ+ Lives Online project with Steven Dryden from the British Library. This project has focused on identifying UK LGBTQ+ websites, blogs etc. for inclusion in the collection, as a way to preserve them for future generations. To a lesser extent, I’ve also been supporting the curation of the Video Games collection and also Interactive Narratives, which is part of the broader E-publishing trends/Emerging formats collection.

I find it interesting to see where different seemingly unrelated projects overlap, and in this instance, the overlap is an online game called The Tower created by Freya Campbell, which she originally created for Gothic Novel Jam. The game itself is a piece of interactive fiction combining both text and images. For me it was a great example of a narrative that is clearly gothic and dark, but takes a new focus to frame that genre. 

This week is Transgender Awareness Week, and as more UK content is published online about transgender issues and experiences, these sites will be added to the UKWA LGBTQ+ Lives collection. The Tower includes subject matter that is particularly high profile in UK media discussions surrounding LGBTQ+ lives at the moment - transgender identities. As the creator of The Tower is based in the UK, this game is now part of the Interactive Narratives and LGBTQ+ Lives collections in the UK Web Archive.

Anyone can suggest UK published websites to be included in the UK Web Archive by filling in this online nominations form: https://www.webarchive.org.uk/en/ukwa/nominate. As part of both International Games Week and Transgender Awareness Week, why not nominate UK websites for inclusion in the Video Games,  Interactive Narratives, and LGBTQ+ Lives Online collections. 

Another overlap connected to The Tower, is that Freya exhibited two other games (Perseids, and Super Lunary ep.1) at AdventureX, when it was held at the British Library during International Games Week in 2018 and 2019. Sadly AdventureX is cancelled in 2020 due to Covid-19, but if you make games and interactive fiction, why not consider taking part in AdvXJam, which starts tomorrow.

This post is by Ash Green (@ggnewed) from the CILIP LGBTQ+ Network.

Image taken from page 203 of '[Griffith's new historical description of Cheltenham and its vicinity ... with ... engravings. L.P.]'

Posted by Mahendra Mahey, Manager of BL Labs

The BL Labs team are pleased to announce that the eighth annual British Library Labs Symposium 2020 will be held on Tuesday 15 December 2020, from 13:45 - 16:55* (see note below) online. The event is FREE, but 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, see more information here!

*Please note, that directly after the Symposium, we are organising an experimental online mingling networking session between 16:55 and 17:30!

The British Library Labs (BL Labs) Symposium is an annual event and awards ceremony showcasing innovative projects that use the British Library's digital collections and data. It provides a platform for highlighting and discussing the use of the Library’s digital collections for research, inspiration and enjoyment. The awards this year will recognise outstanding use of British Library's digital content in the categories of Research, Artistic, Educational, Community and British Library staff contributions.

This is our eighth annual symposium and you can see previous Symposia videos from 2019, 2018, 2017, 2016, 2015, 2014 and our launch event in 2013.

Ruth Ahnert will be giving the BL Labs Symposium 2020 keynote this year.

We are very proud to announce that this year's keynote will be delivered by Ruth Ahnert, Professor of Literary History and Digital Humanities at Queen Mary University of London, and Principal Investigator on 'Living With Machines' at The Alan Turing Institute.

Her work focuses on Tudor culture, book history, and digital humanities. She is author of The Rise of Prison Literature in the Sixteenth Century (Cambridge University Press, 2013), editor of Re-forming the Psalms in Tudor England, as a special issue of Renaissance Studies (2015), and co-author of two further books: The Network Turn: Changing Perspectives in the Humanities (Cambridge University Press, 2020) and Tudor Networks of Power (forthcoming with Oxford University Press). Recent collaborative work has taken place through AHRC-funded projects ‘Living with Machines’ and 'Networking the Archives: Assembling and analysing a meta-archive of correspondence, 1509-1714’. With Elaine Treharne she is series editor of the Stanford University Press’s Text Technologies series.

Ruth's keynote is entitled: Humanists Living with Machines: reflections on collaboration and computational history during a global pandemic

You can follow Ruth on Twitter.

There will be Awards announcements throughout the event for Research, Artistic, Community, Teaching & Learning and Staff Categories and this year we are going to get the audience to vote for their favourite project in those that were shortlisted, a people's BL Labs Award!

There will be a final talk near the end of the conference and we will announce the speaker for that session very soon.

So don't forget to book your place for the Symposium today as we predict it will be another full house again, the first one online and we don't want you to miss out, see more detailed information here. 

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

Image taken from page 99 of 'Festival of Song: a series of Evenings with the Poets. Prepared by the author of “Salad for the Solitary” ... (F. Saunders). With ... pictures by Members of the National Academy of Design. Engraved by Bobbett and Hooper'

For any further information, please contact [email protected]

World Digital Preservation Day (WDPD) is held on the first Thursday of every November, providing an opportunity for the international digital preservation community to connect and celebrate the positive impact that digital preservation has. Follow #WDPD2020 for discussion throughout the day. Our colleagues in the UK Web Archive (UKWA) have already blogged earlier for WDPD about their Coronavirus Collection, which includes preservation of the ‘Children of Lockdown’ project website.

 A number of WDPD online events are taking place, including a book launch party for Electronic Legal Deposit Shaping the library collections of the future, for which our collaborative doctoral research student Linda Berube co-wrote chapter 9; Follow the Users: Assessing UK Non-Print Legal Deposit Within the Academic Discovery Environment. 

WDPD is also when the annual Digital Preservation Awards are announced, #DPA2020, and we wish to offer our warmest congratulations to all today's winners, including our wonderful UKWA colleagues who have won the The National Archives Award for Safeguarding the Digital Legacy, recognising 15 years of web archiving work. You can read more about the UKWA's 15 year anniversary in 2020 here and watch a recording of the online Digital Preservation Awards ceremony in the video below.

Here in Digital Scholarship we enjoy collaborating with the British Library's Digital Preservation and UKWA teams. Last year we hosted a six month post-doctoral placement; ‘Emerging Formats: Discovering and Collecting Contemporary British Interactive Fiction’, where Lynda Clark created an Interactive Narratives UKWA collection and evaluated how crawlers captured web hosted works of interactive fiction.

This research project was part of the Library’s ongoing Emerging Formats work, which acknowledges that without intervention, many culturally valuable digital artefacts are at risk of being lost. Interactive narratives are particularly endangered due to the ‘hobbyist’ nature of many creators, meaning they do not necessarily subscribe to standardised practices. However, this also means that digital interactive fiction is created by and for a wide variety of creators and audiences, including various marginalised groups.

Two reports written by Lynda during her innovation placement are publicly available on the BL Research Repository; https://doi.org/10.23636/1192 and https://doi.org/10.23636/1193. Furthermore, a long paper about the Interactive Narratives collection is part of the proceedings of this week's International Conference on Interactive Digital Storytelling (ICIDS).^[1] This event is a great opportunity to meet both scholars and creative practitioners who make digital stories. I was delighted to be a reviewer for the ICIDS 2020 online art exhibition, which has the theme "Texts of Discomfort" and presents some very thought provoking work.

This post is by Digital Curator Stella Wisdom (@miss_wisdom)

1. Clark L., Rossi G.C., Wisdom S. (2020) Archiving Interactive Narratives at the British Library. In: Bosser AG., Millard D.E., Hargood C. (eds) Interactive Storytelling. ICIDS 2020. Lecture Notes in Computer Science, vol 12497. Springer, Cham. https://doi.org/10.1007/978-3-030-62516-0_27  ↩︎

The New Media Writing Prize (NMWP) is in an annual international award, which encourages and promotes the best in new media writing; showcasing innovative digital fiction, poetry and journalism. The types of interactive writing that we have been examining, researching and tentatively collecting in our emerging formats work at the Library.

Last year we celebrated ten years of the prize, looking back over previous winning entries, with a Digital Conversation event at the British Library. Now we are looking forward to seeing what types of work will be entered into this year's prize.

If you are a writer of interactive works, then you may be interested to know that the 2020 New Media Writing prize is currently open for entries. You can nominate works via the online entry form at https://newmediawritingprize.co.uk/enter/. This year, there is only one category, the if:book UK New Media Writing prize. However, you can enter fiction, poetry, journalism, games, anything as long as it is interactive and makes use of digital media. The deadline is Friday 27th November 2020, 12 noon GMT, or for student entries, these must be entered by Friday 18th December 2020, 12 noon GMT. The organisers are especially encouraging entries from students and will give special consideration to entries from students at undergraduate or postgraduate level. 

There is one award of £1000 for the winner, and there will be commendations for shortlisted works, which the judges feel are deserving of a special mention. All the rules are here, and please do read the FAQs section of the NMWP website, which has more details about what the judges are looking for in entries. If you have a question that is not covered by the FAQ, then you can email the organisers at [email protected]. You may also want to check out the winners and shortlisted entries from the 2019 prize, which I blogged about here, for inspiration. If you do enter, then good luck!

This post is by Digital Curator Stella Wisdom (@miss_wisdom). 

The sixth BL Labs Public Awards 2020 formally recognises outstanding and innovative work that has been carried out using the British Library’s data and / or digital collections by researchers, artists, entrepreneurs, educators, students and the general public.

The closing date for entering the Public Awards is NOON GMT on Monday 30 November 2020 and you can submit your entry any time up to then.

Please help us spread the word! We want to encourage any one interested to submit over the next few months, who knows, you could even win fame and glory, priceless! We really hope to have another year of fantastic projects to showcase at our annual online awards symposium on the 15 December 2020 (which is open for registration too), inspired by our digital collections and data!

This year, BL Labs is commending work in four key areas that have used or been inspired by our digital collections and data:

• Research - A project or activity that shows the development of new knowledge, research methods, or tools.
• Artistic - An artistic or creative endeavour that inspires, stimulates, amazes and provokes.
• Educational - Quality learning experiences created for learners of any age and ability that use the Library's digital content.
• Community - Work that has been created by an individual or group in a community.

What kind of projects are we looking for this year?

Whilst we are really happy for you to submit your work on any subject that uses our digital collections, in this significant year, we are particularly interested in entries that may have a focus on anti-racist work or projects about lock down / global pandemic. We are also curious and keen to have submissions that have used Jupyter Notebooks to carry out computational work on our digital collections and data.

After the submission deadline has passed, entries will be shortlisted and selected entrants will be notified via email by midnight on Friday 4th December 2020. 

A prize of £150 in British Library online vouchers will be awarded to the winner and £50 in the same format to the runner up in each Awards category at the Symposium. Of course if you enter, it will be at least a chance to showcase your work to a wide audience and in the past this has often resulted in major collaborations.

The talent of the BL Labs Awards winners and runners up over the last five years has led to the production of remarkable and varied collection of innovative projects described in our 'Digital Projects Archive'. In 2019, the Awards commended work in four main categories – Research, Artistic, Community and Educational:

BL  Labs Award Winners for 2019

• Research (2019) Winner: Full-Text search of Early Music Prints Online (F-TEMPO) by Tim Crawford, Goldsmiths, University of London
• Artistic (2019) Winner: Emerging Formats: Discovering and Collecting Contemporary British Interactive Fiction by Lynda Clark
• Community Commendation (2019): John Faucit Saville and the theatres of the East Midlands Circuit - by Lesley Phillips
• Teaching and Learning / Educational (2019) Winner: The Other Voice - RCA - Innovations in sound and art by Masters' students from the Royal College of Art, submitted by Dr Matt Lewis, Tutor of Digital Direction and Dr Eleanor Dare, Reader of Digital Media both at the School of Communication, at the Royal College of Art and Mary Stewart Curator, Oral History and Deputy Director of National Library

For further detailed information, please visit BL Labs Public Awards 2020, or contact us at [email protected] if you have a specific query.

Posted by Mahendra Mahey, Manager of British Library Labs.

This is a guest post by Linda Berube, an AHRC Collaborative Doctoral Partnership student based at the British Library and City, University of London. If you would like to know more about Linda's research, please do email her at [email protected].

“There are those who claim that Britain no longer has a comics industry.” (John Freeman, downthetubes.net, quoting Lewis Stringer)

Freeman goes onto say that despite the evidence supporting such a view (have you ever really looked at a WH Smith comics rack? He has: see his photo of one here), the British comics industry is not just all licenced content from the United States, and it has continued to produce new publications. Maybe the newsstand is not necessarily the best place to look for them.
For the newsstand does not tell the whole story. Comics are not all kiddie and superhero characters now, if they ever were (Sabin 1993). Not that there is anything wrong with that content, but prevailing attitudes about the perceived lack of seriousness of these types of comics can inhibit a consideration of comics as cultural objects in their own right, worthy of research. Novelist Susan Hill (2017) expresses a widely held view when she stated: "Is it better for young people to read nothing at all than read graphic novels-which are really only comics for an older age group?". No amount of book awards, academic departments or academic journals have eliminated such sentiments^[1].

The best place for looking at all UK comics have to offer is online. Digital comics have not only brought a whole new audience but new creators, as well as new business models and creative processes. My Arts and Humanities Research Council’s Collaborative Doctoral Partnership Programme funded research will take a deep dive into these models and processes, from creation to consumption. For this work, I have the considerable support of supervisors Ian Cooke and Stella Wisdom (British Library) and Ernesto Priego and Stephann Makri (Human-Computer Interaction Design Centre, City, University of London)^[2].

Figure 1: Charisma.ai uses innovative technology to create comics

This particular point in time offers an excellent opportunity to consider the digital comics, and specifically UK, landscape. We seem to be past the initial enthusiasm for digital technologies when babies and bathwater were ejected with abandon (see McCloud 2000, for example), and probably still in the middle of a retrenchment, so to speak, of that enthusiasm (see Priego 2011 pp278-280). To date, there have been few attempts at viewing the creation to consumption process of print comics in their entirety, and no complete studies of the production and communication models of digital comics. While Benatti (2019) analysed the changes to the roles of authors, readers, and publishers prompted by the creation of webcomics, she admits that “the uncertain future of the comics print communications circuit makes the establishment of a parallel digital circuit…more necessary than ever for the development of the comics medium”. (p316)

Figure 2: Helen Greetham is part of the international Spider Forest Webcomic collective, one way of distributing and marketing digital comics

Benatti was using the wider publishing industry’s process models and the disruption caused by digital technology as a lens through which to view webcomics. Indeed, historians have discovered cohesive patterns in the development of ideas, especially as embodied in print books. These patterns, most often described as cycles, chains, or circuits, follow the book through various channels of creation, production, and consumption. (See Darnton 1982, diagram of Communication Circuit below, for example). However, they have undergone a significant transformation, disruption even, when considered in the context of the digital environment (Murray and Squires 2013 have update Darnton for the digital and self-publishing age). And at first, it seemed that the disruption would prove terminal for certain types of communication, but most especially books and newspapers in print.

Figure 3: Robert Darnton’s Communication Circuit

What about the production patterns for comics within this publishing context? Have print comics given way to digital comics? And are digital comics the revolution they once seemed?
My research, a scoping study in its first year looking at the UK comics landscape and interviewing comics gatekeepers-mediators (CGMs)^[3], seeks to address the gap in the understanding of the creation to consumption process for digital comics. This first year’s work will be followed up by research into the creative process of digital comics writers and artists and what readers might contribute to that process. It will be the first such research to investigate cohesive patterns and production models through interdisciplinary empirical research for UK digital comics: analysing how an idea and digital comic object is formed, communicated, discussed and transformed by all the participants involved, from authors to CGMs to readers.

References:

Benatti, Francesca (2019). ‘Superhero comics and the digital communications circuit: a case study of Strong Female Protagonist’, Journal of Graphic Novels and Comics,10 (3), pp306-319. Available at: DOI: 10.1080/21504857.2018.1485720.

Darnton, R. (1982). ‘What Is the History of Books?’ Daedalus,111(3), pp65-83. Available at: www.jstor.org/stable/20024803.  Also available at:  https://dash.harvard.edu/bitstream/handle/1/3403038/darnton_historybooks.pdf

Freeman, John (2020).   ‘British Comics Industry Q&A’, downthetubes.net: exploring comics and more on the web since 1998. Quoting British comics creator and archivist Lew Stringer in a 2015 assessment of news stand comics on his Blimey! It’s Another Blog About Comics blog.  Available at: https://downthetubes.net/?page_id=7110).

Hill, Susan (2017). Jacob’s Room Is Full of Books: A Year of Reading. Profile Books.

McCloud, Scott (2000). Reinventing Comics: How Imagination and Technology Are Revolutionizing an Art Form.  New York, N.Y: Paradox Press.

Murray, P.R.  and Squires, C. (2013). ‘Digital Publishing Communications Circuit’, Book 2.0, 3(1), pp3-23. Available at: DOI: https://doi.org/10.1386/btwo.3.1.3_1. See also: Stirling University, Book Unbound https://www.bookunbound.stir.ac.uk/research/.

Priego, Ernesto (2011). The Comic Book in the Age of Digital Reproduction. City, University of London. Journal contribution. https://doi.org/10.6084/m9.figshare.754575.v4.

Sabin, Roger (1993). Adult comics: An introduction. London: Routledge. See Part 1: Britain 1. The first adult comics 2. Kid's stuff 3.Underground comix  4. 2000AD: 'The Comic of tomorrow!'  5. Fandom and direct sales 6. 'Comics grow up!': dawn of the graphic novel  7.From boom to bust 8.Viz: 'More fun than a jammy bun!'  9. The future.

Footnotes

1. For example, the Pulitzer Prize[Maus]; The Guardian’s First Book Award 2001 [Jimmy Corrigan]; Man Booker Prize longlist [Sabrina], not to mention the Journal of Graphic Novels and Comics. The fact that graphic novels are singled out from comics here is another entire blog post… ↩︎

2. Ernesto does a nice line in comics himself: see Parables of Care. Creative Responses to Dementia Care, As Told by Carers and I Know How This Ends: Stories of Dementia Care, as well as The Lockdown Chronicles. ↩︎

3. The word ‘publisher’, at least in its traditional sense, just does not seem to apply to the various means of production and distribution. ↩︎

I am an AHRC Collaborative Doctoral Partnership student based at the British Library and Central Saint Martins, University of the Arts London (UAL). The studentship is funded by the Arts and Humanities Research Council’s Collaborative Doctoral Partnership Programme.

Supervised jointly by Stella Wisdom from the British Library, Roger Sabin and Ian Hague from UAL, my research looks to explore the potential for digital comics to take advantage of digital technologies and the digital environment to foster inclusivity and diversity. I aim to examine the status of marginal voices within UK digital comics, while addressing the opportunities and challenges these comics present for the British Library’s collection and preservation policies.

The opening panels from G Bear and Jammo by Jaime Huxtable, showing their caravan on The Gower Peninsula in South Wales, copyright © Jaime Huxtable

Digital comics have been identified as complex digital publications, meaning this research project is connected to the work of the broader Emerging Formats Project. On top of embracing technological change, digital comics have the potential to reflect, embrace and contribute to social and cultural change in the UK. Digital comics not only present new ways of telling stories, but whose story is told.

One of the comic creators, whose work I have been recently examining is Jaime Huxtable, a Welsh cartoonist/illustrator based in Worthing, West Sussex. He has worked on a variety of digital comics projects, from webcomics to interactive comics, and also runs various comics related workshops.

Samir's Christmas by Jaime Huxtable, this promotional comic strip was created for Freedom From Torture’s 2019 Christmas Care Box Appeal. This comic was  made into a short animated video by Hands Up, copyright © Jaime Huxtable

My thesis will explore whether the ways UK digital comics are published and consumed means that they can foreground marginal, alternative voices similar to the way underground comix and zine culture has. Comics scholarship has focused on the technological aspects of digital comics, meaning their potentially significant contribution reflecting and embracing social and cultural change in the UK has not been explored. I want to establish whether the fact digital comics can circumvent traditional gatekeepers means they provide space to foreground marginal voices. I will also explore the challenges and opportunities digital comics might present for legal deposit collection development policy.

As well as being a member of the Comics Research Hub (CoRH) at UAL, I have already begun working with colleagues from the UK Web Archive, and hope to be able to make a significant contribution to the Web Comic Archive. Issues around collection development and management are central to my research, I feel very fortunate to be based at the British Library, to have the chance to learn from and hopefully contribute to practice here.

If anyone would like to know more about my research, or recommend any digital comics for me to look at, please do contact me at [email protected] or @thmsgbhrt on Twitter. UK digital comic creators and publishers can use the ComicHaus app to send their digital comics directly to The British Library digital archive. More details about this process are here.

This post is by British Library collaborative doctoral student Thomas Gebhart (@thmsgbhrt).

It has been heartening to see many joyful responses to our recent post featuring The British Library Simulator; an explorable, miniature, virtual version of the British Library’s building in St Pancras.

If you would like to learn more about our Emerging Formats research, which is informing our work in collecting examples of complex digital publications, including works made with Bitsy, then my colleague Giulia Carla Rossi (who built the Bitsy Library) is giving a Leeds Libraries Tech Talk on Digital Literature and Interactive Storytelling this Thursday, 11^th June at 12 noon, via Zoom.

Giulia will be joined by Leeds Libraries Central Collections Manager, Rhian Isaac, who will showcase some of Leeds Libraries exciting collections, and also Izzy Bartley, Digital Learning Officer from Leeds Museums and Galleries, who will talk about her role in making collections interactive and accessible. Places are free, but please book here.

If you are a researcher, or writer/artist/maker, of experimental interactive digital stories, then you may want to check out the current call for submissions for The International Conference on Interactive Digital Storytelling (ICIDS), organised by the Association for Research in Digital Interactive Narratives, a community of academics and practitioners concerned with the advancement of all forms of interactive narrative. The deadline for proposing Research Papers, Exhibition Submissions, Posters and Demos, has been extended to the 26^th June 2020, submissions can be made via the ICIDS 2020 EasyChair Site.

ICIDS showcases and shares research and practice in game narrative and interactive storytelling, including the theoretical, technological, and applied design practices. It is an interdisciplinary gathering that combines computational narratology, narrative systems, storytelling technology, humanities-inspired theoretical inquiry, empirical research and artistic expression.

For 2020, the special theme is Interactive Digital Narrative Scholarship, and ICIDS will be hosted by the Department of Creative Technology of Bournemouth University (also hosts of the New Media Writing Prize, which I have blogged about previously). Their current intention is to host a mixed virtual and physical conference. They are hoping that the physical meeting will still take place, but all talks and works will also be made available virtually for those who are unable to attend physically due to the COVID-19 situation. This means that if you submit work, you will still need to register and present your ideas, but for those who are unable to travel to Bournemouth, the conference organisers will be making allowances for participants to contribute virtually.

ICIDS also includes a creative exhibition, showcasing interactive digital artworks, which for 2020 will explore the curatorial theme “Texts of Discomfort”. The exhibition call is currently seeking Interactive digital art works that generate discomfort through their form and/or their content, which may also inspire radical changes in the way we perceive the world.

Creatives are encouraged to mix technologies, narratives, points of view, to create interactive digital artworks that unsettle interactors’ assumptions by tackling the world’s global issues; and/or to create artworks that bring to a crisis interactors’ relation with language, that innovate in their way to intertwine narrative and technology. Artworks can include, but are not limited to:

• Augmented, mixed and virtual reality works
• Computer games
• Interactive installations
• Mobile and location-based works
• Screen-based computational works
• Web-based works
• Webdocs and interactive films
• Transmedia works

Submissions to the ICIDS art exhibition should be made using this form by 26th June. Any questions should be sent to [email protected]. Good luck!

This post is by Digital Curator Stella Wisdom (@miss_wisdom)