Wikimedia for public engagement

By Dr Martin Poulter, Wikimedian in Residence at the University of Oxford

A takin is a Himalayan goat-antelope with whom I feel a personal connection, and the reason goes back to an event I attended in 2011. The wildlife charity ARKive had allowed some of its descriptions of threatened species to be copied into Wikipedia. After presentations introducing both ARKive and Wikipedia, we split up the room. One table took birds, another took lizards, and I must have been among the mammals. After carefully reading what ARKive and Wikipedia said about the takin, I found a couple of sentences that could be copied from one to the other. Everyone in the room made a small but concrete improvement to their target Wikipedia article.

The trainer at the event, Andy Mabbett, thanked me afterwards with a message through Wikipedia. Making that change, and being recognised for it, connected me to the topic that a film or lecture could not. Somehow the takin had become my endangered mammal. People had turned up with a general curiosity about threatened species, engaged with the question of how to describe a specific species and had a positive experience with a peer-reviewed source – the ARKive site.

How do we create similar events where people are not just informed about a topic or a resource, but engage with it in a way that makes a lasting impression? Here are some suggested requirements for a public engagement event:

  • a collaborative task around a topic;
  • that requires thinking and reading, but not expertise, so anyone can take part;
  • that can be broken down into small chunks, identified beforehand;
  • that can be done in-person or remotely;
  • with a way to track individual contributions. We want to thank and reward contributors, and it’s also useful to assess the quality of their work. For a big, long-term project we might want something like a leader-board or a participation award.

Wikimedia platforms

Wikipedia and its sister projects are ideal platforms for meeting the above criteria. They

  • cover all academic subjects;
  • support collaboration between experts and non-experts;
  • have various tools to generate lists of “targets”: things that need improvement;
  • can be accessed by anyone with an internet connection;
  • have contributor records which publicly show what changes each user has made, even allowing ‘thank you’ messages for individual changes.

Perhaps most relevant is that Wikimedia resources do not exist in isolation but are derived from something else. A fact in Wikipedia or Wikidata needs to be backed up with a citation of a reliable source. A photo in Wikimedia Commons needs a description of where it was taken, or a citation of the collection it is drawn from. A transcribed text in Wikisource needs a pointer to the page scans that were transcribed, and ultimately to the physical copy of the book. So a Wikimedia event is always necessarily about a Wikimedia project and something else: a scholarly site or database, or physical exhibits, books or artworks.

Four Wikimedia projects hold distinct types of information about the same subject.

The best-established type of public event is a Wikipedia editathon, in which visitors are invited to write Wikipedia articles. Newcomer participants in editathons usually achieve little, because a lot of time and thought is needed to get to grips with Wikipedia’s interface, with Wikipedia’s culture and norms, and with the sources they will be using. Editathons can be very productive if participants are confident wiki editors, but that confidence does not come immediately. Fortunately, the Wikimedia projects offer simpler, less demanding ways for the public to engage with a subject.

An example: a Wikisource transcribe-a-thon

Looking to create events for the Ada Lovelace Bicentennial in 2015, I read about Mary Somerville, a 19th century mathematician and scientist who tutored Lovelace and for whom Somerville College is named. I could find none of Somerville’s works in electronic form, but some were available as scanned documents in the Internet Archive. This suggested how we could engage an audience interested in women scientists.

Wikisource is a platform for sharing and connecting out-of-copyright or freely-licensed text. Wikipedia’s article about Lord Byron summarizes his life, with brief mentions or quotes from his work. Wikisource, on the other hand, has a brief description of who he was and the full text of many of his poems and other works. Naturally, the two profiles link to each other. Most works on Wikisource come from scanned books which have been put through Optical Character Recognition (OCR) and then manually fixed. Each page has to be checked and approved by at least two different users before it is considered “validated” and ready for public readers.

Attendees at the event were given a shortened URL for the transcription and each got a post-it note with the page number that they should fix. They adapted to Wikisource at different rates, but that worked out fine because the quicker, more confident people checked and tweaked the work of those who made slower progress. In two hours, we got through one paper and a large proportion of a book by Somerville. After some further checking, these texts were linked from the front page of Wikisource. Feedback on the event was very good: participants recognised they were doing something important; not just learning about Somerville but helping to republish her work. The “transcribe-a-thon” format has been repeated as a conference session.

A transcription project on Wikisource: pages are yellow when they’ve been approved by one user, and green for two users.

A transcribe-a-thon needs some careful preparation in choosing the text, importing it into Wikisource and preparing it for transcription. The import process on Wikisource is documented, but not very intuitive, even for experienced wiki editors. Not all scans are suitable: if the images are poor quality, the OCR does not produce usable text and if there is non-standard text such as mathematical formalism, transcription will be too difficult for newcomers. A little more work is necessary once all the pages are validated, to assemble them into a single work.

Photographs and WikiShootMe

Wikipedia articles about a place or building usually have a geographical point, defined by latitude/ longitude pairs, attached to them in a machine-readable way. For example, the article about Oxford has coordinates that correspond to the central junction at Carfax. Wikidata, another sister project, has many more entries with locations, for items such as listed buildings. On some historic streets, almost every building has a Wikidata entry.

WikiShootMe is an online mapping tool that shows these articles and Wikidata items, colour-coded according to whether they have an image. It also allows users to upload images, but they need to register an account first on Wikimedia Commons. The images do not have to be professional quality, and photos taken with a smartphone or cheap digital camera are often suitable. As more images are uploaded, red dots disappear from the map.

A WikiShootMe scan around the North end of St. Giles, Oxford

So for an event or campaign that gets people engaged with local history, public art, or architecture, the group can decide on places to photograph and describe, then go to the location, and either upload their images from home or return to a central computer room and transfer images from their devices.

A tip to monitor contributions: when uploading an image, users are prompted for image categories. If they all add the same category, then it is possible to track images uploaded with that tag using PetScan (explained below). However, categories are case-sensitive so you have to make sure people type the category tag exactly as instructed. Commons helps by colouring the text red if it does not correspond to an existing category.

Instructions to attendees:

  • Create an account on commons.wikimedia.org
    • A Wikipedia account will work if you already have one of those.
  • Open in another tab
  • Click on the red dot on the map where your photo was taken
  • Press the button to ‘Authorise uploading’
  • Click ‘Allow’. This will permit WikiShootMe to accept your photo, and return you to the map.
  • Navigate through the map to the red dot again. This time when you click the dot, the button says ‘Upload image’
  • Select the image on the computer or device
  • Give the image a title, description (say what you’ve photographed, e.g. the address of the building) and date.
  • In the Category box, type Buildings in Oxford with that exact capitalization.

PetScan is a tool for customised queries  If you are running an event or campaign where people create or upload images to a given category, use this procedure to get an overview of their contributions.

  • Go to https://petscan.wmflabs.org/
  • Click ‘Commons’
  • Enter the category “Buildings in Oxford”
  • Select the Page properties tab and click the checkbox next to File.
  • Select the Output tab, then choose Sort by date, Sort order descending.
  • Click ‘Do it!’ and on the resulting page, bookmark the link ‘for the query you just ran’.

This gives you a list of images in the category, most recent additions first. Clicking on an entry in the list will take you to the full description of that file, including the user profile of the uploader.

Other quick ideas

  • Use a biographical source to add individual facts, such as universities attended or birthplaces, to Wikidata entries or Wikipedia articles.
  • Examine a free image source (e.g. Europeana’s World War I collection) and find Wikipedia articles that the images can illustrate.
  • Search through audio archives for short clips that can be uploaded to Commons and embedded in Wikipedia articles about a person or event.

This post licensed under a CC-BY-SA 4.0 license

Call for Papers—Digitizing the Stage: Rethinking the Early Modern Theatre Archive

The Folger Shakespeare Library and the Bodleian Libraries are delighted to announce a jointly convened conference and welcome proposals for papers.

C. Walter Hodges (1909-2004), “Cutaway view sketch of the Globe Playhouse,” Folger Shakespeare Library Collection.

What: Digitizing the Stage: Rethinking the Early Modern Theatre Archive

When: 10–12 July 2017

Where: Weston Library, Bodleian Libraries, Broad Street, Oxford OX1 3BG (map)

Access: all are welcome to attend and to submit a proposal for a contribution (see below)

Admission: £150; £100 for students/unwaged/early career researchers (up to 3 years after award of highest degree)

Registration: registration is required and will open shortly

 

The Bodleian Libraries and the Folger Shakespeare Library will convene a conference from 10-12 July, 2017, on digital explorations of the early modern theatre archive. We are interested in applying approaches from other disciplines, genres, and time periods which can prompt new thinking about the ways we preserve, describe, research, and teach the early modern stage; as well as in hearing from early modernists who engage with their subject through digital means. Seeking to foster a spirit of collaborative experimentation, we invite proposals in the full range of project completion taking the form of 20-minute papers, as well as “lightning talks,” panel discussions, multimedia presentations, and others.

Invested in both material and method, Digitizing the Stage is a singular opportunity to consider the future of the early modern archive. Attendance will be limited to 100 participants, with registration opening shortly.

Submissions

Submissions should relate to one or more of the following topics and themes:

  • Materiality and methods
  • Early modern theatre and film
  • Working in audio, text, and image
  • Performance and theatre history
  • Challenges and experiments in the archive
  • Digital archiving and cataloging

Proposals for conference papers, panel discussions, lightning talks, multimedia and interactive demonstrations should not exceed 250 words.

Please include your name, contact information, academic affiliation (if relevant), and a brief biographical description including relevant interests. Submit proposals within the text of an email to digitalconf@folger.edu.

Proposals are due 9 April 2017. 

Some fee waivers and travel bursaries are available; please enquire.

For more information, please see the conference website.

Digitizing the Stage is organized by the Centre for Digital Scholarship, Bodleian Libraries; the Folger Shakespeare Library; and Professor Tiffany Stern, Royal Holloway, University of London.

The Music of Sound: call for contributions

Image from Johns Hopkins University: http://hub.jhu.edu/2012/11/07/timbre-hearing-prosthetics/.

The University of Oxford e-Research Centre and Centre for Digital Scholarship are delighted to announce a day’s symposium on sonification.

What: The Music of Sound: a sonification symposium

When:10:00–16:00, 21 April 2017

Where: University of Oxford e-Research Centre (directions)

Access: all are welcome to attend and to submit a proposal for a contribution (see below)

Admission: £20; £10 for students and unwaged

Registration: registration is required by 10 April 2017

Sounds surround us everywhere, and in our urban and industrial environments we are permanently immersed in music and noise—alarms, vending machines, phones have familiarized us with mechanical sound as signal. Sonifications, or audiograms, are attracting attention as a method of re-presenting data, yet this area of study continues to be less studied than, for example, visual analytics.

The celebrations of Ada Lovelace’s 200th birthday demonstrated a larger interest in the intersection of machinery, music, and culture, and pushed existing disciplinary boundaries. The symposium will build on this and we look forward to developing ideas and approaches together.

We invite proposals for papers (including audio-papers) and posters on sound, its production, reception, public engagement, technologies, sonic re-presentation, and exploration of the sonic world from all fields of research and learning.

Proposal submissions

Proposals must be submitted online.

The deadline for submissions is Monday 20 March 2017.

Acceptances will be notified by Monday 27 March 2017.

All submissions should include a title, abstract, a brief biography of each author, and up to five keywords.

Word counts apply to the text of the abstract, excluding titles, biographies and keywords.

Speakers will be given 30 minutes each for papers and audio-papers: 20 minutes for presentation, and 10 minutes for discussion. Lightning talks to present the posters will be given 5 minutes each, with discussion taking place during poster sessions.

Proposals should not exceed 300 words.

Brain Diaries: Brain imaging then and now

 

Image: http://uphe.org/air-pollution-health/the-brain/

This talk is part of Oxford Neuroscience‘s Brain Diaries event and talk series.

What: Brain imaging then and now

Who: Chrystalina Antoniades and Alexandra Franklin

When: 13.00—14.00, Monday 20 March 2017

Where: Weston Library Lecture Theatre (map)

Access: all are welcome

Admission: free

Booking is required

We know people have been thinking about brains since ancient Egyptian times. From the sixth century BCE people began to understand that the brain was the home of the mind. As the scientific method developed, study of the brain formed part of this rational approach to new knowledge.

Technological advances have played their part in both understanding and communicating knowledge about the brain. These have included images of the brain, from the introduction of engravings in printed books to the latest diagnostic imaging used by hospital neurologists.

You are warmly invited to a talk by two experts in these disparate but related fields, Dr Alexandra Franklin (Bodleian Special Collections) and Professor Chrystalina Antoniades (Nuffield Department of Clinical Neurosciences).

Alex will show books from the sixteenth and seventeenth centuries illustrating medical treatments of the eyes and brain, and Chrystalina will present how the technological advances of the last few decades have changed the way we can diagnose brain disorders.

This talk forms part of the Brain Diaries series of events revealing how the latest neuroscience is transforming what we know about the lifelong development of our brains, from birth to the end of life. It is a partnership with Oxford Neuroscience.

Professor Chrystalina Antoniades is an Associate Professor at the Department of Clinical Neurosciences, University of Oxford and a lecturer in medicine at Brasenose college. She has recently set up her own research group, the NeuroMetrology Lab. She has been awarded the Vice Chancellor’s Award for public engagement and is passionate about engaging her research with the public.

Dr Alexandra Franklin is the Coordinator of the Centre for the Study of the Book, part of the Bodleian Libraries’ Special Collections. She coordinates programmes aimed at making Special Collections material more accessible to students, researchers, and the public.

His Majesty, Mrs Brown: letters from the second catalogue of Bodleian Student Editions

Mike Webb (Curator of Early Modern Archives and Manuscripts) writes:

The second Bodleian Student Editions catalogue is now available online through Early Modern Letters Online (EMLO). These letters were transcribed in the second of the Bodleian Libraries Manuscript and Textual Editing Workshops, held in the Centre for Digital Scholarship in the Weston Library on 1 December 2016. Details of the workshop programme, along with an account of the first workshop, can be found here.

Bodleian Student Editions participants working with the letters

Participants transcribing letters at a Michaelmas term workshop

The letters used in this workshop were in a volume of the Carte manuscripts, which mainly comprises the papers of James Butler, 1st Duke of Ormond (1610-1688), Lord Lieutenant of Ireland three times between 1643 and 1685. Six letters written by women to Ormond in April and May 1660 were selected, all in MS. Carte 214. Women used italic script in the seventeenth century as most were not taught the ‘secretary hand’ used in legal and administrative documents of the period, and often in private letters also. Italic hands are easier to read for those not formally trained in palaeography, and so more suitable for these workshops, which offer a wide-ranging introduction to undergraduates and postgraduates of all disciplines, many of whom had never previously worked with original manuscripts.

Once again, the students were fully engaged with the letters and by the end of the day had produced excellent transcriptions. The punctuation and spelling of the originals proved to be challenging—it is often necessary to read the transcript to yourself before you can believe what is in front of you! I found in checking the transcripts that there are so many strange spellings in these letters that inevitably in a short workshop some were accidentally modernised. A good example of unorthodox spelling can be found in a letter from Ormond’s wife, Elizabeth, on 21 May 1660:

I will make the troubell of this leter the briuefer, and only desier, that I may reseve your derections consarninge my comminge over, whoe am the mene time indevoringe to put My Selfe into a redenes to obbay the first sommons that shall Come from you.

As this passage indicates, the letters were written at a significant moment in British history, the Restoration of Charles II. This letter and one from Lady Bristol contained some intriguing references to various women who were not all they appeared to be. One of the pairs of students realised that there was something odd about ‘Mrs Brown’ and suggested this might be a pseudonym for the King. We did not have time in the workshop to confirm this, but the hunch turned out to be correct. Mrs Brown, Mrs Carlton, Mrs Eyres and Frances Parsifall (who, oddly, was the addressee of one of Lady Bristol’s letters) turned out to be none other than King Charles II, Edward Hyde, the Earl of Bristol and Ormond himself respectively. These pseudonyms are listed in the published Calendar of the Clarendon State Papers (another of the Bodleian’s great collections of seventeenth-century state papers). Lady Bristol mentions having written to Mrs Carlton, and sure enough, her letter can be found in the Clarendon papers. Lady Bristol became confused herself with the subterfuge, suddenly changing the gender of her husband ‘Mrs Eyres’ for whom she was seeking a place in the new regime:

let mee beseech your favour and charity in making sure of som place for your absent frind Mrs Eyres with Mrs Browen which can only preserve her … from those misseries that [her deleted] his faithfullnes hath brought on him … for his adhering to Miss Browen, and her father … [i.e. Charles II and Charles I]

Afterwards, we again collected feedback from the participants, who enjoyed the wide variety of activities—there were several requests for more workshops on each of the three strands—and the collaboration with other students:

I think people from different disciplines bring different frameworks of analyses to the table and ask questions you might not think of.

One student highlighted the workshop’s ‘applicability’ to the diverse sources that the participants are studying as its ‘most important aspect’, facilitated by the nature of Early Modern Letters Online as

a valuable corpus that can be put in the context of other projects in other fields.

The opportunity to integrate initial training with increased availability of our collections is immensely important to us at the Bodleian, a sentiment which the students seem to share: one participant wrote

I love that you come out of the seminar with a citable transcription.

—Mike Webb
Curator of Early Modern Archives and Manuscripts, Bodleian Libraries