Dr. Mia Ridge presented on the British Library's crowdsourcing project to catalog over 230,000 playbills. Volunteers transcribed minimal records to extract key information like play titles, dates and theaters. Over 1,600 volunteers contributed hundreds of thousands of transcriptions. Feedback from volunteers identified errors and opportunities for improvement. Future goals include offering the platform to other researchers and addressing user experience issues to support ongoing crowdsourced work.
This presentation was provided by Dr. Janine Barchas of the University of Texas - Austin during the NISO Virtual Conference on Ebooks, held on October 5, 2016
This document provides a mind map for pre-production planning of a new soap opera TV show. It outlines potential names for the show, main protagonists and antagonists, social issues that could be represented, and the target audience. The target audience is generally female, aged 35 and above, of low to middle class background. It also discusses competition from other soap operas like EastEnders, and notes the channel (BBC Two) and proposed scheduling of 8pm on weekdays. Locations mentioned include a school, small shops in the local community, and isolated areas.
The Gothic subculture began in the late 1970s with the song "Bela Lugosi's Dead" by Bauhaus. People disillusioned with punk culture were drawn to the darker themes of bands like Sisters of Mercy. What attracted many to Gothic culture was its acceptance of darkness and death. Over time, divisions emerged between older Goths who viewed bands like Marilyn Manson as only shock value and younger "Spooky Kids" fans. Common interests of Goths include dark literature like Edgar Allan Poe, pale fashion styles, and horror movies, but the subculture encompasses a broad range of attitudes. Outsiders often wrongly associate Gothic culture with Satanism due to symbols like the pent
Despite many centuries of cultural development, the most primitive human instinct as a racism is on the rise. It is difficult to accept that in societies that contributed a lot to the world cultural heritage, racism is not just still alive, it is doing really well.
The document summarizes key aspects of gothic culture, including:
1) The term "gothic" derives from the Gothic tribe that invaded Rome and was considered barbarous. It later described the dark art of the Middle Ages.
2) Gothic culture originated in France in the 1850s as a reaction against social oppression, with members wearing white face paint and black clothes.
3) Gothic art flourished from the 12th-16th centuries across Europe before being supplanted by the Renaissance. It emphasized ornate architecture and religious-themed paintings.
The goth subculture originated in the UK in the early 1980s from the gothic rock music scene. It has endured longer than many subcultures of that era and has diversified over time. The goth subculture is characterized by a dark aesthetic inspired by gothic literature, horror films, and BDSM culture that is expressed through styles of music, fashion, and art. Some of the main musical genres include gothic rock, deathrock, and darkwave. Fashion includes dark colors, Victorian or medieval-inspired clothing, heavy makeup, and accessories. While the subculture is generally considered non-violent, some high-profile crimes committed by individuals who identified as goth have contributed
Missy Kulik is an illustrator, cartoonist, zine maker, and artist based in Pittsburgh, Pennsylvania. She began making zines and selling them through the mail in 1990. In 2005, she began selling her zines on her website as well, which allowed her to significantly increase her sales. Some of her clients over the years included magazines like Athens Magazine and Pittsburgh City Paper. Her zines cover a variety of topics and range in price from $1.35 to $10.16. She found the internet to be a better platform than Factsheet Five, a print magazine that reviewed zines, for publishing and selling her work.
This document provides an overview of the goth subculture, including definitions and origins of the term "goth" and different gothic substyles. It notes that goth began as a component of punk rock and established itself in the 1980s in England. Key aspects of goth fashion are described as black clothing, pale makeup, unusual hairstyles, and body piercings. The document then summarizes several gothic substyles - romantic goth, Victorian goth, old school goth, Japanese goth (J-goth), and cyber goth - highlighting their distinct aesthetics, music preferences, and philosophies.
This presentation was provided by Dr. Janine Barchas of the University of Texas - Austin during the NISO Virtual Conference on Ebooks, held on October 5, 2016
This document provides a mind map for pre-production planning of a new soap opera TV show. It outlines potential names for the show, main protagonists and antagonists, social issues that could be represented, and the target audience. The target audience is generally female, aged 35 and above, of low to middle class background. It also discusses competition from other soap operas like EastEnders, and notes the channel (BBC Two) and proposed scheduling of 8pm on weekdays. Locations mentioned include a school, small shops in the local community, and isolated areas.
The Gothic subculture began in the late 1970s with the song "Bela Lugosi's Dead" by Bauhaus. People disillusioned with punk culture were drawn to the darker themes of bands like Sisters of Mercy. What attracted many to Gothic culture was its acceptance of darkness and death. Over time, divisions emerged between older Goths who viewed bands like Marilyn Manson as only shock value and younger "Spooky Kids" fans. Common interests of Goths include dark literature like Edgar Allan Poe, pale fashion styles, and horror movies, but the subculture encompasses a broad range of attitudes. Outsiders often wrongly associate Gothic culture with Satanism due to symbols like the pent
Despite many centuries of cultural development, the most primitive human instinct as a racism is on the rise. It is difficult to accept that in societies that contributed a lot to the world cultural heritage, racism is not just still alive, it is doing really well.
The document summarizes key aspects of gothic culture, including:
1) The term "gothic" derives from the Gothic tribe that invaded Rome and was considered barbarous. It later described the dark art of the Middle Ages.
2) Gothic culture originated in France in the 1850s as a reaction against social oppression, with members wearing white face paint and black clothes.
3) Gothic art flourished from the 12th-16th centuries across Europe before being supplanted by the Renaissance. It emphasized ornate architecture and religious-themed paintings.
The goth subculture originated in the UK in the early 1980s from the gothic rock music scene. It has endured longer than many subcultures of that era and has diversified over time. The goth subculture is characterized by a dark aesthetic inspired by gothic literature, horror films, and BDSM culture that is expressed through styles of music, fashion, and art. Some of the main musical genres include gothic rock, deathrock, and darkwave. Fashion includes dark colors, Victorian or medieval-inspired clothing, heavy makeup, and accessories. While the subculture is generally considered non-violent, some high-profile crimes committed by individuals who identified as goth have contributed
Missy Kulik is an illustrator, cartoonist, zine maker, and artist based in Pittsburgh, Pennsylvania. She began making zines and selling them through the mail in 1990. In 2005, she began selling her zines on her website as well, which allowed her to significantly increase her sales. Some of her clients over the years included magazines like Athens Magazine and Pittsburgh City Paper. Her zines cover a variety of topics and range in price from $1.35 to $10.16. She found the internet to be a better platform than Factsheet Five, a print magazine that reviewed zines, for publishing and selling her work.
This document provides an overview of the goth subculture, including definitions and origins of the term "goth" and different gothic substyles. It notes that goth began as a component of punk rock and established itself in the 1980s in England. Key aspects of goth fashion are described as black clothing, pale makeup, unusual hairstyles, and body piercings. The document then summarizes several gothic substyles - romantic goth, Victorian goth, old school goth, Japanese goth (J-goth), and cyber goth - highlighting their distinct aesthetics, music preferences, and philosophies.
This document provides an outline for a proposed soap opera TV show, including potential title options and characters. It discusses targeting a female audience aged 35+ by representing relevant social issues and focusing on the lives of working-class characters. Competition from other soap operas like EastEnders is acknowledged. The genre conventions of repetition with variation and community/interconnected storylines are examined. The channel (BBC Two) and scheduling (8pm weekdays) are selected to appeal to broad audiences before the watershed. Possible small-town locations are listed.
Goth subculture began in England in the 1980s and is characterized by dark fashion including Victorian and punk styles, dark makeup, and styled dark hair. Goths listen to genres like death punk, hard rock, and neoclassical. While sometimes associated with horror, goths are generally portrayed positively in media as individuals who express themselves through music and fashion rather than as a violent group, and some articles highlight that goths can be intelligent university students despite their outsider subculture.
This document discusses reviewing Shakespeare and new directions in academic criticism. It provides an overview of the rise of academic reviewing of Shakespeare through various publications over time. It also discusses the tension between academic and popular criticism and new approaches to reviewing productions from the Globe to Globe festival in informal blog-style responses rather than traditional reviews.
Goths come in many varieties but generally have an interest in dark aesthetics and music. They dress in black clothing and are fans of Gothic literature, films, and music that appeals to darker aspects of human nature. While sometimes seen as outsiders, Goths participate in charitable activities through organizations like Goth Help Us, helping those in need through activities like food drives, toy drives, and cleaning services.
Goths began in the 1980s in England as part of the Gothic rock music scene. They are recognized for their dark fashion style that combines Victorian and punk influences, including dark makeup and hairstyles. While often associated with horror, Goths listen to genres like death punk, hard rock, and neoclassical. In the media, Goths are sometimes portrayed as being bullied by other groups due to their distinctive appearance, though some articles aim to provide a more balanced understanding of Goths as fans of meaningful music who should not be judged for their subcultural interests.
The document discusses the Goth subculture, including its origins, aesthetics, and misconceptions. Goths have an interest in darker subjects like horror and the supernatural. They often wear black clothing, makeup, and symbols of non-Christian religions. While initially associated with barbarian tribes, today's Goths appreciate Gothic literature, music, art, and film for their dark romanticism and embrace individualism.
Remixing Digital Archives: The Victorian Meme Machine (IHR Digital History Se...DigiVictorian
IHR Digital History Seminar - 10 November 2015
History has not been kind to Victorian jokes. While the great works of nineteenth-century art and literature have been preserved and celebrated by successive generations, even the period’s most popular gags have largely been forgotten. In the popular imagination, the Victorians have long been regarded as terminally humourless; a straitlaced society who, in the words of their queen, were famously “not amused” And yet, millions of jokes were written during the nineteenth century. They were printed in books and newspapers, performed in theatres and music halls, and re-told in pubs, offices, taxicabs, schoolrooms and kitchens throughout the land. Like many other forms of ephemeral popular culture, the majority of these jokes were never recorded and have now been forgotten.
But all is not lost. Millions of puns, gags, and comic sketches have been preserved – often by accident – in archives of nineteenth-century print culture. Some appear in dedicated joke books and comic periodicals, but most have survived as stowaways in the margins of other texts. They are scattered throughout thousands of Victorian books, newspapers, magazines, and periodicals. While some were organised into clearly demarcated collections, others were used more haphazardly as column fillers or sprinkled randomly among other tit-bits of news and entertainment. Until recently, the only way to locate these scattered fragments amidst the ‘vast terra incognita’ of Victorian print culture was to identify a promising host-text and then browse through it manually. The digitisation of Victorian print culture has opened up new possibilities for this kind of research. However, as this talk will argue, the structure of digital archives means that jokes are still buried among millions of pages of other content. In order to make these, and other marginalised texts, more visible, we need to rethink the organisation of our digital collections and open up their contents to creative forms of archival ‘remixing’.
In 2014, Bob Nicholson (Edge Hill University) teamed up with the British Library Labs on a project that aims to find and revive thousands of forgotten Victorian jokes. Their ‘Victorian Meme Machine’ automatically converts old jokes into images and posts them on social media using a ‘Mechanical Comedian’ (@VictorianHumour). In this presentation, Bob will report on the progress of the project and outline his plans for a new transcription platform designed around the principles of ‘meaningful gamifaction’.
The poem describes the plight of homeless children after an earthquake destroyed their homes, leaving them without shelter, food or support. It depicts their descent into hopelessness as they are dirty, crying and starving on the streets, feeling shame, revulsion and a loss of pride and self-worth. However, it also conveys a sense of resilience as the children seek to learn and become self-reliant in order to feel hopeful again.
An earthquake destroyed the homes of a young family, leaving them homeless. Facing problems at home, the children lived on the streets where dangers were abundant. Feeling hopeless, dirty, and useless, they cried, begged, and starved with a mix of shame, revulsion, pride, and a lack of self-worth. Over time, through trying, seeking, and learning, they became self-reliant and confident with hope for the future.
This document provides information about a cultural studies analysis of Mary Shelley's novel Frankenstein. It includes details such as the presenter's name and enrollment information, publication details of the novel, and a definition of culture. The document then discusses how Frankenstein represents certain cultural fears about technology and interracial relationships. It explores how the novel portrays various conflicts such as love vs. revenge, and how the story has been adapted and symbolized in popular culture.
This document describes the mother of Josefa Ma González Bautista. It discusses that [1] Her mother's name is Antonia, she is 69 years old and comes from a small village in Almonaster. [2] She lives in a country house, cares for sheep, and cultivates the land. [3] She is described as kind, loving, hard-working, tall, and strong with short gray wavy hair, and neither big nor small eyes.
Veruschka Von Lehndorff was a German supermodel in the 1960s known for her tall stature of 6 feet and striking features. After a difficult childhood in Germany during and after World War 2, she was discovered in Florence, Italy and joined the Ford modeling agency. She became highly popular in the 1960s, making up to $10,000 per day, and was known as the "first supermodel of the sixties" who helped create the standard for very thin models. She had notable appearances in films like Blow Up and maintained an active career into her later years.
The document discusses the Shakespeare authorship question, which argues that someone other than William Shakespeare of Stratford-upon-Avon actually wrote the works traditionally attributed to him. Supporters of this theory believe the real author or authors could not publicly take credit for reasons such as social rank, security, or gender. While the idea attracts public interest, most Shakespeare scholars reject the theory due to lack of evidence. The authorship question first emerged in the 19th century as Shakespeare's fame grew. Despite scholarly consensus, some prominent figures continue to question Shakespeare's authorship through publications and conferences to promote alternative candidates.
The document discusses the rise of journalism during the Augustan Age in England. It notes the growing interest of the middle class in literature, art, social problems, and politics, and their desire to be informed and discuss current events. It describes how periodicals like The Tatler and The Spectator, published by Joseph Addison and Richard Steele, helped satisfy this desire by covering topics of general interest in an entertaining yet morally instructive way. Other notable periodicals included Jonathan Swift's The Examiner and Daniel Defoe's The Review.
This documentary proposal focuses on the Brighton Morris Men folk dance group. The group, which was founded in 1967, performs traditional Morris dances throughout England from April to October. The group is comprised mostly of elderly men who demonstrate impressive athletic strength through their dances. New members are always welcome to join practices held from October to April in preparation for the performance season. The documentary will explore how the group expresses and performs aspects of English national, religious, and gender identities through their folk dances and traditions dating back to the 15th century. It will also examine the personal stories of individual group members and their motivations for participating in Morris dancing.
The document defines and provides brief descriptions of various art styles, genres, and other categories. It discusses art movements like modernism, international style, postmodernism, grunge, op-art, and pop art. It also covers genres for TV, books, and video games such as factual, editorial, lifestyle, action, adventure, sports, corporate, fashion, fantasy, and simulation. Other topics included are tabloid newspapers, science fiction, and graphic novels.
The Whitney Museum held an experimental Twitter tour where a curator and social media specialists live tweeted a tour of the museum for both local and worldwide audiences. Feedback on the tour was mixed, with some finding it hard to follow live or lacking a podcast, while others were enthusiastic about the new format. The document discusses how new media is affecting museums by expanding their audiences worldwide, increasing access and sharing of artworks, and involving audiences more directly with art. It contrasts the traditional role of museums as protectors and explainers of art to their current identity as networked producers of art.
Jack the Ripper was an infamous serial killer in Victorian London who murdered and mutilated several women in 1888. The document discusses the cultural context of the time including poor living conditions, racism, anti-semitism, and distrust in law enforcement. It also examines how the popular press helped immortalize the Ripper and how the murders led to social reforms like improved street lighting and shelters for homeless women.
The document discusses Robert Stein's role as Deputy Director for Research, Technology, and Engagement at the Indianapolis Museum of Art. It provides details about Stein's background and experience in various roles at universities and museums. It also outlines the IMA's strategic plan, with a focus on establishing the museum as a leader in research areas like art history, conservation science, and visitor studies. The document advocates for an approach of audience engagement over education and discusses various models and theories around maximizing visitor experience.
What we have to say has always been intimately intertwined with how we say it. Design is about communicating those ideas and influencing users’ behavior, so it follows that influence is imparted largely by how we design. For all our intellectual complexity, our brains are still wired to make near-instant judgements about the value and importance of the message we are receiving based on how that message appears.
Thankfully, most of us are still familiar enough with actual books to remember the feel of paper under our fingers, the smell of the ink, the elegant transitions from one idea to the next – all in service of the story. While pixels remain odorless, there’s much more we can do than just deliver a digital message. Practiced typography transforms that message into a compelling experience. Let’s take a journey forward through time and see where typography can take us.
We'll look at examples of ways type has been used to impact user experience throughout history, and how typography has evolved to work with varying screens and content. It's a fundamental change in what it means to practice typography, and critical to understand how it impacts how we design. We'll also explore a few of the technical considerations and capabilities available to help create better typographic systems that will work well into the future.
Digitalisation at Royal Pavilion & Museumsfauxtoegrafik
Royal Pavilion & Museums has over 500,000 visitors annually across five sites. It digitizes its collections and sites to make them accessible online through its website, open assets portal, 3D models, Story Drop app, blogs, and virtual tours. The document discusses best practices for developing digital ideas and content, including starting with the "stuff" like objects and stories rather than the technology, defining the target audience, choosing appropriate digital platforms, and creating content that audiences can find and use easily.
LIVING LEGENDS OA EVALUATION REPORToct2015Olu Alake
This document provides a final evaluation report for the Living Legends project funded by the Heritage Lottery Fund. The project digitized, researched, interpreted, and exhibited the personal archives of Leon Robinson and Steve Clark related to Black variety performers in post-World War II Britain. Over its 9-month duration, the project engaged over 10,000 people through exhibitions, performances, workshops, and a film. It provided an opportunity for skills development among young people and highlighted important but underrepresented cultural contributions. The report recommends how the Heritage Lottery Fund can better support individual heritage practitioners through capacity building and organizational support.
This document provides an outline for a proposed soap opera TV show, including potential title options and characters. It discusses targeting a female audience aged 35+ by representing relevant social issues and focusing on the lives of working-class characters. Competition from other soap operas like EastEnders is acknowledged. The genre conventions of repetition with variation and community/interconnected storylines are examined. The channel (BBC Two) and scheduling (8pm weekdays) are selected to appeal to broad audiences before the watershed. Possible small-town locations are listed.
Goth subculture began in England in the 1980s and is characterized by dark fashion including Victorian and punk styles, dark makeup, and styled dark hair. Goths listen to genres like death punk, hard rock, and neoclassical. While sometimes associated with horror, goths are generally portrayed positively in media as individuals who express themselves through music and fashion rather than as a violent group, and some articles highlight that goths can be intelligent university students despite their outsider subculture.
This document discusses reviewing Shakespeare and new directions in academic criticism. It provides an overview of the rise of academic reviewing of Shakespeare through various publications over time. It also discusses the tension between academic and popular criticism and new approaches to reviewing productions from the Globe to Globe festival in informal blog-style responses rather than traditional reviews.
Goths come in many varieties but generally have an interest in dark aesthetics and music. They dress in black clothing and are fans of Gothic literature, films, and music that appeals to darker aspects of human nature. While sometimes seen as outsiders, Goths participate in charitable activities through organizations like Goth Help Us, helping those in need through activities like food drives, toy drives, and cleaning services.
Goths began in the 1980s in England as part of the Gothic rock music scene. They are recognized for their dark fashion style that combines Victorian and punk influences, including dark makeup and hairstyles. While often associated with horror, Goths listen to genres like death punk, hard rock, and neoclassical. In the media, Goths are sometimes portrayed as being bullied by other groups due to their distinctive appearance, though some articles aim to provide a more balanced understanding of Goths as fans of meaningful music who should not be judged for their subcultural interests.
The document discusses the Goth subculture, including its origins, aesthetics, and misconceptions. Goths have an interest in darker subjects like horror and the supernatural. They often wear black clothing, makeup, and symbols of non-Christian religions. While initially associated with barbarian tribes, today's Goths appreciate Gothic literature, music, art, and film for their dark romanticism and embrace individualism.
Remixing Digital Archives: The Victorian Meme Machine (IHR Digital History Se...DigiVictorian
IHR Digital History Seminar - 10 November 2015
History has not been kind to Victorian jokes. While the great works of nineteenth-century art and literature have been preserved and celebrated by successive generations, even the period’s most popular gags have largely been forgotten. In the popular imagination, the Victorians have long been regarded as terminally humourless; a straitlaced society who, in the words of their queen, were famously “not amused” And yet, millions of jokes were written during the nineteenth century. They were printed in books and newspapers, performed in theatres and music halls, and re-told in pubs, offices, taxicabs, schoolrooms and kitchens throughout the land. Like many other forms of ephemeral popular culture, the majority of these jokes were never recorded and have now been forgotten.
But all is not lost. Millions of puns, gags, and comic sketches have been preserved – often by accident – in archives of nineteenth-century print culture. Some appear in dedicated joke books and comic periodicals, but most have survived as stowaways in the margins of other texts. They are scattered throughout thousands of Victorian books, newspapers, magazines, and periodicals. While some were organised into clearly demarcated collections, others were used more haphazardly as column fillers or sprinkled randomly among other tit-bits of news and entertainment. Until recently, the only way to locate these scattered fragments amidst the ‘vast terra incognita’ of Victorian print culture was to identify a promising host-text and then browse through it manually. The digitisation of Victorian print culture has opened up new possibilities for this kind of research. However, as this talk will argue, the structure of digital archives means that jokes are still buried among millions of pages of other content. In order to make these, and other marginalised texts, more visible, we need to rethink the organisation of our digital collections and open up their contents to creative forms of archival ‘remixing’.
In 2014, Bob Nicholson (Edge Hill University) teamed up with the British Library Labs on a project that aims to find and revive thousands of forgotten Victorian jokes. Their ‘Victorian Meme Machine’ automatically converts old jokes into images and posts them on social media using a ‘Mechanical Comedian’ (@VictorianHumour). In this presentation, Bob will report on the progress of the project and outline his plans for a new transcription platform designed around the principles of ‘meaningful gamifaction’.
The poem describes the plight of homeless children after an earthquake destroyed their homes, leaving them without shelter, food or support. It depicts their descent into hopelessness as they are dirty, crying and starving on the streets, feeling shame, revulsion and a loss of pride and self-worth. However, it also conveys a sense of resilience as the children seek to learn and become self-reliant in order to feel hopeful again.
An earthquake destroyed the homes of a young family, leaving them homeless. Facing problems at home, the children lived on the streets where dangers were abundant. Feeling hopeless, dirty, and useless, they cried, begged, and starved with a mix of shame, revulsion, pride, and a lack of self-worth. Over time, through trying, seeking, and learning, they became self-reliant and confident with hope for the future.
This document provides information about a cultural studies analysis of Mary Shelley's novel Frankenstein. It includes details such as the presenter's name and enrollment information, publication details of the novel, and a definition of culture. The document then discusses how Frankenstein represents certain cultural fears about technology and interracial relationships. It explores how the novel portrays various conflicts such as love vs. revenge, and how the story has been adapted and symbolized in popular culture.
This document describes the mother of Josefa Ma González Bautista. It discusses that [1] Her mother's name is Antonia, she is 69 years old and comes from a small village in Almonaster. [2] She lives in a country house, cares for sheep, and cultivates the land. [3] She is described as kind, loving, hard-working, tall, and strong with short gray wavy hair, and neither big nor small eyes.
Veruschka Von Lehndorff was a German supermodel in the 1960s known for her tall stature of 6 feet and striking features. After a difficult childhood in Germany during and after World War 2, she was discovered in Florence, Italy and joined the Ford modeling agency. She became highly popular in the 1960s, making up to $10,000 per day, and was known as the "first supermodel of the sixties" who helped create the standard for very thin models. She had notable appearances in films like Blow Up and maintained an active career into her later years.
The document discusses the Shakespeare authorship question, which argues that someone other than William Shakespeare of Stratford-upon-Avon actually wrote the works traditionally attributed to him. Supporters of this theory believe the real author or authors could not publicly take credit for reasons such as social rank, security, or gender. While the idea attracts public interest, most Shakespeare scholars reject the theory due to lack of evidence. The authorship question first emerged in the 19th century as Shakespeare's fame grew. Despite scholarly consensus, some prominent figures continue to question Shakespeare's authorship through publications and conferences to promote alternative candidates.
The document discusses the rise of journalism during the Augustan Age in England. It notes the growing interest of the middle class in literature, art, social problems, and politics, and their desire to be informed and discuss current events. It describes how periodicals like The Tatler and The Spectator, published by Joseph Addison and Richard Steele, helped satisfy this desire by covering topics of general interest in an entertaining yet morally instructive way. Other notable periodicals included Jonathan Swift's The Examiner and Daniel Defoe's The Review.
This documentary proposal focuses on the Brighton Morris Men folk dance group. The group, which was founded in 1967, performs traditional Morris dances throughout England from April to October. The group is comprised mostly of elderly men who demonstrate impressive athletic strength through their dances. New members are always welcome to join practices held from October to April in preparation for the performance season. The documentary will explore how the group expresses and performs aspects of English national, religious, and gender identities through their folk dances and traditions dating back to the 15th century. It will also examine the personal stories of individual group members and their motivations for participating in Morris dancing.
The document defines and provides brief descriptions of various art styles, genres, and other categories. It discusses art movements like modernism, international style, postmodernism, grunge, op-art, and pop art. It also covers genres for TV, books, and video games such as factual, editorial, lifestyle, action, adventure, sports, corporate, fashion, fantasy, and simulation. Other topics included are tabloid newspapers, science fiction, and graphic novels.
The Whitney Museum held an experimental Twitter tour where a curator and social media specialists live tweeted a tour of the museum for both local and worldwide audiences. Feedback on the tour was mixed, with some finding it hard to follow live or lacking a podcast, while others were enthusiastic about the new format. The document discusses how new media is affecting museums by expanding their audiences worldwide, increasing access and sharing of artworks, and involving audiences more directly with art. It contrasts the traditional role of museums as protectors and explainers of art to their current identity as networked producers of art.
Jack the Ripper was an infamous serial killer in Victorian London who murdered and mutilated several women in 1888. The document discusses the cultural context of the time including poor living conditions, racism, anti-semitism, and distrust in law enforcement. It also examines how the popular press helped immortalize the Ripper and how the murders led to social reforms like improved street lighting and shelters for homeless women.
The document discusses Robert Stein's role as Deputy Director for Research, Technology, and Engagement at the Indianapolis Museum of Art. It provides details about Stein's background and experience in various roles at universities and museums. It also outlines the IMA's strategic plan, with a focus on establishing the museum as a leader in research areas like art history, conservation science, and visitor studies. The document advocates for an approach of audience engagement over education and discusses various models and theories around maximizing visitor experience.
What we have to say has always been intimately intertwined with how we say it. Design is about communicating those ideas and influencing users’ behavior, so it follows that influence is imparted largely by how we design. For all our intellectual complexity, our brains are still wired to make near-instant judgements about the value and importance of the message we are receiving based on how that message appears.
Thankfully, most of us are still familiar enough with actual books to remember the feel of paper under our fingers, the smell of the ink, the elegant transitions from one idea to the next – all in service of the story. While pixels remain odorless, there’s much more we can do than just deliver a digital message. Practiced typography transforms that message into a compelling experience. Let’s take a journey forward through time and see where typography can take us.
We'll look at examples of ways type has been used to impact user experience throughout history, and how typography has evolved to work with varying screens and content. It's a fundamental change in what it means to practice typography, and critical to understand how it impacts how we design. We'll also explore a few of the technical considerations and capabilities available to help create better typographic systems that will work well into the future.
Digitalisation at Royal Pavilion & Museumsfauxtoegrafik
Royal Pavilion & Museums has over 500,000 visitors annually across five sites. It digitizes its collections and sites to make them accessible online through its website, open assets portal, 3D models, Story Drop app, blogs, and virtual tours. The document discusses best practices for developing digital ideas and content, including starting with the "stuff" like objects and stories rather than the technology, defining the target audience, choosing appropriate digital platforms, and creating content that audiences can find and use easily.
LIVING LEGENDS OA EVALUATION REPORToct2015Olu Alake
This document provides a final evaluation report for the Living Legends project funded by the Heritage Lottery Fund. The project digitized, researched, interpreted, and exhibited the personal archives of Leon Robinson and Steve Clark related to Black variety performers in post-World War II Britain. Over its 9-month duration, the project engaged over 10,000 people through exhibitions, performances, workshops, and a film. It provided an opportunity for skills development among young people and highlighted important but underrepresented cultural contributions. The report recommends how the Heritage Lottery Fund can better support individual heritage practitioners through capacity building and organizational support.
Lois Fenton has a MA in Public History from the University of Western Ontario. She has over 5 years experience working with heritage organizations as a historical researcher. She has authored and co-authored several publications on local history topics. Some of her notable projects include developing digital exhibits on the history of the London Asylum and Dr. William Harvey. She also helped create a tourism brochure on the history of baseball in Southwestern Ontario. Fenton has experience developing exhibits for various small local history museums.
Public Art in Cardiff: Peter D Cox Cardiff Civic Society event Chapter 04042011Peter Cox
This document summarizes a meeting of the Cardiff Civic Society discussing public art in Cardiff. It discusses the goals of public art programs, including humanizing cities, strengthening civic identity, stimulating local art, and bringing art to the public. The document outlines John Willett's past research on public art in Liverpool, which found that most monuments go unnoticed or are disliked, and that art must compete for attention. It then provides examples of public artworks in Cardiff and notes the city's efforts to catalog its collection. Goals for the future include better integration of art and its environments and involving local communities.
The Pros And Cons Of Re-Thinking MuseumsMonica Rivera
The document summarizes research that will be conducted to explore patterns in individuals' past experiences with discrimination. The research will involve interviewing 20 urban residents in Oakland about discrimination they have faced. It will focus on themes of social differences, racial discrimination, and health disparities. Research suggests African Americans suffer disproportionate rates of health issues like heart disease and diabetes, which can be linked to effects of discrimination and socioeconomic factors like income level and access to healthcare.
Introducing Museums at Night and Connect! 2016Rosie Clarke
An introduction to how Culture24 delivers the twice-yearly Museums at Night festival, how UK museums and galleries can get involved, and how to apply to the Connect! competition to win a top artist to lead your festival event and a £3000 bursary.
Crowdsourcing 'In the Spotlight' at the British LibraryMia
This document discusses crowdsourcing cultural heritage collections to engage the public and add value. It describes a project by the British Library to crowdsource transcription of playbills from 1796-1882 with minimal existing metadata. The goals are to productivity transcribe the playbills and engage participants by turning their contributions into blog posts and newsletters. There is discussion of potentially allowing outside academics and volunteers to set up new transcription tasks based on fully cataloged collections in the future.
In the Spotlight by Mia Ridge - EuropeanaTech Conference 2018Europeana
This document discusses crowdsourcing efforts by the British Library to engage the public in helping organize and catalog their cultural heritage collections. It describes a project where over 230,000 playbills from Plymouth theaters spanning 1796-1882 were crowdsourced for basic metadata collection. The document considers turning participant contributions into outreach materials and explores the possibility of letting external researchers and volunteers develop their own crowdsourcing tasks based on the library's collections in the future.
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The document discusses how cultural institutions are changing their designs and programming to better serve evolving audiences. Key points include:
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Crowdsourcing at the British Library: lessons learnt and future directions
1. Crowdsourcing at the British Library:
lessons learnt and future directions
Dr. Mia Ridge, digitalresearch@bl.uk
Digital Humanities Congress
Sheffield, September 2018
3. Asking the public to help with tasks that
contribute to a shared, significant goal or
research interest related to cultural heritage
collections or knowledge.
The activities and/or goals should be inherently
rewarding.
Crowdsourcing in cultural heritage
3
6. Potentially huge reach and impact
https://www.flickr.com/photos/jdevaunphotography/8456110245/ by Jason Devaun
Hundreds of millions contributions
Tens of millions online volunteers
Hundreds of completed projects
6
9. Playbills 'In the Spotlight'
Collection of over 230,000 printed sheets in 1,000
volumes
Minimal cataloguing: 'A collection of playbills from
miscellaneous Plymouth theatres 1796-1882'
No information about individual playbills,
performances, people
9
10. =005 20180813120353.0
=006 md
=007 cr|||||||||||
=008 180813r20171818enk|||||s|0||0|eng
=033 0$a18181211$pTheatre Royal (Bath, England)
=040 $aUk$beng$cUk$erda
=042 $aukblproject
=110 2$aTheatre Royal (Bath, England)$eauthor
=245 11$a[Playbill. At Theatre Royal, Bath]
=264 30$a[London] :$b[British Library Playbills Project],$c2017.
=300 $a1 online resource
=336 $atext$2rdacontent
=337 $acomputer$2rdamedia
=338 $aonline resource$2rdacarrier
=500 $aTitle devised by cataloguing agency.
=518 $aPerformace date: 11th December 1818.
=530 $aAlso available in print.
=534 $pReproduction of (manifestation):$aTheatre Royal (Bath, England)$t[Playbill. At Theatre Royal,
Bath]$c1818.
=650 0$aTheater$zGreat Britain$y19th Century.
=655 0$aPlaybills (Posters)$zEngland$zBath$y1818.
=655 7$aPlaybills (Posters)$2fast$0(OCoLC)fst01919953
=710 2$aBritish Library Playbills Project,$emanufacturer.
=773 0$aTheatre Royal (Bath, England)$tA collection of playbills from Theatre Royal, Bath 1812-
1818.$oDigital Store Playbills 178.$w(Uk)016661285
=856 40$uhttps://api.bl.uk/metadata/iiif/ark:/81055/vdc_100022589024.0x00015f$ydigitised sheet
=916 $a110 not NACO
=916 $a710/1 not NACO
=SRC $aPlaybills Project
Preparing the ground
10
17. Learning from comments
• At the head of page is the title of the main work performed - "The
Haunted Tower." The boxed title is for the ballet "Don Juan" which
follows "The Haunted Tower."
• "Merchant of Venice" followed by "Lovers' Quarrels."
• This feels as though it should be 'The POOR SOLDIER' rather than
just 'POOR SOLDIER'
• 'The' should also be highlighted as part of this title
• Title of musical farce not outlined, so cannot transcribe it.
• This play is not the same date as the main plays of the bill.
• This play is also not the same date as the main plays of the bill.
• The Death of Gen. Wolfe is a ballet, not a play.
• Is this a reference to the 'Flitch of Bacon custom' in Essex?
• forthcoming, not main item on playbill
• not sure if 'The Tragedy of' is the genre or part of the title
17
21. Future goals: platform for other
people's research?
Could we let academics and volunteers set up
new tasks based on our collections?
How would we ensure that they were
committed to recruit and motivate volunteers,
report on progress?
https://www.flickr.com/photos/internetarchivebookimages/14586824519/
21
22. Future work
Fix 'hygiene' issues with user experience (UX):
• Review and tidy documentation / help screens and posts
that have gotten out of sync
• Improve tagging / viewing tags experience
• Better access to data for researchers; easier progress
reports (update Jupyter notebooks)
New tasks? E.g. confirm theatre names, locations
Rethink 'performances' - not just plays?
Fun uses of data - #OnThisDay tweets?
Provide practice tasks with feedback on how you did
Analyse and use survey data
22
23. Thank you for listening.
http://playbills.libcrowds.com/
http://britishlibrary.typepad.co.uk/digital-scholarship/
Thanks to: Alex Mendes, Christian Algar, Beatrice Ashton-Lelliott and our 1600+ volunteers
Notes de l'éditeur
This is the newspaper storage building - the collections we work with are huge.
My definition is partly descriptive, and partly proscriptive (what it should be, as well as what it is). The benefit should be wider than your institution e.g. improving catalogue data helps any user of the catalogue as well as the institution.
No financial rewards so has to be rewarding. Often task is quite enjoyable, and people are motivated by knowing their contribution helps make the world a better place.
'Online volunteering' is a good way of thinking about crowdsourcing in cultural heritage. Contributors are looking for a meaningful leisure activity - some just want casual activities they can pick up whenever suits them, others want an opportunity to develop deeper skills and interests. The opportunity to socialise with other people with similar interests can turn into a strong motivation for continuing for some volunteers.
If you've worked with in-person volunteer or community programmes, you already have a lot of the skills needed to run a good crowdsourcing project.
Digital tech offers serious advantages over in-person volunteering programmes. They are not tied to venue opening hours or location; not limited by conservation or handling issues once material is digitised. Allows you to reach thousands of people, or just a few interested specialists who might be located anywhere in the world. Convenience for volunteers means they can fit it in around their lives. A few minutes here and there adds up, means people can take up hobbies sooner (where previously they might have waited until retirement).
For the BL, specifically, it also aligns with our mission to make intellectual heritage available for research, inspiration and enjoyment. Because of the scale of BL collections, and the size of the uncatalogued and undigitised backlog, our goal is to help make collection items easier to find (rather than focusing on a specific research question). When working at this scale, have to focus on the basics first.
The case study... These playbills were always an obvious candidate as they had been digitised as single sheets but were only catalogued as volumes. Aiming to improve discoverability by making information about individual sheets findable in the catalogue. In future would be interested in working with researchers on more specific research questions.
The basics: Problem - There are almost a quarter of a million (230,000) printed sheets bound into 1,000 volumes. Existing catalogue records provide minimal details and do not expand beyond naming a location (town), the year(s) covered, and sometimes the name of a particular theatre.
No detail important to researchers: no titles of plays or performances; no names of actors, dramatis personae; no dates, or details of songs performed.
Varied formats, not suitable for OCR or computational processing into structured data. Crowdsourcing some structured text seemed like the most realistic way of enhancing records and aiding discoverability.
We talked to the Metadata Services team right at the start of the project, months before we had a prototype. We designed tasks to create the data that was most needed first. This work has been part of a push to create more granular metadata - single sheets, not just entire volumes - as the emphasis shifts from things that can be physically ordered to the reading room to single pages, or regions of pages.
I designed series of small tasks, rather than asking people to switch between different tasks on the one page. Currently four tasks per volume. Some tasks relate to the whole page, others to specific regions (information about specific performances). As titles are marked out (drawn around) they can be transcribed; related genres can then also be transcribed. Dates are done per sheet so can be done at any point. There's some manual management of volumes behind the scenes - reports to see what's been completed recently and could therefore move to the next stage.
We're trying to have it both ways - we're hoping people will complete lots of transcription tasks, but we're also hoping they'll get distracted and want to go off and learn more about something they've noticed.
We've reduced as many barriers to participation as we can (with the resources we have), and worked to make tasks as small and easy as we can (more could always be done) but we're also trying to encourage lots of discussion. People can download the data as it's created so they don't have to wait for access to something they're interested in.
Built in ways to do more with the playbills - you can download the specific image, view metadata from the catalogue record, and 'share' - will have link to forum thread 'spotted on in the spotlight'.
Uses IIIF images directly from the library viewer system - saved a lot on storage costs. Metadata drawn from viewer system so always up-to-date.
We're still working on the MARC import but we've got the play titles appearing in the Index tab of our Universal Viewer. We've also documented some ways to access the data via Jupyter Notebooks, which have embedded Python code that can be tweaked and run according to your interests.
With academics and staff of Nottingham's Theatre Royal we organised afternoon workshops with volunteers working on theatre archives.
One of our questions was whether they'd be interested in transcribing or using personal names for people mentioned on playbills (including actors, writers, printers, patrons, designers and more). We also did usability tests (of sorts), asking for first impressions of the site and related tasks. At the workshop, our suspicions that the value that some people might get from personal names wouldn't be equal to the work required to record them were confirmed, and we felt ok about deciding not to add this task. We also benefited from feedback on usability of specific aspects of the interface. [more precisely, what? Who knows.]
Nottingham workshop
Within each hour-long session, topics for discussion include:* About the volunteers; their interests, historical knowledge, projects. (Relatedly, do they use personal names in their current research, and if so, how? What others sources do they use, particularly for biographical data?)* Introducing In the Spotlight; first impressions of the site* What information about personal names can be usefully collected from the digitised playbills? Is it useful to include roles, character names, the relevant work or performance date?* What factors should we think about when designing the names task interface?
The Europeana Impact Model is a toolkit for assessing the impact of your project under various headings. Thinking about what we wanted to report on helped us build ways of measuring impact into the project.
Based on the Balanced Value Impact Model developed by Professor Simon Tanner, King’s College London; Europeana took the theoretical model and made it into an actionable playbook. Draws on agile, lean start-up, design thinking. Uses 'lenses' for measuring value from a specific perspective: utility, learning, community, legacy, existence and uses headings of economic, innovation, social and operational impact.
We included a comment box so that people could leave a note for us as they worked on sheets. This become really useful when we changed the system so we got the comments as emails and didn't have to go looking for them. Comments like this helped us design the 'report an error' function and work out where our 'how to' documentation needed fixing. It also got us thinking about whether we should expand the definition of a 'performance' from plays to other kinds of performances (which would mean adding a second 'categorise this title' task).
transcribe_titles_theatre_royal_margate_1796-1797_task_run.csv
Aiming for a virtuous circle - people tell us about things they've found or noticed, questions they have - we then share those - allows us to talk about the project without being self-promoting. This is important because the attention we pay to the project reaps rewards. Social media activity helps remind people that you exist so they come back and do a bit more.
When we launched a few people asked if participants could keep an eye out for various things. This indicated that people wanted to be able to note and access specific topics related to their personal interests. We translated that need into a 'tagging' system. Built a tag interface to support this - all tags can be viewed from a central page. UX needs work but it's ok as a first pass.
Additional research questions like 'for the benefit of', patronage of, song titles etc - we now have a platform for creating tasks for people but the onus is on person with the question to motivate participation. So no academics saying 'sure, that'd be useful' but not taking part in comms.
Prompt with questions like 'how much time can you commit to spending on discussion and outreach and promotion each week? We recommend 90 minutes over a week - review comments, compile progress reports, find people to answer questions, posting updates to social media, newsletters, other reports.
https://www.flickr.com/photos/internetarchivebookimages/14586824519/
Created... In the Spotlight (launching Nov 2, ok to tweet now). Based on Pybossa software, using IIIF images provided by the library's digital library system.