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 email her at [email protected].

In my last blog post, I spoke of my PhD research into UK digital comics creation to consumption practices. I have interviewed comics creators about the creative process and the extent to which digital technology has informed it, as well as with publishers who discussed the impact of digital technology on workflows producing both print and digital.  

I also talked about a UK comics mapping exercise that revealed “the visibility of digital comics across sectors including health, economics, education [for example Figure 1 on legal deposit], literacy, and even the hard sciences”, as well as autobiography (see Figure 2), superheroes, horror, and science fiction.

Figure 1: Panel from 'The Legal Deposit and You', by Olivia Hicks (British Library, 2018). Reproduced with permission from the British Library.

 

In publisher and creator interviews for this research, it has to be admitted that print comics loomed large in discussions. This attachment to print even extended to some webcomics creators who, while firmly grounded in the digital environment, harboured aspirations of print versions somewhere down the line.

Still, one webcomic creator interviewed presented a rather balanced view:

“There are things digital can do that print can't do…Hyper linking I think is interesting. There's different things that you can do with page layouts and the way that information is presented on the page. Where it's something that goes in a new direction or different direction from print, I think that's interesting, there's strong potential there”.

 

Figure 2: Archive capture of 'Our Super Adventure' by Sarah Graley. Retrieved from https://www.webarchive.org.uk/wayback/archive/20170828084711/http://www.oursuperadventure.com/

 

Readers Reading Digital Comics

What kind of impact do different page layouts and hypertext have on readers reading digital comics? To understand whether these “new directions” are truly unique affordances that only digital comics can provide requires extending the research to the another major participant in the creation to consumption process: the consumer or digital comics reader.

For the third phase of data collection, UK-based digital comics readers will be consulted through semi-structured interviews, reading observations and think aloud sessions. Emphasis will be placed on determining not just how readers find and consume comics, but what their response is, how it can be defined, from passive to transactional to performative.  Aims and objectives include:

• To understand the reader role in the publishing and communication process of UK digital comics, their response to digital comics, and how that response contributes to digital comics narratives.
• To learn about how readers discover new comics and share their reading preferences and experiences with others.
• To understand how comics portals, devices etc. contribute to the reader’s experience of and response to the text.
• To use HCI/HII methods and understand the value of these approaches in collecting data about readers of digital comics.

It is important to note that the research is not about assessing the useability of digital comics platforms (although readers will not be discouraged from talking about them), but how readers read digital comics, which can include the devices they use, the platforms they use to read from, and their transactional behaviour with the texts themselves.

Calling All UK-Based Digital Comics Readers

Of course, in order to achieve these aims, I need readers to talk to me about their reading. If you are a UK-based digital comics reader, I’d like to speak to you whether you read comics via apps or web platforms on your phone, laptop, tablet etc., or even through PDF downloads. I would also like to hear about how you learn about new comics and share the comics you love with others.

Right now, I am looking for expressions of interest. If you would like to participate in this research, please contact me at [email protected].

The second year of the Wikimedia residency has allowed us to pay specific attention to the work being done on the Lord Chamberlain’s Plays, specifically the excellent research project work by Professor Kate Dossett (University of Leeds). Kate teaches American History at the University of Leeds, and is currently working on ‘Black Cultural Archives & the Making of Black Histories: Archives of Surveillance and Black Transnational Theatre’, a project supported by an Independent Social Research Foundation Fellowship and a Fellowship from the Eccles Centre. Her work focuses on the understudied area of Black theatre history in the first half of the twentieth century, and when we had the chance to collaborate, we leapt on it!

One of the things we wanted to do was run a series of three Wikithons, each celebrating a different aspect of the collection: in this case, the role of women; the ways in which censorship impacted creativity for Black theatre makers and the political surveillance of Black creatives. Alongside these Wikithons, we are developing a Wikibase structure to enable users to search the Lord Chamberlain’s Plays index cards from anywhere in the world. A blog on this work is forthcoming.

What transpired from our Wikithon dream was a series of three excellent events, interactions and collaborative work with a number of exceptional researchers and historians, all mixed in with a year of administrative tumult as we felt the impact of numerous strikes (academic and transport), the Royal funeral and the ongoing implications of the pandemic. 

This was an important learning opportunity for us to examine the role and impact of Wikithons, and consider different methods of delivery and engagement, tying into bigger conversations happening around Wikipedia on an international scale. It was a year in three Wikithons!

Photo by Omar Al-Ghosson on Unsplash

Event One (March 2022)

Our first event took place in March 2022. Having only just gotten over the dreaded Covid myself, the long-term impact of the pandemic was sorely felt: we were just out of some winter restrictions, and we felt it was best to hold this event as an online session, due to the uncertainty of the months ahead. Further to this, we had to look at dates that would not interrupt or clash with the ongoing University and College Union strikes. Once we had this in hand, we were ready to open the (virtual) doors to Black Theatre and the Archive: Making Women Visible, 1900-1950. 

We were lucky to have speakers from the Library, Alexander Lock and Laura Walker, to talk about and contextualise the materials, while Kate herself offered a thematic and political overview of the importance of the work we were to embark upon. Despite the strikes, the pandemic and the demands of early 2022, 9 editors added over 1600 words, 21 references and 84 total edits. Changes made on this day have now been viewed over 25000 times. For a small batch of changes, that is a significant impact! Articles edited included Elisabeth Welch, Anna Lucasta and Edric Connor. I was grateful to Stuart Prior and Dr Francesca Allfrey for the training support at this event, and to Heather Pascall from the News Reference Team who offered her expertise on the day. The British Newspaper Archive also gave us access to their online resource for this event, which was both generous and very helpful.

Image of Pauline Henriques, BBC UK Government, Public domain, via Wikimedia Commons

Event Two (November 2022)

After a summer of political upheaval, a royal funeral and further transport strikes, we finally made it to Leeds Playhouse on the 7th of November 2022. As luck would have it, there was a train strike running that day, but as most of our participants were local to Leeds, there was thankfully very little impact on our numbers. Leeds Playhouse was the perfect home for this Wikithon: Furnace Producer Rio Matchett was a fantastic ambassador for the venue, and made sure we were fed and watered in style. Hope Miyoba was there to support me in training both sessions and I am so grateful to her for her support, particularly as my laptop wasn’t working!

We took over the Playhouse for the full day, running Wikithon sessions in the morning and afternoon, with a lunchtime talk by Joe Williams of Heritage Corner Leeds which was attended by morning and afternoon attendees, as well as some members of the public. Joe’s talk on Sankofa Yorkshire was a brilliant overview of Black creativity in the Leeds area throughout history, and informed a lot of our conversation around the politics and practicalities of Wiki editing in an equitable way. Articles edited included Una Marson, a central figure in Kate’s research and the Lord Chamberlain’s Plays.

It was fantastic to be in person again, and to meet the excellent community of creatives at Leeds Playhouse. Joe’s talk was inspirational and the questions it provoked regarding the way in which the Wikimedia guidelines for notability can negatively impact the prevalence of Black creatives on Wiki were a much needed point of discussion.

Anthony Robling, CC BY-SA 4.0, via Wikimedia Commons

Event Three (January 2023)

Our arrival at the iconic National Archives building at Kew was long awaited and months in the planning. Drs Jo Pugh and Kevin Searle were exceptionally helpful and supportive as we planned our way to the ‘Black Theater Making and Surveillance’ event in January 2023. We were delighted to be in the building, and even happier to welcome Perry Blankson of the Young Historians Project to present his work on The Secret War on Black Power in Britain and the Caribbean. Gathering in a central space in the Archives, Dr Searle curated an amazing selection of archival materials for participants to view and utilise, including documents from the Information Research Department.

Some of the documents on display at Kew, image by the author

Our conversations on this day turned towards the idea of Wiki notability and the use of primary sources in establishing authority on Wikipedia in particular. I was grateful once again to Stuart Prior and Dr Francesca Allfrey for their support and training assistance, and moreover for the thoughtful and important conversations we fostered around the ways in which the politics of the present day can cloud and impact what happens on Wiki and how events and politics can be reported. A truly breathtaking moment was when Dr Searle and his colleagues allowed us to look at the Windrush manifest, a material reminder of a significant and hugely important moment in modern Britain. It was wonderful, also, to welcome Dr Cara Rodway, Head of Research Development and Philip Abraham, Deputy Head of the Eccles Centre, to join us in seeing this final event in the Wikithon series.

The National Archives, Kew by Christopher Hilton, CC BY-SA 2.0, via Wikimedia Commons

Conclusion

Despite a year of unforeseeable events, disruption and obstacles, I am immensely proud of what this series of Wikithons achieved, bringing aspects of modern society into direct conversation with our literary archives, asking questions about race, equality and diversity in Britain. We were lucky to work with creative practitioners and speakers like Joe Williams and Perry Blankson, and to be afforded the chance to really think about what it is to edit Wiki, and to try to improve the world in this way. It has allowed me to think more deeply about the wider Wiki conversations around how best to engage with and train new Wiki editors, and how to look at collections in new and impactful ways. I am very grateful to the American Trust for the British Library and the Eccles Centre for American studies for their support in achieving this work.

This blogpost is by Dr Lucy Hinnie, Wikimedian in Residence, British Library. She is on Twitter @BL_Wikimedian.

First of five training events will kick off with an in-person session at the National Museum of Scotland in Edinburgh on Tuesday 31 January.

The British Library’s Repository Training Programme for cultural heritage professionals is funded as part of AHRC’s iDAH programme to support cultural heritage organisations in establishing or expanding open scholarship activities and sharing their outputs through research repositories. You can read more about the development of this training programme in this blog post.

What will you learn?

This one-day training session is designed as a starting point to a broader set of knowledge that will help you to:

• Understand research landscape in cultural heritage organizations, benefits of openness for heritage research, basic concepts of open principles and influencing decision makers.
• Lay foundation for repository services including stakeholder engagement, policy development, technical overview and project planning.
• Adopt common principles and frameworks, technical standards and requirements in establishing repository services in a cultural heritage organisation.
• Explore basics of scholarly communications ecosystem in the context of cultural heritage practices.

Who is this training for?

This programme is intended for those who are working in GLAMs (Galleries, Libraries, Archives, Museums), specifically a cultural heritage institution or a collection-holding organisation in roles where they are involved in managing digital collections, supporting research lifecycle from funding to dissemination, providing research infrastructure and developing policies. However, anyone interested in the given topics are welcome to attend.

Prerequisites

No previous knowledge of topics is required. However, an understanding of open access will maximise the benefit of the taught content for attendees. We will provide pre-readings for the basics prior to the event.

Training outline

Trainers will cover topics of following four modules through a mixture of regular presentations, recorded/online content, engaging activities, breakout sessions and self-directed learning materials.

Module 1 Opening up heritage research
This module covers the topics of understanding research landscape in GLAM organizations, benefits of openness for heritage research, basic concepts of open principles and influencing decision makers.

Module 2 Getting started with heritage GLAM repositories
This module covers the topics of stakeholder engagement, policy development, project planning and technical overview of research repositories

Module 3: Realising and expanding the benefits
This module covers the topics of adopting common principles and frameworks, compliance with publisher policies, types of research objects and outputs in cultural heritage, rights management, technical requirements, and engagement with researchers, usage and reporting.

Module 4: Exploring the scholarly communications system
This module provides an overview on the topics of scholarly publishing, research data management, persistent identifiers, rights management and copyright, responsible research, and digital preservation accompanied with a breakout activity to discuss challenges and prioritize topics for an online follow up session.

Duration and programme

This is a one-day programme takes place from 10:30 to 15:30 GMT with a lunch break for an hour. A detailed programme will be provided to the attendees prior to the event.

10:30 – 12:30 Module 1 and 2 with 10 min. break

12:30 – 13:30 Lunch break

13:30 – 15:30 Module 3 and 4 with 10 min. break

Members of Research Infrastructure Services Team at the British Library will be delivering the training programme. The team has over ten years of broad experience and extensive knowledge in supporting open scholarship across the sector and with international partners. They also provide a Shared Research Repository Service for the cultural heritage organisations.    

Book your place

In-person sessions are planned for a maximum of 35 people per event and registrants from cultural heritage institutions will be prioritised. Registration for the event is free. Please fill this form to book your place by 25 January. Confirmation and event details will be sent to the registered email address.

Further face-to-face sessions will be held before July 2023 in York and Wales. We will be providing more information about upcoming events in the coming months. 

Please contact [email protected] if you have any question or comments about this training programme.

Here in Digital Scholarship we are looking forward to the Library’s upcoming exhibitions in 2023, including Digital Storytelling (2 June – 15 October 2023), which we are curating with colleagues in Contemporary British Collections and Digital Preservation. This display will explore the ways technology provides opportunities to transform and enhance the way writers write and readers engage. Drawing on the Library’s collection of contemporary digital publications and emerging formats to highlight the work of innovative and experimental writers. It will feature interactive works that invite and respond to user input, reading experiences influenced by data feeds, and immersive story worlds created using multiple platforms and audience participation.

A number of the selected works for this exhibition have been previous shortlisted and winning entries of the New Media Writing Prize (NMWP). An annual international award, which celebrates exciting and inventive born digital stories and poetry that integrate a variety of formats, platforms, and media. In recent years the Library has been working with the prize organisers to collect and preserve entries in the UK Web Archive (UKWA) New Media Writing Prize collection, which is the topic of this recently published Electronic British Library Journal article:

G.C. Rossi, T. Pyke, J. Pope, R.L. Skains and S. Wisdom, ‘The New Media Writing Prize Special Collection’, Electronic British Library Journal (2022), art. 8, pp. 1-19, https://doi.org/10.23636/kw7j-0274

The NMWP UKWA collection is an ongoing initiative with works added from each year’s prize. To hear more about the 2022 shortlist entries, Library curators will be virtually attending the upcoming Awards Evening on Wednesday 18 January 2023. This online event is free and open to all, if you would like to attend please book a place here. Writer Deena Larsen will give a keynote lecture and winners will be announced for the 2022 Chris Meade Memorial Main Prize, the FIPP Digital Journalism Prize, the Writing Magazine Student Prize and the Wonderbox Opening Up (People's Choice) Prize, which celebrates all eligible entries submitted to the Main and Student Prizes. Opening Up does not affect the shortlist/winners in the other categories, but provides an opportunity for a public vote for a favourite; you can browse entries and vote for your favourite here, the deadline is 11:59pm GMT on Sunday 15 January 2023.  NMWP organisers are also holding a virtual two day Digital Literature for Social Good Unconference on 17-18 January 2023.

Looking ahead to summer, we are collaborating with Bath Spa University to host the MIX 2023 Storytelling in Immersive Media conference at the Library on Friday 7 July 2023. This event will provide an opportunity for scholars and practitioners to share current research and practice in the rapidly developing field of storytelling in immersive environments.

MIX 2023 themes include storytelling with AI, interactive and locative works, digital and film poetry, narrative games, digital preservation, archiving, and enhanced curation. The call for presentations and papers is open until Monday 13 February 2023. Proposals are invited for 15 minute papers or presentations and 6 minute lightning talks from technologists, artists, creative writers and poets working in the digital realm, as well as academic researchers and independent scholars, submissions focused on teaching and pedagogy are also welcome. After the conference there will be an opportunity to publish papers on The Writing Platform, an online magazine for sharing knowledge and expertise around digital innovation in publishing and storytelling. If you have any questions about the MIX 2023 conference please email [email protected] for more information. 

Do you think the repository landscape is mature enough in the heritage sector? Are the policies, infrastructure and skills in place to open up heritage research through digital repositories? Our brief analysis shows that research activity in GLAMs needs better acknowledgement, established digital repositories for dissemination of outputs and empowered staff to make use of repository services. At the British Library, we published a report called Scoping Skills and Developing Training Programme for Managing Repository Services in Cultural Heritage Organisations. We looked at the roles and people involved in the research workflow in GLAMs, and their skills needs to share heritage research openly through digital repositories in order to develop a training program for cultural heritage professionals.

 

Making heritage research openly available

Making research openly available to everyone increases the reach and impact of the work, driving increased value for money in research investment, and helps to make research reusable for everyone. ‘Open’ in this context is not only about making research freely accessible but also about ensuring the research is shared with rich metadata, licensed for reuse, including persistent identifiers, and is discoverable. Communicating research in GLAM contexts goes beyond journal articles. Digital scholarship, practice-based and computational research approaches generate a wide range of complex objects that need to be shared, reused to inform practice, policy and future research, and cannot necessarily be assessed with common metrics and rankings of academia.

The array of research activity in GLAMs needs to be addressed in the context of research repositories. If you look at OpenDOAR and Re3data, the global directories of open repositories, the number of repositories in the cultural heritage sector is still small compared to academic institutions. There is an increasing need to establish repositories for heritage research and to empower cultural heritage professionals to make use of repository services. Staff who are involved in supporting research activities, managing digital collections, and providing research infrastructure in GLAM organisations must be supported with capacity development programmes to establish open scholarship activities and share their research outputs through research repositories.

 

Who is involved in the research activities and repository services?

This question is important considering that staff may not be explicitly research-active, yet research is regularly conducted in addition to day-to-day jobs in GLAMs. In addition, organisations are not primarily driven by a research agenda in the heritage sector. The study we undertook as part of an AHRC funded repository infrastructure project showed us that cultural heritage professionals are challenged by the invisibility of forms of research conducted in their day-to-day jobs as well as lack of dedicated time and staff to work around open scholarship.

In order to bring clarity to the personas involved in research activities and link them to competencies and training needs later on for the purpose of this work, we defined five profiles that carry out and contribute to research in cultural heritage organisations. These five profiles illustrate the researcher as a core player, alongside four other profiles involved in making research happen, and ensuring it can be published, shared, communicated and preserved.

 

Figure 1. Profiles identified in the cultural heritage institutions to conduct, facilitate, and support research workflow.

 

 

Consultation on training needs for repository services

We explored the skill gaps and training needs of GLAM professionals from curation to rights management, and open scholarship to management of repository services. In addition to scanning the training landscape for competency frameworks, existing programmes and resources, we conducted interviews to explore training requirements relevant to repository services. Finally, we validated initial findings in a consultative workshop with cultural heritage professionals, to hear their experience and get input to a competency framework and training curriculum.

Interviews highlighted that there is a lack of knowledge and support in cultural heritage organisations, where institutional support and training is not guaranteed for research communication or open scholarship. In terms of types of research activities, the workshop brought interesting discussions about what constitutes ‘research’ in the cultural heritage context and what makes it different to research in a university context. The event underlined the fact that cultural heritage staff profiles for producing, supporting, and communicating the research are different to the higher education landscape at many levels.

 

Figure 2: Discussion board from the Skills and Training Breakout Session in virtual Consultative Workshop held on 28/04/2022.

 

The interviews and the consultative workshop highlighted that the ways of research conducted and communicated in the cultural heritage sector (as opposed to academia) should be taken into account in identifying skills needed and developing training programmes in the areas of open scholarship.

 

Competency framework and curriculum for repository training programme

There is a wealth of information, valuable project outputs, and a number of good analytical works available to identify gaps and gain new skills, particularly in the areas of open science, scholarly communications and research data management. However, adjusting and adopting these works to the context of cultural heritage organisations and relevant professionals will increase their relevance and uptake. Derived from our desk research and workshop analysis, we developed a competency framework that sets out the knowledge and skills required to support open scholarship for the personas present in GLAM organisations. Topic clusters used in the framework are as follows:

1. Repository Service management
2. Curation & data stewardship
3. Metadata management
4. Preservation
5. Scholarly publishing
6. Assessment and impact
7. Advocacy and communication
8. Capacity development

The proposed curriculum was designed by considering the pathways to develop, accelerate and manage a repository service. It contains only the areas that we identify as a priority to deliver the most value to cultural heritage organisations. Five teaching modules are considered in this preliminary work: 

1. Opening up heritage research
2. Getting started with GLAM repositories
3. Realising and expanding the benefits
4. Exploring the scholarly communications ecosystem
5. Topics for future development

A complete version of the competency framework and the curriculum can be found in the report and is also available as a Google spreadsheet. They will drive increased uptake and use of repositories across AHRC’s investments, increasing value for money from both research funding and infrastructure funding.

 

What is next?

From January to July2023, we, at the British Library, will prepare a core set of materials based on this curriculum and deliver training events in a combination of online and in-person workshops. Training events are being planned to take place in Scotland, North England, Wales in person in addition to several online sessions. Both the framework and the training curriculum will be refined as we receive feedback and input from the participants of these events throughout next year. Event details will be announced in collaboration with host institutions in this blog as well as on our social media channels. Watch this space for more information.

If you have any feedback or questions, please contact us at [email protected].

In August 2022 I started work on a project to investigate the legacies of curatorial voice in the descriptions of incunabula collections at the British Library and their future reuse. My research is funded by the collaborative AHRC-RLUK Professional Practice Fellowship Scheme for academic and research libraries which launched in 2021. As part of the first cohort of ten Fellows I embraced this opportunity to engage in practitioner research that benefits my institution and the wider sector, and to promote the role of library professionals as important research partners.

The overall aim of my Fellowship is to demonstrate new ways of working with digitised catalogues that would also improve the discoverability and usability of the collections they describe. The focus of my research is the Catalogue of books printed in the 15th century now at the British Museum (or BMC) published between 1908 and 2007 which describes over 12,700 volumes from the British Library incunabula collection. By using computational approaches and tools with the data derived from the catalogue I will gain new insights into and interpretations of this valuable resource and enable its reuse in contemporary online resources. 

BMC volume 2 titlepage

This research idea was inspired by a recent collaboration with Dr James Baker, who is also my mentor for this Fellowship, and was further developed in conversations with Dr Karen Limper-Herz, Lead Curator for Incunabula, Adrian Edwards, Head of Printed Heritage Collections, and Alan Danskin, Collections Metadata Standards Manager, who support my research at the Library.

My Fellowship runs until July 2023 with Fridays being my main research days. I began by studying the history of the catalogue, its arrangement and the structure of the item descriptions and their relationship with different online resources. Overall, the main focus of this first phase has been on generating the text data required for the computational analysis and investigations into curatorial and cataloguing practice. This work involved new digitisation of the catalogue and a lot of experimentation using the Transkribus AI-empowered platform that proved best-suited for improving the layout and text recognition for the digitised images. During the last two months I have hugely benefited from the expertise of my colleague Tom Derrick, as we worked together on creating the training data and building structure models for the incunabula catalogue images.

Layout recognition output for pages with only two columns, including text baselines, viewed on Transkribus Lite

 

Text recognition output after applying the model trained with annotations for 2 columns on the page, viewed on Transkribus Lite

 

Layout recognition output for pages with mixed layout of single text block and text in columns, viewed on Transkribus Lite

Whilst the data preparation phase has taken longer than I had planned due to the varied layout of the catalogue, this has been an important part of the process as the project outcomes are dependent on using the best quality text data for the incunabula descriptions. The next phase of the research will involve the segmentation of the records and extraction of relevant information to use with a range of computational tools. I will report on the progress with this work and the next steps early next year. Watch this space and do get in touch if you would like to learn more about my research.

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

Digital Curator Mia Ridge writes...Following a twitter conversation with Jessica BrodeFrank and Isabel Brador in mid-2021, I collaborated with them and Bri Watson on two conference panels. Our first was ' Expanding and Enriching Metadata through Engagement with Communities' for the Museum Computer Network (MCN) conference in October 2021:

'This panel discusses how cultural institutions are engaging various communities to co-create academic research and/or object metadata in order to increase representation and access to collections; highlighting how this is done in different ways to engage specific audiences and goals, i.e. graduate student assistantships, museum interactive experiences, crowdsourcing, and professional action groups'.

Earlier this year we got together again to record a panel for the National Council on Public History (NCPH) conference held in May 2022.

'As social justice movements challenge power structures, the ways in which public historians and cultural institutions create expert knowledge are also under scrutiny. Instead of using traditional top-down approaches to cataloguing, public historians and cultural institutions should be actively co-creating object metadata and research with the public. Discussion centers on how public involvement enriches the narratives we share, building transparency and trust within organizations and the surrounding communities. We hope to present various ways in which institutions are beginning this work and focus on a variety of audiences from graduate students and emerging professionals, to online citizen science communities and onsite museum audiences'.

Panelists:

"Collaboration and Citizen Science Approaches to Enriching Access to Scientific Collections," Jessica BrodeFrank, Adler Planetarium and University of London

"creating names together: homosaurus international thesaurus & the trans metadata collective," B.M. Watson, University of British Columbia iSchool; Homosaurus; Trans Metadata Collective

"Embedding Crowdsourcing in a Collaborative Data Science Project", Mia Ridge, British Library

Isabel Brador Sanz, Wolfsonian-FIU

We're sharing the video we pre-recorded for the NCPH conference so that we can include more people in the discussion: Expanding Voices, Expanding Access: Social and Community Centered Metadata.

 

Digital Curator, and Living with Machines Co-Investigator Dr Mia Ridge writes…

The Living with Machines research project is a collaboration between the British Library, The Alan Turing Institute and various partner universities. Our free exhibition at Leeds City Museum, Living with Machines: Human stories from the industrial age, opened at the end of July. Read on for information about adult events around the exhibition…

Museum Late: Living with Machines, Thursday 24 November, 2022

6 - 10pm • Leeds City Museum • £5, booking essential https://my.leedstickethub.co.uk/19101

The first ever Museum Late at Leeds City Museum! Come along to experience the museum after hours with music, pub quiz, weaving, informal workshops, chats with curators, and a quiz. Local food and drinks in the main hall.

Full programme: https://museumsandgalleries.leeds.gov.uk/events/leeds-city-museum/museum-late-living-with-machines/

Tickets: https://my.leedstickethub.co.uk/19101

Study Day: Living with Machines, Friday December 2, 2022

10:00 am - 4:00 pm • Online • Free but booking essential: https://my.leedstickethub.co.uk/18775

A unique opportunity to hear experts in the field illuminate key themes from the exhibition and learn how exhibition co-curators found stories and objects to represent research work in AI and digital history. This study day is online via Zoom so that you can attend from anywhere.

Full programme: https://museumsandgalleries.leeds.gov.uk/events/leeds-city-museum/living-with-machines-study-day/

Tickets: https://my.leedstickethub.co.uk/18775

Living with Machines Wikithon, Saturday January 7, 2023

1 – 4:30pm • Leeds City Museum • Free but booking essential: https://my.leedstickethub.co.uk/19104

Ever wanted to try editing Wikipedia, but haven't known where to start? Join us for a session with our brilliant Wikipedian-in-residence to help improve Wikipedia’s coverage of local lives and topics at an editathon themed around our exhibition. 

Everyone is welcome. You won’t require any previous Wiki experience but please bring your own laptop for this event. Find out more, including how you can prepare, in my blog post on the Living with Machines site, Help fill gaps in Wikipedia: our Leeds editathon.

The exhibition closes the next day, so it really is your last chance to see it!

Full programme: https://museumsandgalleries.leeds.gov.uk/events/leeds-city-museum/living-with-machines-wikithon-exploring-the-margins/

Tickets: https://my.leedstickethub.co.uk/19104

If you just want to try out something more hands on with textiles inspired by the exhibition, there's also a Peg Loom Weaving Workshop, and not one but two Christmas Wreath Workshops.

You can find out more about our exhibition on the Living with Machines website.