Digitisation volunteering: our response to Covid-19
Although the coronavirus has put our digitisation activities on hold at Somerset House, the pandemic has unlocked an outpouring of creativity amongst our volunteers. By adapting quickly, we have been able to initiate remote activities to advance the cataloguing, interpretation and care of our photographic collections, logging over 1,200 hours of remote volunteering time to date since 18 March.
Since our first open day in January 2017 over 900 volunteers have engaged with the Courtauld Connects digitisation project, donating over 25,000 hours of time. From the outset we have operated an almost constant programme of outreach, recruitment and training, and maintain an active community of around 230 regular volunteers, some of whom have each contributed nearly 700 hours of time. Activities on offer to volunteers include photography, labelling, copyright research, photographer attributions, transcription, and collection care.
Our volunteer community is diverse, exceeding targets set for us by the National Lottery Heritage Fund (NLHF), and we cherish partnerships with My Action for Kids, Beyond Autism, and the Terrence Higgins Trust. In 2019 alone we supported 31 students on work placements of periods from a week to three months, and ran corporate volunteering sessions with companies including Willis Towers Watson, Mace, Cirium, LexisNexis, Ashurst, Boden, Sidley Austin, Marsh & McLennan, Tideway, Bank of England, AutoTrader and Facebook.
One belief remains constant: in order to deliver engaging content, without barriers or preconceptions, to the widest possible audience, we include that audience in its creation as fully as possible. Our volunteers’ efforts run through every part of this project, and it is their confidence, creativity and relentless dedication which we celebrate.
Before Covid-19 we were on target to finish the Conway Library by early 2021 before moving to the largely unpublished photographic archives of Anthony Kersting and Paul Laib. We will return to the studio as soon as guidance and practical considerations allow. In the meantime, this blog post describes a few of the ways in which we moved our activities online and strengthened our connection with the volunteer community which sits at the heart of this radical, transformational project.
Task management during Covid-19
To create and manage programmes of remote working, we record every activity on a master spreadsheet which includes a brief description of the task, links to internal and external documentation, and a priority number to measure how closely it maps onto the project’s core objectives. From this we can identify tasks we want to take forward, whilst refining or shelving those with less relevance or benefit. After an informal discussion, favoured tasks are then documented in detail in a pro forma for internal use which breaks them down under the following headings:
Title of task
On which material / collection is this task focussed?
Description of task,
How many volunteers can participate?
What equipment is needed?
Where will the task take place?
Instructions – how will the task be completed?
Who will supervise, and how?
What skills will participants learn and practice?
How will success be measured and judged?
No matter how detailed or trivial the task might seem, we also ensure that every one is matched against the same questions we answered in the Courtauld’s original application to the National Lottery Heritage Fund:
What difference will this task make for heritage?
What difference will this task make for people?
What difference will this task make for communities?
If a task reaches this stage and we’re still convinced of its value, we create a volunteer-friendly instruction sheet and launch it at one of our regular online meetings. The staff of the Digital Media Department then provide daily support and feedback through a dedicated channel on Slack, our digital hub for collaborations with our volunteers.
Although we continue to use Timecounts as a volunteer management system, managing the remote working activities of our large community within tasks requires a level of scrutiny that exceeds anything we had put in place before: one which enables us to log every activity, name, date and state of progress before checking and sign-off.
The following screenshot shows how we record and timestamp volunteer hours across each of the tasks:
The following screenshot shows how we monitor progress across two specific tasks: the creation of draft Wikipedia pages for each of the photographers whose work appears in the Conway Library, and the production of audio transcripts of our blog posts in order to improve the accessibility of our storytelling and research.
The numbers are stacking up. From 18 March (the day following the suspension of in person volunteering activities and the start of remote working) to 1 June 2020 we have recorded:
1210.30 Volunteer From Home Hours
260 Kersting Mysteries solved
244 Conway Photographer Wikipedia template pages in progress
149 Conway Photographer Wikipedia pages ready for quality checking and publication
55 Layers of London records created
36 Audio Blog recordings in progress, with 13 ready to upload
28 volunteers have completed 752 subjects on Zooniverse.
Volunteering from home: researching the Conway Library photographers
The physical library is arranged by date period, then country, province, city or town. Notable buildings often occupy anything from a single box up to several shelves and, in certain locations, a division between sacred and secular architecture is present. However, for the first time since the library was created, our volunteers are revealing insights into the 400 named photographers whose work forms part of the collection. They inspect each photograph individually, and note down on a spreadsheet whether the name of its creator is present, usually in the form of a handwritten note or stamp.
Up to now all we knew about many of our photographers was their names. We turned the current situation into an opportunity for volunteers to research each photographer at home, with the objective of creating a biographical page for each on Wikipedia. The first step of the process is to assign to each volunteer a photographer’s name at random. Information they discover, such as her or his academic, bibliographic, and biographical details, references and external links is recorded on a pro forma which closely mirrors the Wikipedia page we will create for them. We communicate remotely with our volunteers every step of the way via a dedicated channel on Slack which now has 261 members, 64 of whom are actively writing photographer biographies. 244 biographies have been drafted so far, with 149 more in progress! The screenshot below shows a typical few days of the discussion currently taking place behind the scenes.
Readers might be surprised to know that, before the project created one, not even Anthony Kersting – described widely as the greatest architectural photographer of his generation – had a page on Wikipedia (we hold his collection of negatives and prints, and now expect to begin their digitisation in Summer 2021 ).
Volunteering from home: Kersting Mysteries
Anthony Kersting left his whole collection of negatives and prints to the Courtauld on his death in 2008.
He also left us his ledger books containing locations, descriptions and dates for almost every single photograph. In February our volunteers finished the massive two-year task of transcribing every one the ledgers, however his handwriting is often difficult to read, and many question marks remain.
To answer these, we created another Slack channel to which we upload high-res images of illegible entries, opening them up to the volunteer community to discuss, argue the case for a solution, and seek agreement. This involves a lot of Googling, and since we started we’ve all learned a lot about religious sites in Cairo, or alternative names of Eastern European towns.
One of the hardest parts of solving the Kersting mysteries is that he would spell things phonetically, or he might use a local spelling or variant spelling that isn’t used today. Volunteers are busy not only transcribing, but also translating. The product of this research will be the facility to geolocate almost all of his images on the new photographic collections website which this project will create.
Volunteering from home: Conservation
The Conway Library contains several thousand 19th century photographic prints. Many are rare, some are unique, and almost all are extremely susceptible to degradation and decay due to their particular chemical, synthetic and material qualities – the results of individual photographers’ experimentations and craftsmanship. We must understand the vulnerability of these objects to enable us to make the correct decisions and preserve them for the future and, in preparation, commissioned and submitted a Collections Conservation Plan to the NHLF. The period of closure has allowed us to plan and create training resources in the form of videos on handling, cleaning, selecting conservation materials, identifying deterioration, and storage, in anticipation of the digitisation of the Courtauld’s rich 19th century collections commencing soon after our return to the studio.
Volunteering from home: broadening access to the collection and teaching digital skills
Layers of London
Layers of London is a huge collaborative effort to map London’s history in a visual and interactive way, developed by the Institute of Historical Research. Anyone can access free historic maps of London and contribute stories and memories to create a social history resource about their local area, or places they have visited or researched.
We held a Layers of London training session attended by 16 volunteers back in February as we wanted to encourage them to use the site in their own time. However since lockdown we have adapted our instructions to provide a refresher for those volunteers we have already introduced to the project, and detailed guidance for newcomers.
By uploading a selection of Courtauld images to Layers of London, we are making the collection more accessible to a wider audience. Photographs that have been uploaded so far may be seen here: https://www.layersoflondon.org/map/collections/446
Our partnership with Layers of London has allowed volunteers to add videos, text, or images from other places around the web, adding a richness to the story behind our photos. In many cases new information is sent back to us which isn’t recorded on the Conway’s photographic mounts.
So far, 22 volunteers are involved in this task. 55 records have been published, with a further 15 being drafted. Everyone who has taken part has learned new digital skills, research skills, made their own personal discoveries about our collections and shared them with a wide public audience who might have never discovered the rich and diverse coverage of the Conway.
Blog audio recording
Our blog has 57 posts (and counting!) on a range of topics linked to the Conway, Kersting, and Laib collections. Almost all have been written by volunteers, interns, or students on work placement. We have long had ambitions to make audio versions of the posts to aid accessibility for people with a visual impairment. Since lockdown 13 recordings have been finished, with 36 more in progress. Clips will also be shared on social media and collected together in podcasts.
Volunteers engaged on this task have learnt new skills, from practical sound recording to speaking with confidence, and editing text for clarity. To support this activity we created a guide and made sample recordings (with photographs of the home-made pillow-fort setups to give professional results), and we give feedback on demos with tips and workshops on how to improve the sound if needed.
We recognise that creativity and self expression, particularly in a social setting, is an important means of boosting mental health – perhaps now more than ever. Our Art Club brings these very human needs and our collection together.
Once a week a member of the team picks an image from the collection to inspire volunteers (or anyone who comes across our prompts on social media). We always leave the prompts open, so people can respond using any media they have: we’ve received paintings, drawings, photographs, found object sculptures, video, and even flash fiction. The Henry Moore Foundation particularly enjoyed everyone’s imaginative responses to Large Square Form With Cut!
We hold an Art Club video chat each week for people to share their techniques, talk about art, and hear from team members on techniques to try with minimal materials. Our discussions about images from the Ministry of Works Collection depicting the siege of Monte Cassino led to moving reflections on photography, war, and memorialisation.
We’d encourage anyone to get involved in Art Club: check out our Twitter and Instagram channels for the prompts: there’s no time limit on trying out any of them.
The aims of every photographic and cataloguing activity we undertake are broadly those of raising awareness of the collections and the Courtauld, connecting with new audiences and providing them with content to foster learning and enjoyment at all levels. We’ll know we’ve succeeded when our audiences stop asking why our collections should be relevant to their interests, but start to ask why these images: whether beautiful, puzzling or shocking, are of interest to art historians – the content alone enticing and opening a door into the field of study.
A cornerstone of this content-centred approach is crowdsourced cataloguing. Whilst we wait for a new collections management and publishing system to be commissioned and built (which will itself have an embedded facility for crowdsourced cataloguing) we created a project called World Architecture Unlocked on Zooniverse, a platform involving hundreds of contributors worldwide, and uploaded the contents of the first 100 boxes from the Conway (over 8000 images), covering architecture from Afghanistan, Albania, Algeria, Andorra, Antigua and Barbuda, Argentina, Armenia, Austria, Barbados, Belgium, Bolivia, Brazil and the beginning of early British. In each case we’re trying to do something which we always felt lay beyond the pragmatic objectives of this project which were to catalogue down to the box and folder level only: that of cataloguing individual images by transcribing everything written on their mounts.
After undergoing a period of internal testing by volunteers we’re now awaiting the go-ahead from Zoonioverse which will take this part of the project live. In the meantime anyone interested in contributing to the Zooniverse transcription is welcome to access World Architecture Unlocked, now in beta release.
We have always used Slack as a private social network for volunteers to use. However Slack has really come into its own since lockdown and, as well as run channels to discuss each volunteering task, we also run a fun_and_banter channel in which recommendations for books, podcasts, films, websites, and more are made. While we keep the recommendations mostly within the volunteer community, we often share some on our Twitter and Instagram channels, so make sure you follow us there. We’ve also been enjoying emoji games and sharing many art-related COVID memes. The London Boroughs emoji game had us occupied for a while!
We’ve run two Zoom chats per week since the first full week of closure, with between 23-46 volunteers joining us to catch up. We like to spend a few minutes going over project updates, but we always keep plenty of time just to check in and see how everyone is doing – and share yet more recommendations. Lorraine always has so many recommendations of all kinds from the seriously cultured to seriously silly, while Muny has shared great resources for teaching at home and keeping up with exercise! Another gripping twist of being online is that we are always learning about hidden talents: one week we found that we have bird watching (David), bird-photography (Christopher), and bird sketching (Anne) skills in our talented team! John has shared his hand-drawn print-out-and-colour in sheets, and Bill shared a gorgeous calligraphy front cover for a future book on Anthony Kersting, Sue went from Zoom skeptic to Zoom convert, and Francesca delighted us with her violin. We also welcomed some new volunteers like Gill, and welcomed back some old friends like Max, who volunteered with us back when the project started in 2017, and is now keeping in touch again with the online community.