At the end of 2020 I ran a workshop focused on creating digital classification games as part of Beginning Cataloguing’s online course offer. During the session I showed the participants how they could create a prototype classification game on their Android devices from a template game I had created. I had intended showing iphone users how they could do the same, but I discovered quite close to running the workshop that the app I was using on my Android device wasn’t fully compatible with the iphone version of the same app. However, I’m now looking at converting the app so that iphone users can run it too.
I used Pocket Code for the session. This is a block-based coding tool for Android devices and iphones, that allows you to create games and other mobile apps for free, without having to type in lines of programming text. I designed the prototype game loosely around the retro style video game, Pong. In this instance the player is presented with an image on the screen, and they have to tap on the corresponding Dewey Classification number bouncing around the screen to score a point. I find that interactive activities make learning easier for me. I also like things to be fun. So, that’s why I created the prototype game.
Through the session I showed the participants:
How to use Pocket Code.
How to run and play the prototype game I created in Pocket Code.
How the game programme is structured.
How different coloured code blocks allow you to do different things. eg move an image around a screen; test if the phone screen was tapped; add points to a players score, etc.
How to adapt the programme to their own library classification scheme and needs.
I highlighted some of the behind-the-scenes coding. But I tried to avoid going into a lot of detail, as I wanted to focus on the key areas they could adapt to create a game that would support classification training within their own library services.
The idea isn’t to replace classification training with simple games, but to help users get to know classification identifiers or numbers in a scheme for a library they use, in a playful way.
At the end of the session I wanted the participants to be able to go away with a few key thoughts:
That games are useful in this context.
It’s possible to make a prototype game cheaply & quickly. It isn’t overly complicated to create a game like this in Pocket Code, or to develop ideas around using technology as a way to make something interactive that will enable others to develop their understanding of your classification system.
You can use a tool like Pocket Code to develop simple games for other parts of your library service training too. eg stock management.
It was fun running the session online. I enjoyed both introducing the concept of a digital library game to the participants, and the discussions it generated during the session. Thanks to everyone who attended, and Anne for her support before and during the session.
Our next Book History Seminar will take place on Wednesday 13 January at 1pm.
In this live-only seminar, we will discuss factors affecting the publication and circulation of LGBTQ+ fiction in postwar Britain. We will examine how obscenity statutes and laws criminalising homosexuality impacted everything from a book’s text, to its cover design, to how and where it was sold. Examples will be drawn from the speaker’s personal collection.
Yesterday, Yvonne Lewis shared the story of ‘The Unwritten Book’ – the evidence William John Bankes left behind him of his travels, and, in particular, a set of lithography stones intended for publication in a book that was never printed in the end.
There are many reasons that these stones are both interesting and mysterious, but the greatest mystery is why they exist in the first place. Lithography was invented in Munich in 1798 by Alois Senefelder, and as Michael Twyman points out in his core text on the topic, “the lithographed book is almost as old as lithography itself” (p. 15). One of its leading proponents in Britain, Charles Hullmandel, set up his press in 1819, and so Bankes’s travels (circa 1815-17) coincided with the very earliest period of English lithography. Hullmandel’s marks appear on the back of the stones, and, as Twyman asserted in a paper he gave in 2016, “Hullmandel can be linked with the stones now at Kingston Lacy in several ways. First and foremost he owned them all, at least initially. Secondly, he made the drawings on some of them himself. And, thirdly, wherever a printer’s imprint appears on a stone it is his.”
Join us online on Tuesday 8 December for our next Book History Seminar, in which Krystle Attard Trevisan will share her curatorial and research expertise in printmaking techniques in book illustration.
Krystle is the first art historian in Malta specializing in historical prints and book illustration. Her ongoing doctoral research includes cataloguing and studying the only intact 18th century print collection in a public museum of over 4,500 prints amassed by one man. She has also started hunting for Incunabula in Malta with a team of other researchers. She has recently joined MUŻA, the Malta National Community Art Museum that houses the national collection of art, where one of her tasks is to research the prints and rare books that have remained unstudied for years. Her passion is to teach about the importance of printmaking in the history of art and of the book through public outreach and object-based study.
This is a live-only seminar – no preparation in advance (except for the speaker, obviously), no recordings afterwards, just an expert speaker talking on Zoom for around half and hour followed by group discussion and chat.
This session was led by Emma Booth of the University of Manchester, formerly of King’s College London and the LSE and author of the recent NAG report on Quality of Shelf Ready Metadata. Emma started by outlining her experience at Manchester and went on to talk about standards and systems and their bearing on the discovery experience of users. The presentation concluded with a discussion of the need and efficacy of advocating for metadata quality. Listening to this presentation and participating in the ensuing discussion gave me cause to reflect on my own habits, workflows and dependencies as a Cataloguer. I took away a number of actions and reminders for myself, a couple of which I’ve outlined here:
Join Ash for 2 hours of interactive learning through play using the Pocket Code app and a prototype game to explore the potential for gamifying learning about your library’s classification structure to help users learn it.
In this online seminar, Sara will explore the physical relationship between the animals and the human hands that made medieval manuscripts, and how our natural environment can produce all we need for the creation of a book. She will also talk about how going through the processes of manuscript production has enabled her to codicologically ‘read’ a manuscript much more effectively, and offer pointers for ways into historical remaking.
Sara Charles (Teaching Manuscripts) is a qualified librarian who is completing a PhD on Usuard martyrologies at the Institute of English Studies. Having first studied Codicology during her MA Library and Information Studies, she further developed her skills during her MRes in Book History, and began historical remaking as part of her PhD methodology in order to gain a deeper insight into the conditions under which the manuscripts she is studying were created. Since founding Teaching Manuscripts just over a year ago, she has given demonstrations and led workshops for schools, universities and the general public, and this year received funding from the Being Human Festival to deliver an online seminar and workshop on making iron gall ink.