The British Library is delighted to host its annual Open and Engaged Conference on Monday 30 October, in-person and online, as part of International Open Access Week.

In line with this year’s #OAWeek theme: Open and Engaged 2023: Community over Commercialisation will address approaches and practices to open scholarship that prioritise the best interests of the public and the research community. The programme will focus on community-governance, public-private collaborations, and community building aspects of the topic by keeping the public good in the heart of the talks. It will underline different priorities and approaches for Galleries-Libraries-Archives-Museums (GLAMs) and the cultural sector in the context of open access.

We invite everyone interested in the topic to join us on Monday, 30 October!

This will be a hybrid event taking place at the British Library’s Knowledge Centre in St. Pancras, London, and streamed online for those unable to attend in-person.

You can register for Open and Engaged 2023 by filling this form by Thursday, 26 October 18:00 BST. Please note that the places for in-person attendance are now full and the form is available only for online booking.

Registrants will be contacted with details for either in-person attendance or a link to access the online stream closer to the event.

Programme

Slides and recordings of the talks are available as a collection in the British Library’s Research Repository.

9:30     Registration opens for in-person attendees. Entrance Hall at the Knowledge Centre.

10:00   Welcome

10:10   Keynote from Monica Westin, Senior Product Manager at the Internet Archive

Commercial Break: Imagining new ownership models for cultural heritage institutions.

10:40   Session on public-private collaborations for public good chaired by Liz White, Director of Library Partnerships at the British Library.

• Balancing public-private partnerships with responsibilities to our communities. Mia Ridge, Digital Curator, Western Heritage Collections, The British Library
• Where do I stand? Deconstructing Digital Collections [Research] Infrastructures: A perspective from Towards a National Collection. Javier Pereda, Senior Researcher of the Towards a National Collection (TaNC)
• "This is not IP I'm familiar with." The strange afterlife and untapped potential of public domain content in GLAM institutions. Douglas McCarthy, Head of Library Learning Centre, Delft University of Technology.

11:40   Break

12:10   Lightning talks on community projects chaired by Graham Jevon, Digital Service Specialist at the British Library.

• The Turing Way: Community-led Resources for Open Research and Data Science. Emma Karoune, Senior Research Community Manager, The Alan Turing Institute.
• Open Online Tools for Creating Interactive Narratives. Giulia Carla Rossi, Curator for Digital Publications and Stella Wisdom, Digital Curator for Contemporary British Collections, The British Library

12:45   Lunch

13:30   Session on the community-centred infrastructure in practice chaired by Jenny Basford, Repository Services Lead at the British Library.

• AHRC, Digital Research Infrastructure and where we want to go with it. Tao Chang, Associate Director, Infrastructure & Major Programmes, Arts and Humanities Research Council (AHRC)
• The critical role of repositories in advancing open scholarship. Kathleen Shearer, Executive Director, Confederation of Open Access Repositories (COAR). (Remote talk)
• Investing in the Future of Open Infrastructure. Kaitlin Thaney, Executive Director, Invest in Open Infrastructure (IOI). (Remote talk)

14:30   Break

15:00   Session on the role of research libraries in prioritizing the community chaired by Ian Cooke, Head of Contemporary British Publications at the British Library.

• Networks of libraries supporting open access book publishing. Rupert Gatti, Co-founder and the Director of Open Book Publishers, Director of Studies in Economics at the Trinity College Cambridge
• Collective action for driving open science agenda in Africa and Europe. Iryna Kuchma, Open Access Programme Manager at EIFL. (Remote talk)
• The Not So Quiet Rights Retention Revolution: Research Libraries, Rights and Supporting our Communities. William Nixon, Deputy Executive Director at RLUK-Research Libraries UK

16:00   Closing remarks

Social media hashtag for the event is #OpenEngaged. If you have any questions, please contact us at [email protected].

This blog post is by Dr Adi Keinan-Schoonbaert, Digital Curator for Asian and African Collections, British Library. She's on Mastodon as @[email protected].

 

Last week I came back from my very first ICDAR conference, inspired and energised for things to come! The International Conference on Document Analysis and Recognition (ICDAR) is the main international event for scientists and practitioners involved in document analysis and recognition. Its 17^th edition was held in San José, California, 21-26 August 2023.

ICDAR 2023 featured a three-day conference, including several competitions to challenge the field, as well as post-conference workshops and tutorials. All conference papers were made available as conference proceedings with Springer. 155 submissions were selected for inclusion into the scientific programme of ICDAR 2023, out of which 55 were delivered as oral presentations, and 100 as posters. The conference also teamed up with the International Journal of Document Analysis and Recognition (IJDAR) for a special journal track. 13 papers were accepted and published in a special issue entitled “Advanced Topics of Document Analysis and Recognition,” and were included as oral presentations in the conference programme. Do have a look at the programme booklet for more information!

ICDAR 2023 Logo

Each conference day included a thought-provoking keynote talk. The first one, by Marti Hearst, Professor and Interim Dean of the UC Berkeley School of Information, was entitled “A First Look at LLMs Applied to Scientific Documents.” I learned about three platforms using Natural Language Processing (NLP) methods on PDF documents: ScholarPhi, Paper Plain, and SCIM. These projects help people read academic scientific publications, for example by enabling definitions for mathematical notations, or generating glossary for nonce words (e.g. acronyms, symbols, jargon terms); make medical research more accessible by enabling simplified summaries and Q&A; and classifying key passages in papers to enable quick and intelligent paper skimming.

The second keynote talk, “Enabling the Document Experiences of the Future,” was by Vlad Morariu, Senior Research Scientist at Adobe Research. Vlad addressed the need for human-document interaction, and took us through some future document experiences: PDF re-flows for mobile devices, documents read themselves, and conversational functionalities such as asking questions and receiving answers. Enabling this type of ultra-responsive documents is reliant on methods such as structural element detection, page layout understanding, and semantic connections.

The third and final keynote talk was by Seiichi Uchida, Distinguished Professor and Senior Vice President, Kyushu University, Japan. In his talk, “What Are Letters?,” Seiichi took us through the four main functions of letters and text: message (transmission of verbalised info), label (disambiguation of objects and environments), design (give a nonverbal info, such as impression), and code (readability under various noises and deformations). He provoked us to contemplate how our lives were affected by texts around us, and how could we analyse the correlation between our behaviour and the texts that we read.

Prof Seiichi Uchida giving his keynote talk on “What Are Letters?”

When it came to papers submitted for review by the conference committee, the most prominent topic represented in those submissions was handwriting recognition, with a growing number of papers specifically tackling historical documents. Other submission topics included Graphics Recognition, Natural Language Processing for Documents (D-NLP), Applications (including for medical, legal, and business documents), and other types of Document Analysis and Recognition topics (DAR).

Screenshot of a slide showing the main submission topics for ICDAR 2023

Some of the papers that I attended tackled Named Entity Recognition (NER) evaluation methods and genealogical information extraction; papers dealing with Document Understanding, e.g. identifying the internal structure of documents, and understanding the relations between different entities; papers on Text and Document Recognition, such as looking into a model for multilingual OCR; and papers looking into Graphics, especially the recognition of table structure and content, as well as extracting data from structure diagrammes, for example in financial documents, or flowchart recognition. Papers on Handwritten Text Recognition (HTR) dealt with methods for Writer Retrieval, i.e. identifying documents likely written by specific authors, the creation of generic models, text line detection, and more.

The conference included two poster sessions, featuring an incredibly rich array of poster presentations, as well as doctoral consortia. One of my favourite posters was presented by Mirjam Cuper, Data Scientist at the National Library of the Netherlands (KB), entitled “Unraveling confidence: examining confidence scores as proxy for OCR quality.” Together with colleagues Corine van Dongen and Tineke Koster, she looked into confidence scores provided by OCR engines, which indicate the level of certainty in which a word or character were accurately recognised. However, other factors are at play when measuring OCR quality – you can watch a ‘teaser’ video for this poster.

Conference participants at one of the poster sessions

As mentioned, the conference was followed by three days of tutorials and workshops. I enjoyed the tutorial on Computational Analysis of Historical Documents, co-led by Dr Isabelle Marthot-Santaniello (University of Bale, Switzerland) and Dr Hussein Adnan Mohammed (University of Hamburg, Germany). Presentations focused on the unique challenges, difficulties, and opportunities inherent to working with different types of historical documents. The distinct difficulties posed by historical handwritten manuscripts and ancient artifacts necessitate an interdisciplinary strategy and the utilisation of state-of-the-art technologies – and this fusion leads to the emergence of exciting and novel advancements in this area. The presentations were interwoven with great questions and a rich discussion, indicative of the audience’s enthusiasm. This tutorial was appropriately followed by a workshop dedicated to Computational Palaeography (IWCP).

I especially looked forward to the next day’s workshop, which was the 7^th edition of Historical Document Imaging and Processing (HIP’23). It was all about making documents accessible in digital libraries, looking at methods addressing OCR/HTR of historical documents, information extraction, writer identification, script transliteration, virtual reconstruction, and so much more. This day-long workshop featured papers in four sessions: HTR and Multi-Modal Methods, Classics, Segmentation & Layout Analysis, and Language Technologies & Classification. One of my favourite presentations was by Prof Apostolos Antonacopoulos, talking about his work with Christian Clausner and Stefan Pletschacher on “NAME – A Rich XML Format for Named Entity and Relation Tagging.” Their NAME XML tackles the need to represent named entities in rich and complex scenarios. Tags could be overlapping and nested, character-precise, multi-part, and possibly with non-consecutive words or tokens. This flexible and extensible format addresses the relationships between entities, makes them interoperable, usable alongside other information (images and other formats), and possible to validate.

Prof Apostolos Antonacopoulos talking about “NAME – A Rich XML Format for Named Entity and Relation Tagging”

I’ve greatly enjoyed the conference and its wonderful community, meeting old colleagues and making new friends. Until next time!

 

Digitised archives and library collections are rich resources for creative practitioners, including video game makers, who can bring history to life in new ways with immersive storytelling. A wonderful example of this is Astrologaster by Nyamyam, an interactive comedy set in Elizabethan London, based on the manuscripts of medical astrologer Simon Forman, which is currently showcased in the British Library’s Digital Storytelling exhibition.

On Friday 15^th September we are delighted to host an event to celebrate the making and the music of Astrologaster. Featuring game designer Jennifer Schneidereit in conversation with historian Lauren Kassell discussing how they created the game. Followed by a vocal quartet who will sing madrigal songs from the soundtrack composed by Andrea Boccadoro. Each character in the game has their own Renaissance style theme song with witty lyrics written by Katharine Neil. This set has never before been performed live, so we can’t wait to hear these songs at the Library and we would love for you to join us, click here to book. We've had the title song, which you can play below, as an earworm for the last few months!

Simon Forman was a self-taught doctor and astrologer who claimed to have cured himself of the plague in 1592. Despite being unlicensed and scorned by the Royal College of Physicians he established a practice in London where he analysed the stars to diagnose and solve his querents’ personal, professional and medical problems. Forman documented his life and work in detail, leaving a vast quantity of papers to his protégé Richard Napier, whose archive was subsequently acquired by Elias Ashmole for the Ashmolean Museum at the University of Oxford. In the nineteenth century this collection transferred to the Bodleian Library, where Forman’s manuscripts can still be consulted today.

Screen capture image of the Casebooks digital edition showing ‘CASE5148’.

Lauren Kassell, Michael Hawkins, Robert Ralley, John Young, Joanne Edge, Janet Yvonne Martin-Portugues, and Natalie Kaoukji (eds.), ‘CASE5148’, The casebooks of Simon Forman and Richard Napier, 1596–1634: a digital edition, https://casebooks.lib.cam.ac.uk/cases/CASE5148, accessed 1 September 2023.

Funded by the Wellcome Trust, the Casebooks Project led by Professor Lauren Kassell at the University of Cambridge, spent over a decade researching, digitising, documenting and transcribing these records. Producing The casebooks of Simon Forman and Richard Napier, 1596–1634: a digital edition published by Cambridge Digital Library in May 2019. Transforming the archive into a rich searchable online resource, with transcriptions and editorial insights about the astrologers’ records, alongside digitised images of the manuscripts.

In 2014 Nyamyam’s co-founder and creative director Jennifer Schneidereit saw Lauren present her research on Simon Forman’s casebooks, and became fascinated by this ambitious astrologer. Convinced that Forman and his patients’ stories would make an engaging game with astrology as a gameplay device, she reached out to Lauren to invite her to be a consultant on the project. Fortunately Lauren responded positively and arranged for the Casebooks Project to formally collaborate with Nyamyam to mine Forman’s patient records for information and inspiration to create the characters and narrative in the Astrologaster game.  

Still image of a playthrough video demonstrating how to play Astrologaster made by Florence Smith Nicholls for the Digital Storytelling exhibition

At the British Library we are interested in collecting and curating interactive digital narratives as part of our ongoing emerging formats research. One method we are investigating is the acquisition and creation of contextual information, such as recording playthrough videos. In the Digital Storytelling exhibition you can watch three gameplay recordings, including one demonstrating how to play Astrologaster. These were made by Florence Smith Nicholls, a game AI PhD researcher based at Queen Mary University of London, using facilities at the City Interaction Lab within the Centre for Human-Computer Interaction Design at City, University of London. Beyond the exhibition, these recordings will hopefully benefit researchers in the future, providing valuable documentation on the original ‘look and feel’ of an interactive digital narrative, in addition to instructions on use whenever a format has become obsolete.

The Digital Storytelling exhibition is open until the 15th October 2023 at the British Library, displaying 11 narratives that demonstrate the evolving field of interactive writing. We hope you can join us for upcoming related events, including the Astrologaster performance on Friday 15^th September, and an epic Steampunk Late on Friday 13th October. We are planning this Late with Clockwork Watch, Blockworks and Lancaster University's Litcraft initiative, so watch this blog for more information on this event soon.

This blog post was originally published on Wikimedia’s community blog, Diff, by Satdeep Gill (WMF) and Dr Adi Keinan-Schoonbaert (Digital Curator for Asian and African Collections, British Library)

 

The British Library has joined hands with the Wikimedia Foundation to support the Wikisource Loves Manuscripts (WiLMa) project, sharing 76 Javanese manuscripts, including what is probably the largest Javanese manuscript in the world, digitised as part of the Yogyakarta Digitisation Project. The manuscripts, which are now held in the British Library, were taken from the Kraton (Palace) of Yogyakarta following a British attack in June 1812. The British Library’s digitisation project was funded by Mr. S P Lohia and included conservation, photography, quality assurance and publication on the Library’s Digitised Manuscripts website, and the presentation of complete sets of digital images to the Governor of Yogyakarta Sri Sultan Hamengkubuwono X, the National Library of Indonesia, and the Library and Archives Board of Yogyakarta.

3D model of Menak Amir Hamza (British Library Add MS 12309), probably the largest Javanese manuscript in the world

For the WiLMa project, the scanned images, representing more than 30,000 pages, were merged into pdfs and uploaded to Wikimedia Commons by Ilham Nurwansah, Wikimedian-in-Residence at PPIM and User:Bennylin from the Indonesian community. The manuscripts are now available on Wikimedia Commons in the Category:British Library manuscripts from Yogyakarta Digitisation Project.

“Never before has a library of Javanese manuscripts of such importance been made available to the internet, especially for easy access to the almost 100 million Javanese people worldwide.”

User:Bennylin said about the British Library donation

As a global movement, Wikimedia is able to connect the Library with communities of origin, who can use the digitised manuscripts to revitalise their language online. As such, we have a history of collaboration with the Wikimedia community, hosting Wikimedians-in-Residence and working with the Wikisource community. In 2021, we collaborated with the West Bengal Wikimedians User Group to organise two Wikisource competitions (in Spring and Autumn). Forty rare Bengali books, digitised as a part of the Two Centuries of Indian Print project, were made available on Wikisource. The Bengali Wikisource community has corrected more than 5,000 pages of text, which were OCRed as part of the project.

“As part of our global engagement with Wikimedia communities, we were thrilled to engage in a partnership with the Bengali Wikisource community for the proofreading of rare and unique books digitised as part of the Two Centuries of Indian Print project. We extend our gratitude towards the community’s unwavering commitment and the enthusiasm of its members, which have greatly enhanced the accessibility of these historic gems for readers and researchers.”

Dr Adi Keinan-Schoonbaert, Digital Curator, British Library

The developing Javanese Wikisource community has already started using the newly digitised Javanese manuscripts in their project, and has plans ranging from transliteration and translation, to recording the content being sung, as originally intended. (Recording of Ki Sujarwo Joko Prehatin, singing (menembang) the texts of Javanese manuscripts, at the British Library, 12 March 2019; recording by Mariska Adamson).

Screenshot of a Javanese manuscript being used for training an HTR model using Transkribus

The Library’s collaboration with the Javanese community started earlier this year, when the Wikisource community included three manuscripts from the Library’s Henry D. Ginsburg Legacy Digitisation Projects in the list of focus texts for a Wikisource competition. Parts of these three long manuscripts were proofread by the community during the competition and now they are being used to create a Handwritten Text Recognition (HTR) model for the Javanese script using Transkribus, as part of our ongoing WiLMa initiative.

Stay tuned for further updates about WiLMa Learning Partners Network!

 

A year ago I started work on my RLUK Professional Practice Fellowship project to analyse computationally the descriptions in the Library’s incunabula printed catalogue. As the project comes to a close this week, I would like to update on the work from the last few months leading to the publication of the incunabula printed catalogue data, a featured collection on the British Library’s Research Repository. In a separate blogpost I will discuss the findings from the text analysis and next steps, as well as share my reflections on the fellowship experience.

Since Isaac’s blogpost about the automated detection of the catalogue entries in the OCR files, a lot of effort has gone into improving the code and outputting the descriptions in the format required for the text analysis and as open datasets. With the invaluable help of Harry Lloyd who had joined the Library’s Digital Research team as Research Software Engineer, we verified the results and identified new rules for detecting sub-entries signaled by Another Copy rather than a main entry heading. We also reassembled and parsed the XML files, originally split in two sets per volume for the purpose of generating the OCR, so that the entries are listed in the order in which they appear in the printed volume. We prepared new text files containing all the entries from each volume with each entry represented as a single line of text, that I could use for the corpus linguistics analysis with AntConc. In consultation with the Curator, Karen Limper-Herz, and colleagues in Collection Metadata we agreed how best to store the data for evaluation and in preparation to update the Library’s online catalogue.

Poster session at Digital Humanities Conference 2023

Whilst all this work was taking place, I started the computational analysis of the English text from the descriptions. The reason for using these partial descriptions was to separate what was merely transcribed from the incunabula from the more language used by the cataloguer in their own ‘voice’. I have recorded my initial observations in the poster I presented at the Digital Humanities Conference 2023. Discussing my fellowship project with the conference attendees was extremely rewarding; there was much interest in the way I had used Transkribus to derive the OCR data, some questions about how the project methodology applies to other data and an agreement on the need to contextualise collections descriptions and reflect on any bias in the transmission of knowledge. In the poster I also highlight the importance of the cross-disciplinary collaboration required for this type of work, which resonated well with the conference theme of Collaboration as Opportunity.

I have started disseminating the knowledge gained from the project with members of the GLAM community. At the British Library Harry, Karen and I ran an informal ‘Hack & Yack’ training session showcasing the project aims and methodology through the use of Jupyter notebooks. I also enjoyed the opportunity to discuss my research at a recent Research Libraries UK Digital Scholarship Network workshop and look forward to further conversations on this topic with colleagues in the wider GLAM community. 

We intend to continue to enrich the datasets to enable better access to the collection, the development of new resources for incunabula research and digital scholarship projects. I would like to end by adding my thanks to Graham Jevon, for assisting with the timely publication of the project datasets, and above all to James, Karen and Harry for supporting me throughout this project.

This blogpost is by Dr Rossitza Atanassova, Digital Curator, British Library. She is on Twitter @RossiAtanassova  and Mastodon @[email protected]

 

In the spring of 2020, during the first UK lockdown, I wrote an article for the British Library English and Drama blog, titled ‘Writing tools for Interactive Fiction’. Quite a few things have changed since then and as the Library launched its first exhibition on Digital Storytelling this June, it seemed like the perfect time to update this list with a few additions.

Interactive fiction (IF), or interactive narrative/narration, is defined as “software simulating environments in which players use text commands to control characters and influence the environment.”

The British Library has been collecting examples of UK interactive fiction as part of the Emerging Formats Project, which is a collaborative effort from all six UK Legal Deposit Libraries to look at the collection management requirements of complex digital publications. Lynda Clark, the British Library Innovation Fellow for Interactive Fiction, built the Interactive Narratives collection on the UK Web Archive (UKWA) during her placement. Because of Legal Deposit Regulations, most of the items in the Interactive Narratives collection can only be accessed on Library premises – which also extends to other collections in the UK Web Archive, such as the New Media Writing Prize collection.

Lynda also conducted analysis on genres, interaction patterns and tools used to build these narratives.

Source: Clark, L. (2020). Archiving Interactive Narrative: UK Tools Usage, Appendix A.

 

Many of these tools are free to use and don’t require any previous knowledge of programming languages. This is not meant to be an exhaustive list, but it might be a useful overview of some of the tools currently available, if you’d like to start experimenting with writing your own interactive narrative. We are also very excited to be able to offer a week-long Interactive Fiction Summer School this August at the Library, running alongside the Digital Storytelling exhibition.

For an easier navigation, these are the tools included in this article:

• Twine
• ink/inky & inklewriter
• Bitsy
• Inform 7
• ChoiceScript
• Downpour
• More resources

 

Twine

Twine is an open-source tool to write text-based, non-linear narratives. Created by Chris Klimas in 2009, Twine is perfect to write Choose Your Own Adventure-like stories without knowing how to code. The output is an HTML file, which facilitates publishing and distribution, as it can be run on any computer with an Internet connection and a web browser. If you have any knowledge of CSS or Javascript it’s possible to add extra features and specific designs to your Twine story, but the standard Twine structure only requires you to type text and put brackets around the phrases that will become links in the story (linking to another passage or branching into different directions). There is an online version or a downloadable version that runs on Windows, MacOS and Linux. Twine has multiple story formats, with different features and ways to write the interactive bits of your story. The Twine Reference is a good place to start, but there is also a Twine Cookbook (containing ‘recipes’, instructions and examples to do a variety of things).

Some quality cat dreams.

(from Emma Winston’s Cat Simulator 3000)

 

As the most used tool in the UKWA collection, there are many examples of IF written in Twine, from cat and teatime simulators (Emma Winston’s Cat Simulator 3000 and Damon L. Wakes’ Lovely Pleasant Teatime Simulator), to stories that include a mix of video, images and audio (Chris Godber’s Glitch), and horror games made for Gothic Novel Jam using the British Library’s Flickr collection of images (Freya Campbell’s The Tower – NB some content warnings apply). Lynda Clark also authored an original story as a conclusion to her placement: The Memory Archivist incorporates many of the themes emerged during her research and won The BL Labs Artistic Award 2019.

 

ink/inky & inklewriter

Cambridge-based video game studio inkle is behind another IF tool – or two. Ink is the scripting language used to author many of inkle’s videogames – the idea behind it is to mark up “pure-text with flow in order to produce interactive scripts”. It doesn’t require any programming knowledge and the resulting scripts are relatively easy to read. Inky is the editor to write ink scripts in – it’s free to download and lets you test your narrative as you write it. Once you’re happy with your story, you can export it for the web, as well as a JSON file. There’s a quick tutorial to walk you through the basics, as well as a full manual on how to write in ink. ink was also used to write 80 Days, another work collected by the British Library as part of the emerging formats project and currently exhibited as part of the Digital Storytelling exhibition.

A page from 80 Days, written using ink. To read in full detail, please click on the image.

 

inklewriter is an open-source, ready-to-use, browser-based IF “sketch-pad”. It is meant to be used to sketch out narratives more than to author fully-developed stories. There is no download required and the fact that it is a simple and straightforward tool to experiment with IF makes it a good fit for educators. Tutorials are included within the platform itself so that you can learn while you write.

This year’s Interactive Fiction Summer School at the British Library will teach attendees how to write interactive fiction using ink, with a focus on dialogue and writing with the player in mind. Dr. Florencia Minuzzi will lead the 5-day course, together with a number of guest speakers whose work is featured in the Digital Storytelling exhibition – including Corey Brotherson, Destina Connor, Dan Hett and Meghna Jayanth. The school runs from Monday 21st to Friday 25th August – no previous coding experience necessary!

A screenshot from 80 Days Ⓒ inkle.

 

Bitsy

Bitsy is a browser-based editor for mini games developed by Adam Le Doux in 2016. It operates within clear constraints (8x8 pixel tiles, a 3-colour palette, etc.), which is actually one of the reasons why it is so beloved. You can draw and animate your own characters within your pixel grid, write the dialogue and define how your avatar (your playable character) will interact with the surrounding scenery and with other non-playable characters. Again, no programming knowledge is necessary. Bitsy is especially good for short narratives and vignette games. After completing your game, you can download it as an HTML file and then share it however you prefer. There is Bitsy Docs, as well as some comprehensive tutorials and even a one-page pamphlet covering the basics.

Shout-out to the Emerging Formats Project

(from Giulia Carla Rossi’s The British Library Simulator)

 

To play (and read) a Bitsy work you should use your keyboard to move the avatar around and interact with the ‘sprites’ (interactive items, characters and scenery – usually recognisable as sporting a different colour from the non-interactive background). You can wander around a Zen garden reflecting on your impending wedding (Ben Bruce’s Zen Garden, Portland, The Day Before My Wedding), alight the village fires to welcome the midwinter spirits (Ash Green’s Midwinter Spirits), experience a love story through mixtapes (David Mowatt’s She Made Me A Mix Tape), or if you’re still craving a nice cuppa you can review some imaginary tea shops (Ben Bruce’s Five Great Places to Get a Nice Cup of Tea When You Are Asleep). You can even visit a pixelated version of the British Library and discover more about our contemporary and digital collections with The British Library Simulator.

 

Inform 7

While Twine allows you to write hypertext narratives (where readers can progress through the story by clicking on a link), Inform 7 lets you write parser-based interactive fiction. Parser-based IF requires the reader to type commands (sometimes full sentences) in order to interact with the story.

How to Play Interactive Fiction (An entire strategy guide on a single postcard)

<style="font-family: inherit;">Written by Andrew Plotkin -- design by Lea Albaugh. This work is licensed under a Creative Commons Attribution-Share Alike 3.0 United States License

 

Inform 7 is a free-to-use, open-source (as of April 2022) tool to write interactive fiction. Originally created as Inform by Graham Nelson in 1993, the current Inform 7 was released in 2006 and uses natural language (based on the English language) to describe situations and interactions. The learning curve is a bit steeper than with Twine, but the natural language approach allows for users with no programming experience to write code in a simplified language that reads like English text. Inform 7 also has a Recipe Book and a series of well-documented tutorials. Inform also runs on Windows, MacOS and Linux and lets you output your game as HTML files.

While the current version of Inform is Inform 7, narratives using previous versions of the system are still available – Emily Short’s Galatea is always a good place to start. You could also explore mysterious ruins with your romantic interest (C.E.J. Pacian’s Love, Hate and the Mysterious Ocean Tower), play a gentleman thief (J.J. Guest’s  Alias, the Magpie) or make more tea (Joey Jones’ Strained Tea).

 

ChoiceScript

ChoiceScript is a javascript-based scripting language developed by Adam Strong-Morse and Dan Fabulich of Choice of Games. It can be used to write choice-based interactive narratives, in which the reader has to select among multiple choices to determine how the story will unfold. The simplicity of the language makes it possible to create Choose-Your-Own-Adventure-style stories without any prior coding knowledge. The ChoiceScript source is available to download for free on the Choice of Games website (it also requires writers to have Node.js installed on their machine). Once your story is complete, you can publish it for free online. Otherwise, Choice of Games offer the possibility of publishing your work with them (they publish to various platforms, including iOS, Android, Kindle and Steam) and earn royalties from it. There is a tutorial that covers the basics, including a Glossary of ChoiceScript terms. The Choice of Game blog also includes some articles with tips on how to design and write interactive stories, especially long ones.

Genres of works built using ChoiceScript are again quite varied – from sci-fi stories exploring the relationships between writers and readers (Lynda Clark’s Writers Are Not Strangers), to crime/romantic dramas (Toni Owen-Blue’s Double/Cross) and fantasy adventures (Thom Baylay’s Evertree Inn).

 

Downpour

Downpour is a game-making tool for phones currently in development. Created by v buckenham, Downpour is a tool that will allow users to make interactive games in minutes, only using their phone’s camera and linking images together. There is no expectation of previous programming knowledge and by removing the need to access a computer, Downpour promises to be a very approachable tool. Release is currently planned for 2023 on iOS and Android – if you want to be notified when it launches you can sign up here.

Downpour banner.

 

More resources

As I mentioned before, this is in no way a comprehensive list – there are a lot of other tools and platforms to write IF, both mainstream as well as slightly more obscure ones (Ren’Py, Quest, StoryNexus, Raconteur, Genarrator, just to mention a few). Try different tools, find the one that works best for you or use a mix of them if you prefer! Experiment as much as you like.

If you’d like to discover even more tools to build your interactive project, Everest Pipkin has an excellent list of Open source, experimental, and tiny tools.

Emily Short’s Interactive Storytelling blog also offers a round-up of very interesting links about interactive narratives.

If you want to be inspired by more independent games and interactive stories, Indiepocalypse offers a curated selection of video and/or physical games in the form of a monthly anthology.

To conclude, I’ll leave you with a quote by Anna Anthropy from her book Rise of the Videogame Zinesters:

“Every game that you and I make right now [...] makes the boundaries of our art form (and it is ours) larger. Every new game is a voice in the darkness. And new voices are important in an art form that has been dominated for so long by a single perspective. [...]

There’s nothing to stop us from making our voices heard now. And there will be plenty of voices. Among those voices, there will be plenty of mediocrity, and plenty of games that have no meaning to anyone outside the author and maybe her friends. But [...] imagine what we’ll gain: real diversity, a plethora of voices and experiences, and a new avenue for human beings to tell their stories and connect with other human beings.”

This post is by Giulia Carla Rossi, Curator for Digital Publications

Contents

Introduction

Share Family and National Bibliographies

       What is a National bibliography?

       BNB in the Share Family

Benefits

Future developments

Beta service

Further information

 

Introduction

The British National Bibliography (BNB), first published in January 1950, is a weekly listing of new books and journals published or distributed in the United Kingdom and the Republic of Ireland.  Over the last seventy-three years, the BNB has adapted to changing customer needs by embracing new technologies, from cards in the 1950s to mark-up languages for data exchange in the 1970s and CD-ROM in the 1980s. The BNB now provides online access to details of over 5 million publications and forthcoming titles, ranging in scope from computer science to history, from novels to textbooks.

 

1. Examples of British National Bibliography records, April 19th 2023. Please click the image to see it in full size & detail.

In 2011, the Library launched the Linked Open Data BNB.  At that time, linked data was an emerging technology using Web protocols to link data sets, as envisaged in Sir Tim Berners-Lee’s concept of a Semantic Web^[1].  Our initial foray into linked data was successful from a technical perspective. We were able to convert BNB data held in Machine Readable Cataloging (MARC) format into linked data structures and make it available in a variety of schemas under an open licence.  Nevertheless, we lacked the capacity to re-model our data in order to realise the potential of linked data.  As the technology matured, we began to look around for partners with whom we could collaborate to take BNB forward.

As described in my September 2020 blogpost, British Library Joins Share-VDE Linked Data Community, the British Library joined the Share Community (now the Share Family) to develop our linked data service. The Share Linked Data Environment is “a global family built on collaboration that brings libraries, archives and museums together with a common goal and joins their knowledge in an ever-widening network of inter-connected bibliographic data.” (Share Family, 2022).

 

Share Family and National Bibliographies

“The Share Family is a suite of innovative tools and services, developed and driven by libraries, for libraries, in an international collaborative, consortial effort. Share-VDE enables the discovery of knowledge to increase user engagement with library and cultural heritage collections.”^[2]

2. Share family components^[3]. Please click the image to see it in full size & detail.

The Share Family has supported us through the transition from our traditional MARC data to linked open data.  We provided a full copy of the British National Bibliography to the Share team for identification and clustering of entities, e.g. works, publications, persons. Working with colleagues from other institutions on Share-VDE working groups we contribute to the development of the underlying data structures and the presentation of data.  This collaborative approach has enabled delivery of the British National Bibliography as the first institutional tenant of the Share Family National Bibliographies Portal. 

What is a National bibliography?

“National bibliographies are a permanent record of the cultural and intellectual output of a nation or country, which is witnessed by its publishing output. They gather the bibliographic information of current publications to preserve and provide ongoing access to this record.”

IFLA Bibliography Section

The IFLA (International Federation of Library Associations and Institutions) Register of national bibliographies contains 52 entries, ranging from Andorra to Vietnam.  National bibliographies vary in scope, but each provides insights into the intellectual and cultural history of society, literature and publishing.  The Share Family National Bibliographies Portal offers the potential for clustering and searching multiple national bibliographies on a single platform.

BNB in the Share Family

3. Screenshot BNB home screen. Please click the image to see it in full size & detail.

The British Library is proud that the British National Bibliography is the first tenant selected for the Share Family National Bibliographies Portal.

BNB is now available to explore in Beta: https://bl.natbib-lod.org. You can search for publications, original works and people, as illustrated by these examples:

You can use the national bibliography to search for a specific publication, such as a large print edition of the novel Small island by Andrea Levy.

4. Screenshot: Bibliographic description of large print edition of Small Island by Andrea Levy. Please click the image to see it in full size & detail.

 

You can also find original works inspired by earlier works:

5. Screenshot: Results set for publication of the work, Small island by Helen Edmundso. Please click the image to see it in full size & detail.

 

Alternatively, you can search for works by a specific author… 

6. Screenshot: Original works by Douglas Adams. Please click the image to see it in full size & detail.

 

…or about a specific person

7. Screenshot: Original works about Douglas Adams. Please click the image to see it in full size & detail.

 

…or by organization

8. Screenshot: Results set for BBC. Please click the image to see it in full size & detail.

 

Benefits

What benefit do we expect to gain from this collaboration?

• We profit from practical experience our collaborators have gained through other linked data initiatives
• We gain access to a state of the art, extensible infrastructure designed for library data
• We gain a new channel for dissemination of the BNB, in aggregation with other national bibliographies

We are able to re-tool our metadata for the 21^st Century:

• Our data will be remodelled and clustered making it more compatible with current data models, including the IFLA Library Reference Model, RDA: Resource Description and Access, and Bibframe
• Our data will be enriched with URIs that will make it more effective in linked data environments
• The entity-centred view of the British National Bibliography offers new perspectives for researchers

 

Future developments

Conversion of the BNB and publication in the National Bibliographies Portal is only the beginning. 

• The BNB data from the Cluster Knowledge base will also be published in the triple store
• Original records will be available to the British Library as Bibframe 2.0, for dissemination or reuse as linked data
• Users will be provided with access to the data via data dumps and a SPARQL endpoint
• Our MARC records will be enriched with original Share URIs and URIs from external sources
• Other national bibliographies will join BNB in the national bibliographies portal

The British National Bibliography represents only a fraction of the Library’s data.   You can explore the British Library’s collection through our catalogue, which we plan to contribute to Share-VDE in future.

 

Beta service

The British National Bibliography in the Share Family is being made available in Beta. The service is still being tested. The interface and the functionality are subject to change and may not work for everyone.  You can tell us what you think about the service or report problems by contacting [email protected].

 

Further information:

British National Bibliography https://bnb.bl.uk  

Share VDE http://www.share-family.org/

Share Family wiki https://wiki.share-vde.org/wiki/Main_Page

Share VDE Virtual Discovery Environment in linked open data https://svde.org/

National Bibliographies in Linked Open Data https://natbib-lod.org

British National Bibliography Linked Open Data Portal https://bl.natbib-lod.org

 

Footnotes

[1]  Berners-Lee, Tim; James Hendler; Ora Lassila (May 17, 2001). "The Semantic Web". Appeared in: Scientific American. (284(5):34-43 (May 2001). 

[2] Share-VDE: supporting the creation, management and discovery of linked open data for libraries: executive summary. Share-VDE Executive Committee. December 7^th, 2022. Share-VDE Website (viewed 19^th June 2023)

[3] Share Family – Linked data ecosystem. How does it work?  http://www.share-family.org/  (viewed on 23^rd June 2023)

Three of us from the British Library Digital Research Team will be attending Digital Humanities 2023 in Graz, Austria next week. The last DH Conference we attended was in Utrecht in 2019 and we can’t wait to participate again in person this year. 

We are looking forward to meeting new and old DH-ers and to having exciting in-person conversations in between the conference sessions throughout the week. 

In particular we want to invite you to come and visit us during the conference poster session on Wednesday 12 July from 18:00. There will be drinks and nibbles on offer and ample time for discussions.

Here is a list of our posters and we look forward to talking to you about our collaborations and projects:

Rossitza will present a poster about collaborations as part of her AHRC-RLUK Professional Practice Fellowship project Datafication and reuse of the descriptions of the incunabula collection at the British Library (pp.505-506)

As part of the Living with Machines project Mia contributed to the poster about Metadata Enrichment in the Living with Machines Project: User-focused Collaborative Database Development in a Digital Humanities Context (pp.553-555)

Stella will present the UK Digital Comics: Challenges and Opportunities of a Collaborative Doctoral Partnership. A Co-designed Comic Poster (pp.596-597)

We will also be at some of the pre-conference workshops on Tuesday. Rossitza will attend the all-day OCR4all - Open-Source OCR and HTR Across the Centuries, and Stella will participate in a couple of half-day workshops: the AudiAnnotate Workshop with Radio Venceremos, Rebel Radio Station and SpokenWeb: Using IIIF with AV to Build Editions and Exhibits and Creating, storing, and sharing your own web archives with open source Webrecorder tools

The pre-conference communications have been great and you can find out more about the conference programme in the impressive Digital Humanities 2023: Book of Abstracts | Zenodo We are thrilled to be joining this exciting event held in this stunning Austrian city.

Wir kommen, Graz. Bis bald!