Tag Archives: digitisation

Digital Humanities Interns 2023/24 part 4

Each year we ask our interns to write a blog post at the end of their time working with us looking back on their time in the DH Lab. Here is the fourth of this year’s blogs from Phoebe:

Hi, I’m Phoebe and I’ve just completed my internship at the Digital Humanities Lab here in Exeter alongside my course as a second-year History and Archaeology student. It seems to have flown past but looking back I’ve had such an amazing experience as an intern at the DH Labs and have worked on a huge number of projects- I’m not sure how we fit it all in! 

During my time at the Labs, I’ve worked on digitising the Theatre Royal, Exeter Playbill Collection, Institute of Cornish Studies Elections Project and the Family Farming in West Penwith Tapes for Penryn Archive as well as recently working on creating photogrammetry models for the Archaeology teaching packs. I’ve also has great fun playing with the 3D printers at the labs, making cute Christmas decorations and experimenting with different designs.  

 My first successful 3D print! 

In-between all that, I’ve worked closely with Adrián Oyaneder, creating 3D models using photogrammetry from photos he took of petroglyphs in the Atacama Desert. It was this project which inspired me to pursue my dissertation topic where I’ll be using the skills and techniques I’ve learned from working at the Labs. My colleagues at the DH Labs have been incredibly supportive and encouraging of my dissertation project so I’ve really benefitted from all their innovative help and enthusiasm to experiment.  

 Photogrammetry model of rocks near Reed Hall as practice for my dissertation work 

Experimenting with RTI in the field 

It’s amazing to think of how much has been done in only a year, especially when I came to this opportunity with no prior skills or experience in this field. My colleagues here have been brilliant in their support and patience as they taught me all they know and helped develop my confidence when working with technology while overcoming its challenges. I’ve learned so much, from 3D capture techniques like photogrammetry and RTI, to how research is effectively conducted and what is involved when storing and caring for delicate archived materials. I’ve also gained a new appreciation for just how valuable digital heritage is in today’s world. Working with digital heritage in such a direct and active way has given me a taste of what this environment is like and encouraged me to pursue it after I graduate.  

I’ll be sad to leave this internship, but I’ve loved working with my fellow interns and the DH team! 

Digital Humanities Interns 2023/24 part 3

Each year we ask our interns to write a blog post at the end of their time working with us looking back on their time in the DH Lab. Here is the third of this year’s blogs from Sophie:

I have found my time working in the Digital Humanities Lab to be an incredible learning opportunity and it has taught me invaluable skills using technologies I had not had the opportunity to work with before. The DH team provided a variety of weekly training sessions such as in using RTI (Reflectance Transformation Imaging), 3D printing, photogrammetry and coding, amongst other things, allowing me to complete projects in fields which I had never encountered before!
The first project I took on was digitising reel to reel tapes for Penryn campus, the tapes contained interviews with Cornish farmers and so were a really interesting piece of oral history, especially as they referenced the surrounding areas in Devon and Cornwall! The project allowed me to learn how to use the tape-recording equipment as well as how to edit and enhance audio on Audacity, this helped me with my Art History assignments as we were tasked with creating an app trail for our field trip to Florence; the skills I learnt at my internship were really helpful in the recording and editing of this material. We also, as an intern team, transcribed these recordings of the Cornish farmers using AI software, which made the recordings more accessible as the AI was able to pick out sections of audio which were hard to hear normally which really brought the interviews to life!

Another fun project I was apart of was helping one of the researchers in the lab with remote archaeological sensing in Chile, this involved using Google Earth Pro to spot new archaeological sites in the Chilean mountains. Another intern and I, with guidance from researcher Adrián, were able to spot historic farming sites, small settlements and animal traps. This was an immensely rewarding project which I never would have had access to without the Lab!
As well as these I also took on smaller personal projects, after the 3D print training I used Sketchfab to create my own chess piece which I then went on to 3D print using the Ultimaker. It was amazing to be able to hold the final product knowing I had designed and printed it myself!

The highlight of the internship for me was the trip to Special Collections in the Old Library as it introduced me to resources on campus I had previously been unaware of. Their collection of South West authors was fascinating and it was a special moment to see the original manuscripts of two of my favourite books (Rebecca by Daphne du Maurier and Lord of the Flies by William Golding) in person as well as a first edition of Dracula!

My internship at the Lab has taught me so much and has given me skills I have been able to develop not only through my projects in DH but also in my degree. Thank you to the entire DH team for an amazing year and I hope the new interns have as much fun as I have!

Digital Humanities Interns 2023/24 part 2

Each year we ask our interns to write a blog post at the end of their time working with us looking back on their time in the DH Lab. Here is the second of this year’s blogs from Daisy:

Working as part of the Digital Humanities Team alongside my third-year studies has been an incredible opportunity. From processing reel-to-reel tapes of Cornish farmers to building 3D prints in the Makerspace, this placement has taught me an astounding range of technical skills that I look forward to applying in my further study and future career. A particular highlight was getting to explore the audio-visual suite, namely, practise recording and editing my own pseudo-scripts. As an aspiring journalist, this was invaluable and immediately applicable to my goals beyond university study as well as proving to be the perfect titbit to bring up in my master’s interview!

Beyond media experience, the DH Lab provided the support to pursue my interest in textile history. I was able to look through a large collection of scraps collected by a 19th century socialite which detailed her dresses and their adornments. From this, coupled with my use of the lab’s access to Adobe Photoshop while working on the front desk, I was able to reconstruct an approximation of what a whole piece of fabric may have looked like from a two-by-six-inch scrap of embossed satin. ‘The Art of Fiction’ project (@artfictionproject) who had previously posted the page of the book containing these small snippets of fabric then uploaded this image onto their Instagram page. It was wonderful to get the chance to breathe new life into a beautiful piece of textile history and to then have this shared where it would most be of interest. Working as part of the DH Lab often means working with the wider University team, across both the Streatham site and Penryn archives, and this small project provided a micro-scale model of the creative community Digital Humanities forms a key part of.

As well as the chance to work on my own projects, shifts spent in the lab offered a variety of ways to process and digitise media. This involved spending time taking high quality 150mp photographs of 19th century playbills, school photographs from the 1970s and small letters that sometimes included absent minded sketches made by the author. As well as professional archival photography and audio-visual editing, the intern team were regularly trained on new equipment. These techniques included photogrammetry, namely constructing 3D models from repeated and slightly differing photographs, and RTI, photographs taken at different heights and angles of light in a specially constructed dome. These training sessions fed into our individual lab sessions in which I began my RTI work by processing handmade lace from a team member’s collection. From further discussions with Gary Stringer on his collection of textiles, he brought in a set of lace bobbins and explained the history of lacemaking itself, specifically regarding Bedfordshire lace. I was then lucky enough to try out a few basic stitches and am now searching for a set of bobbins for myself!

Although my degree and much of my work has focused on the humanities, I’ve enjoyed the more mathematical, technical side of work at the lab just as much. Taking on this placement with the lab has shown me how my degree significantly overlaps in the real world, using skills from both Art History and Mathematics together to produce digital resources. Both Julia Hopkin and Gary Stringer have provided invaluable teaching on the applications of coding, guiding the internship team through the basics of coding and Badger 2040 badges.

One of my last commitments as an intern was helping at the Open Day for the university, answering visitors’ questions and providing tours around the lab. It was the perfect day to bookend both my student experience and my time at the lab, showing potential Exeter University students around the facilities and speaking about how much the DH Lab has to offer.

Reflecting on my time with Digital Humanities, I would highly recommend anyone interested to apply to the internship placements. As a truly entry-level job, you work as part of a supportive and welcoming team to learn countless professional skills that are useful in any industry and provide you with a foundational knowledge of the work environment while you study. It has made what would already have been a memorable year even more so and I can’t thank the team enough for their enthusiasm and generosity!

Digital Humanities Interns 2023/24 part 1

Each year we ask our interns to write a blog post at the end of their time working with us looking back on their time in the DH Lab. Here is the first of this year’s blogs from Emily:

Hi – I’m Emily, a second year English and Communications student and 2023/24 intern here in the DH Lab. Working in the Digital Humanities Lab this year has been an amazing experience and one which has provided new ways to engage with my own academic and creative endeavors – my favourite aspects of the job have been developing new technical skills and getting the opportunity to support current research. 

At the start of the year, we received training in photography, photogrammetry, RTI, and eventually 3D printing. I really enjoyed seeing these skills build on each other with the progression from taking high quality images, to how 3D models can be made from those photos using Agisoft Metashape, and then learning how to use the 3D printer in the Makerspace to make physical objects from the models. Here are some of the models I made during training in the autumn term: 3D models by echircop – Sketchfab 

My favourite things I 3D printed were these articulated lizards, using multicoloured filament – these were always popular on open day tours too! 

Besides taking photos in Lab 1 and 2 to digitise a variety of paper archival collections, the projects I spent the most time on were audio and video editing. Firstly, I worked on the Cast in Stone project, editing interviews about the legacies and impacts of colonial statues on their local areas. I mainly cut out erroneous or irrelevant material from the interview audio and added title cards. This was a great opportunity to learn new software, as I had not previously used Adobe Premiere Pro, and I enjoyed getting to use my technical skills to make these interviews publicly accessible. They are available here: Cast in Stone Interviews 

A screenshot of the editing process in Adobe Premiere Pro

Alongside the other interns, I also worked on a set of interviews with Cornish farmers from the Penryn Campus archive. These were recorded on reel-to-reel tapes, which were digitised in Lab 3, and many had poor audio quality. I used Audacity to amplify the volume of the recordings and remove as much background noise as possible, which was a fun and experimental process of figuring out what worked best on each individual recording. Following this, I used software called TurboScribe to create transcripts of each recording. This came with some challenges, as the software couldn’t always accurately transcribe due to accents and remaining issues with audio quality, so a lot of manual edits were necessary. This project was a valuable experience of the many moving parts and various stages that go into audio digitisation, and how to stay organised during this process. We kept a detailed spreadsheet and notes so that the whole team working on it was continually updated. I particularly enjoyed the experimental nature of many parts of this project, as it allowed me to deepen my knowledge of audio editing and try out new things like transcription.

I have loved working in the DH Lab this year! It has been exciting to explore the wide range of activities that fall under digital humanities (alongside what I’ve already mentioned, I was able to learn about coding, handling different kinds of archival objects, and making digital editions of texts) and working with such a supportive and enthusiastic team has been wonderful. I would highly recommend any students reading to consider getting involved with the DH Lab by applying to next year’s internship or looking into HASS modules that engage with digital humanities – you might be surprised by what you can learn!

2D & 3D Photography Conference 2024

Between 29th – 31st May 2024 myself, Julia and Ellen had the privilege of attending the 2 & 3D Photography, Practice and Prophecies Conference held at the Rijksmuseum, Amsterdam. The conference bought together photographers, restorers, conservators, archivists, data analysts and cultural heritage professionals from all around the world to learn new techniques and share ideas. The three days were packed full of fascinating lectures, hands on workshops, eye-opening roundtable discussions and networking opportunities. A diverse range of topics were explored from photometric stereo, best practices for storing metadata, colour management, integrating RTI and Photogrammetry, digitising museum collections and the impact of generative AI on the cultural heritage sector.

The Rijksmuseum’s impressive auditorium and mega screen.

I really enjoyed the conference as it was very exciting to hear about the wide range of projects and new techniques that are being developed across the world within the cultural heritage sector. As someone relatively new to the field of 2D and 3D digitisation I really appreciated the opportunity to learn from experts. One of the main themes that stood out to me throughout the conference was the importance of collaboration to solve problems as 3D digitisation can be particularly challenging.

What I will take away from the conference is a greater appreciation and understanding of the importance of digitising cultural heritage objects and sites in the current climate, before they are lost or destroyed by environmental damage. While it is important to digitise these historic items before they disappear, digitisation still needs to be done purposefully and meaningfully. Therefore, when digitising objects in my current practice I will be conscious of not simply reproducing an object but doing it in such a way that preserves its uniqueness while also enabling people to learn something new about it.

Ellen (Digital Humanities Intern) who attended the conference as part of research for her dissertation project says: “The conference opened many opportunities for me, especially as it allowed me to learn about cheaper and faster methods of digitisation whilst still producing high quality images.”

The presentation which stood out to me was by Kira Zumkley who explored the expert vs non expert perceptions of 3D digital models of museum objects. I thought this was fascinating as she highlighted that perceptions of 3D models are not always positive. Where 3D may have the initial wow factor of showcasing what digital techniques can achieve, these displays can often get lost in museum settings. Therefore, it is important to ensure digitisation is meaningful and purposeful to engage new audiences. I also really enjoyed Lieslore Tissen’s presentation on the perception and application of facsimiles in museums, especially his discussion of cultural sensitivity surrounding the reproduction of certain items. Ultimately, it is essential that digitisation is respectful of the cultural customs associated with the object and the community where they originate from.

On the final day of the conference, I attended two interactive workshops as part of the experience. In the workshop on visualising the interior and exterior of 3D objects we looked at how a combination of photogrammetry and CT scans creates a much more detailed model and more interactive experience for those viewing the object. I hope to incorporate this technique into my own work and research.

The Responsible XR workshop was exceptionally interesting as it mostly explored the possibility of recreating historical spaces and stories in digital spaces such as the metaverse. This raised lots of ethical discussion over what is appropriate to digitally reproduce, whether personal letters or documents should be included. It also raises the question of can we ever truly recreate a historical environment without risking the spread of misinformation or letting personal bias influence how we present history in the digital sphere. The conversation also extended to include the question of inclusivity, particularly to the extent to which virtual reality headsets could be adapted for older generations and whether some historical content is suitable for younger audiences while not discrediting how gamification can help make history more engaging.

This experience has provided me with many opportunities and ideas that previously I did not think were possible. I am looking forward to incorporating what I have learned into my dissertation research, and I cannot wait to get started!

Thank you so much to the University of Exeter Digital Humanities Lab, Technical Strategy and Operations and the University of Exeter Library for funding this inspiring experience.

To find out more about the conference, visit the online magazine here

Can you spot members of the DH team? Image by © Rijksmuseum 2024

Gudrun Bennett, Digital Humanities Technical Assistant

Digital Preservation Day 2023

It’s World Digital Preservation Day! Two years ago, we posted about the work the DH team were doing to ensure the long-term sustainability of archival collections and the digital content we create in the Lab. Since then, we’ve been collaborating with colleagues from across the university to work harder than ever on digital preservation, and World Digital Preservation Day 2023 seemed like a great opportunity for an update on what we’re working on. 

Developing our capabilities in capturing legacy media  

Examples of media storage

One of the Lab’s specialities is safely capturing the contents of legacy media. In the past few years, the lab team and intern team have collaborated with colleagues in the Drama Department to digitise several extensive collections, including VHS recordings of Exeter City Football Club, and cassette tapes containing interviews with farmers from around Devon and Cornwall from the 1980s. 

We’ve also been working on expanding the range of early digital media we can work with – particularly to help the University Special Collections and Bill Douglas Cinema Museum access and preserve some of their older and more challenging collections. We are currently setting up two ingest workstations with tools like Bitcurator, and creating guidance for colleagues, such as a Field Guide to Legacy Media to help with identifying media types and the file formats and hardware they may require. Student interns in the DH lab and the BDCM have already been putting the workflows to the test capturing content from hard drives and floppy disks, with very successful results so far! 

Archiving project websites 

Our portfolio of research websites has also expanded since 2021, and we continue to work on making sure the data and interfaces of our websites will be accessible in the long term. Our first step has been using the Wayback Machine to create copies of website interfaces, to make sure a version will be available online even after the live site becomes unavailable.  

We have also been learning how to use tools like Browsertrix-crawler and Conifer to create our own web archive files. Finding ways to use the software to capture the wide range of content included on our websites has been a challenge, but we are now able to make our own copies of most of our sites, enabling us to deposit them in ORE (the University of Exeter data repository) and Zenodo, for secure long-term storage.  

Following our own learning journey, we are working on providing guidance to help web site users find and view the different sorts of web archives that we hope to make available. 

Open-Access Data 

As well as web archives, we have also been starting to deposit project datasets in data repositories, both to ensure their long-term safety and to make open-access copies available. The Exeter Digital Humanities community on Zenodo now includes datasets from the Lawforms project and the Hardy’s Correspondents project, available under CC-BY licenses. As current projects wrap up, we hope to continue to expand the collection of datasets there. 

Giving advice and raising awareness  

Finally, and perhaps most importantly, the DH team continues to work to raise awareness about digital preservation both within the university and beyond. Part of our role is supporting research teams from the early stages of developing grant applications right through to archiving project outputs, and we provide advice and support for implementing good data practices throughout. We provide regular training workshops on how to plan data management for funding applications. Recently, we have also given presentations about digital sustainability to conferences of researchers and heritage professionals, to encourage them to consider the long-term safety of their data from the beginning of their projects. 

Two years on from our first post, it’s great to look back and see how far we have come. We have really expanded the skills and equipment we have available, and the support we’re able to provide. However, we are pleased to say we are still learning and developing our capabilities, and collaborating with colleagues to put new skills into practice. Digital preservation is a never-ending task, and the University collections continue to provide a steady stream of new and exciting challenges for us all. 

Digital Humanities Interns 2022/23 part 1

Each year we ask our interns to write a blog post at the end of their time working with us looking back on their time in the DH Lab. Here is the first of this year’s blogs from Jane-Marie:

I am Jane Marie a final year Art History, Visual Culture and Classical studies student. I remember visiting the digital humanities lab on my open day at the university. I was immediately impressed at their wide range of technologies and the opportunity to become an intern at the lab.

Before starting the university, I had completed and art foundation course in graphic communication this meant I had some computer skills before I started the internship. At the end of my first year, I completed a short internship with the University of Exeter’s special collections team cataloguing the university’s Leonard Baskin Prints. Both experiences provided me with the necessary skills and interest to start my internship at the Digital Humanities lab.

Some of the modules I have taken during my time at university have been directly related to Digital Humanities. In my second year I took the AHVC Field study module as part of which we created a walking tour of Florence. From this module I learned digital mapping and audio editing skills. In my final year I took the ‘Hacking the Humanities: how to run successful digital projects’ module which paired very nicely with my work at the Digital Humanities lab.

Over the year as Digital Humanities Intern, I have assisted on a range of projects from digitisation to podcast editing. The most interesting and different project I have worked on is filming the CRAB Lab bees on the top of the Washington Singer Building.

I had no idea that there were any beehives on the Exeter university campus so to get to see them up close and personal was an amazing opportunity. I assisted in the filming of the video and had to wear a bee suit in the process. I was the responsible for the editing of the video.  

The challenge when editing this video was knowing what of all the information Zoe, the beekeeper, had told us was the most important to include. We also had a lot of “Bee-role” footage to intersperse with the talking. Another challenge I found was controlling the audio levels across the different bits of footage. As we where filming in a working lab space there was some background noise that needed to be removed from the footage. While editing I learned how to edit the audio to remove the sound without distorting the audio. This example shows the problem-solving skills you develop when working with the digital humanities.

Along side the projects we have also completed training in all aspects of the lab from the 3D printers to Photogrammetry. This has helped me build confidence in using the technologies of the lab as well as introduce me to unfamiliar skills which I found challenging such as coding. Completing these challenges as a group made them less daunting.

Overall, my experience at the digital humanities lab has been an incredible opportunity to learn a range of different skills some of which I found quite challenging and others I immediately clicked with. It has been wonderful working with the other amazing interns, the DHL team and aiding academics in their research and outreach.

Digital Humanities Intern – Isabel

Hi, I’m Isabel, a second-year history student and intern at the Digital Humanities Lab.  

I have been interested in the Digital Humanities Lab since my first open day before coming to Exeter. What inspired me was the idea that modern technology could expand our understanding of history and build on our current knowledge of the past in brand new ways. I wanted to find out what the Lab had to offer and what opportunities might be out there in the changing world of historical research.  

The biggest project I’ve been a part of this year has been working with the Disability Namibia Team (@NoBODYexcluded). I’ve led, recorded and edited interviews, ran website design and supported the social media outreach of this wonderful project which aims to build a network of disability activists, scholars, clergy, artists and political representatives to explore religio-cultural narratives of embodiment and disability in Namibia. It’s been wonderful to be a part of such a multidisciplinary project and something I would never have been able to do as an undergraduate outside of the internship.  

Alongside this has been my work with Dr Charlotte Tupman, Research Fellow in Digital Humanities. The project has mainly focused on exploring the OCR – Optical Character Recognition – capabilities of the ABBYY FineReader software when it is presented with a book’s text and measuring its abilities to transform early modern script into computer-readable XML format. My favourite aspect of working on this project has been its investigative nature, finding out how best to use this technology and what might soon be possible as the project advances.  

Other than this, my favourite parts have been working with special collections and with the Lab’s 3D printer. As an intern, I had the opportunity to learn the ins and outs of working with historical collections, including how to handle things such as books, pamphlets, lantern slides, and photo negatives and I loved that I could learn skills I could take away with me into a future in humanities. 

The 3D printer has been a brilliant opportunity to discover my creative capabilities at the DH Lab. Working with the Ultimaker 3D printer, I was able to make two small and adorable models that made great Christmas gifts for friends and family! The first of these was the goose. Initially, the software was uncertain whether it could print something with such an overhang at the neck when there were no materials available for making a temporary support. But, I was able to adapt settings and re-scale where necessary until I could print the goose I have today. The second was this puppy. By this time, I could use what I had learnt from my experience making the goose to confidently scale and print the puppy ready to make a gift at Christmas. So, not only do I know how to set up a 3D printer, operate the software and print anything I’d like, but I now have these two little pets to call my own!  

3D printed model of a Goose and Puppy

My tips for anyone considering an internship at the Digital Humanities Lab would first be: apply! It’s a brilliant opportunity and a great place to work. This internship has given me an opportunity for a wealth of experience and knowledge unique to the Digital Humanities Lab here at Exeter. 

Photography at the DH Lab

Here at the Digital Humanities Lab, we are called upon to photograph a wide range of objects, which means we often have to come up with creative ways to position them our lab copystands. I have recently been working on digitising a set of bound letters, for which I am using the 150MP camera in Lab 1. However, it took me while to work what the best way of setting up the volumes would be, as it became clear that the glass platform we usually use for keeping books flat for photography was not the most appropriate option in this case. For one thing, as each letter in the volumes was written separately, and later brought together into one book, any given double page spread was likely to cover two letters, rather than one. As I wanted to have each page of the letters as separate images, this made things tricky, and if I’d carried on I would have had to crop each image twice and export it twice as well. This also made the metadata that I created for this first dozen test images difficult to write as well, because almost every image contained a page each of two letters, meaning I was writing two rows of metadata for one image on CaptureOne. Another issue with the glass platform is that once I got more than a few pages in on the first volume, it started to squash the pages on the left-hand side of the book in such a way that they covered the first two or three letters of each word on the right-hand side. After all this, I decided that I needed to come up with a better way of doing things, and started again from the first page.  

Manuscript book being digitised

I knew that the pages of the book were too tightly bound to be able to lie flat unaided, so when I put them on top of the copystand, rather than under the glass platform, I tried holding down each page using a system of bone folders and weights to hold them up and in place. This works for pages made of quite thick paper and are naturally heavy, as I had found when I digitised a photo album from the university’s archive earlier in the year, but for the lightweight springy paper of the bound letters, this wasn’t as effective. As I was now moving the book for each photograph, so that only one page was in view of the camera, this method involved a lot of adjustment, and the bone folders always ended up in shot because they had to be a certain way onto the page to hold it down properly. The next method I came up with, after I had taken perhaps a hundred or so photos in this manner, was using strips of polypropylene cut from a roll. This material is normally used in museum displays for holding down pages of a book on a particular page, so I thought that it might work here. I cut two strips, one for each side of the book, put them round the page and cover vertically, and secured them at the back using paperclips so that they were taught. This was a much better solution than the bone folders, as it held the pages down almost completely flat, and all that was needed was a weight underneath the higher side of the book, which could be taken out once the pages levelled out. The downside of this method was that, like the bone folders, the polypropylene stood out in the photographs compared to the paper of the letters. Although all the writing underneath the area was perfectly readable, it was very obvious, and inconsistent with the standard methods for digitising letters. However, I was unable to come up with a different solution at that stage, so I completed the first and second volumes using this process; adjusting the length of polypropylene around each side of the book as the pages built up or decreased.  

It was once I was about 20 or so pages into digitising the third volume that I stumbled across the approach that I am currently using. I was watching a recorded AHFAP (Association for Fine Art and Historical Photography) online event from 2020, which featured a talk from Jo Castle from the John Rylands Library at the University of Manchester. She was speaking about the library’s project to digitise the archive of Heinrich Simon, namely the eight books known as The Simon Papers. As these books were made up of pages and scraps of paper of all different sizes, with many flaps and pages glued in, the digitisation team came up with the idea of using nylon monofilament secured between leather weights to hold down the pages as they were photographed. This was especially good for holding down the smaller pages in the middle of larger ones. Having watched this talk and seen how effective a method it was, I was able to acquire some finishing line from our Lab Manager Gemma.  

Digitising a book of bound letters

As you can see from the pictures, this has proved a success, and in the final exported images, the fishing line is barely visible, especially compared to the bone folders and polypropylene. We have already utilised this method for another project in the lab, and I hope it will continue to be a viable option for digitising tricky material in the Digital Humanities Lab.  

Uploading the Exeter Book – A behind the scenes look at digitising a literary treasure

Book on photography standThe new online platform for the Exeter book is now live, making one of the oldest surviving volumes of English literature in the world fully accessible to the public for the first time.  

The new platform has already been generating lots of interest, especially through Exeter’s role as a UNESCO city of literature, and since this kind of digitisation might be new to many of those interested, we thought we’d share a behind the scenes tour of what goes into creating the high definition images that make it possible to explore the tiny details of a 1,000-year-old manuscript on your phone. 

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