There’s an episode of book shop-based comedy, Black Books, in which Fran, played by Tamsin Greig, starts a new job. She has no idea what her role actually consists of, and yet, somehow, she becomes good at it and delivers a rousing presentation, all while never fully understanding what she has done. Every new research project feels somewhat like this. There are usually continuities from previous projects, but because this one is new there will inevitably be new things you don’t know and how do you find out what you don’t know if you don’t know it?
Fortunately, thanks to the Library’s excellent Web Archiving, Contemporary British and Digital Scholarship teams, I’ve managed to fill in most of those blanks pretty quickly. My name’s Lynda Clark and I’m currently undertaking an AHRC/M3C Innovation Placement embarking on a six-month research project called ‘Emerging Formats: Discovering and Collecting Contemporary British Interactive Fiction’. My primary goals are to get a sense of the ‘shape’ of contemporary British web-based interactive fiction – the kinds of tools British creators are using and the works they are making with them; and to explore how those works might be preserved for future readers and researchers.
Boxes created at a British Library hosted emerging formats project workshop
I’m a maker of interactive fiction myself and have produced a variety of works, often silly (almost always silly, in fact) but sometimes more serious, the most substantial of which was my interactive novella Writers Are Not Strangers, produced as part of my recently submitted creative-critical PhD thesis. Even amongst my own modest back catalogue there is a fair amount of variation in styles, interfaces and tools used, some of which I know will likely scupper the webcrawlers commonly used to archive web-based digital work. Six months isn’t long to find a solution to this challenge, but I’m hoping I can at the very least start to create a record of works to preserve and at least categorically determine what doesn’t work to enable future researchers to move towards what does.
This is where you come in. If you’re a UK-based creator of web-based interactive fiction, please nominate your work for inclusion in the UK Web Archive, where it could (technology permitting) be included in a collection. This will mean the system takes regular ‘snapshots’ of the nominated website and stores them forever! You can make your nominations via the UKWA’s site or by contacting me.
This post is by the Library's Innovation Fellow for Interactive Fiction Lynda Clark, on twitter as @Notagoth. You can find out more about the Library's Emerging Formats project here.
On 7- 8th February, we’ll be running some user testing sessions, to help us understand how people might want to use new types of digital publications in our collections. We are interested in understanding what the user needs are for books published as apps or written specifically for use on mobile devices. If you use such publications in your work, or for reading for pleasure, we’d really like to hear from you.
We are carrying out these user testing sessions at the British Library in London and at the library of Trinity College Dublin on Thursday- Friday 7- 8 February. If you are interested in taking part, please follow the relevant link and complete the short form to sign up:
The British Library and the other five UK Legal Deposit Libraries have been collecting various types of born-digital publications since 2013, as outlined in The Legal Deposit Libraries (Non-Print Works) Regulations. These publications mainly comprised eBooks and eJournals, as well as archived UK websites. Over the past couple of years, we have started up the “Emerging Formats” project, to investigate new forms of digital publications whose structure and interactive features are more complex and pose new challenges in terms of collection and preservation.
The Emerging Formats project focuses on three formats: eBook mobile apps, web-based interactive narratives, and structured data.
EBook apps are digital books published as mobile apps, incorporating storytelling into the interactive functionality of mobile technology. They often rely heavily on the specific hardware and software they were created for, strengthening the relationship between content and device. They cover many genres, from poetry and academic to cookery and children’s fiction. They are often compared to games, as they require a significant level of interaction and readers’ engagement for the story to progress. Inkle’s 80 Days, Faber&Faber’s T.S. Eliot’s The Waste Land and Nosy Crow’s Goldilocks and Little Bear are all relevant examples of eBook mobile apps.
Interactive narratives are text-based stories which rely on the reader to make decisions to determine how the narrative unfolds. While sharing interactive features with eBook mobile apps (as well as dependency on device functionalities, such as cameras and location tracking), this format is web-based and not packaged as an app. The genres of writing are again quite varied, although fiction seems to lend itself well to this particular format. Editions at Play, a collaboration between Visual Editions and Google’s Creative Lab, has published a number of interactive narratives, spanning from a ghost story personalised to the surrounding of the reader (Breathe) to a Google Street View-based love story (Entrances & Exits).
The British Library held a workshop last November for internal teams as well as external stakeholders to better understand what content has been created, why it is complex and what the challenges are in preserving these complex digital objects.
The next step for the Emerging Formats project is to understand users’ expectations and their requirements when accessing this type of publications. In order to achieve this, we are running some onsite user experience testing with the help on an external agency, Bunnyfoot Ltd.
We are looking for participants who have some familiarity with using mobile devices to read and interact with eBooks created for mobile platforms and/or web-based interactive narratives. However, there’s no requirement that they are “expert users” of any kind. We’d like to include people who use these types of publication in their research (e.g. Digital Humanities, experimental literature, Human Computer Interaction, Digital Media, education specialists etc); people who create publications of this type as part of their practice; as well as people who read these types of publications for pleasure.
We have two days of testing booked in, for Thursday 7th and Friday 8th February, at the British Library in London and at Trinity College in Dublin. The sessions will last for about 1 hour, and Bunnyfoot will offer a £50 incentive for anyone taking part.
If you are interested in taking part in our user experience testing, please complete the brief screening survey linked at the beginning of the post (make sure you select the one relevant to your location).
To find out further information about the Emerging Formats project, please see our project page.
This post is by Ian Cooke, Head of Contemporary British Publications, on twitter as @IanCooke13 and Giulia Carla Rossi, Curator of Digital Publications on twitter as @giugimonogatari.
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).
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:
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:
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:
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.
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.
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.
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
From 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!
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.
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: [email protected].
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!
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 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 environments' for 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!
With three months to go before the submission deadline, we would like to remind you about the 2018British 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 will be giving awards for work 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.
BL Labs Awards 2017 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!
The entries will be shortlisted after the submissiondeadline (11/10/2018)has passed, and selected shortlisted entrants will be notified via email by midnight BST on Friday 26th October 2018.
Aprize of £500will be awarded to thewinner and £100to therunner upin 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:
British Library Labs Staff Award Winner – Two Centuries of Indian Print
Artistic Award (2017) winner: 'Imaginary Cities' by Michael Takeo Magruder
Artistic Award (2017) runner up: 'Face Swap', by Tristan Roddis and Cogapp
Teaching and Learning (2017) winner:'Vittoria's World of Stories' by the pupils and staff of Vittoria Primary School, Islington
Teaching and Learning (2017) runner up: 'Git Lit' by Jonathan Reeve
Staff Award (2017) winner: 'Two Centuries of Indian Print'by Layli Uddin, Priyanka Basu, Tom Derrick, Megan O’Looney, Alia Carter, Nur Sobers Khan, Laurence Roger and Nora McGregor
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 [email protected].