Kategoriarkiv: English

Weblog posts in English

When in Blackpool, don’t miss the public library

I was in Blackpool late September 2022 for a concert and I didn’t have a clue about the place. A Mancunian friend said it was one of those seaside resorts that had its heyday in the postwar decade (when it received 17 million visitors a year) but that it now was the perfect embodiment of Everyday Is Like Sunday’s line ”this is the coastal town that they forgot to close down”.

A glance on the Blackpool Wikipedia article says the town grew into a popular destination for the working class in the mid-19th century when Lancashire cotton mill owners took turns to shut down their factories for maintenance one week per year which provided a steady stream of visitors to Blackpool. Famous for its promenade, piers and perhaps especially its electrical lights – it was the first municipality in the world (1879) to have electric street lighting and its electrical tramway (1885) is also one of the world’s first. The (according to British friends apparently very famous) Blackpool Tower, inspired by the Parisian Eiffel Tower, was opened in 1894 and was at the time the tallest man made structure in the British empire.

The increased popularity of package holidays abroad meant Blackpool lost its traditional tourist crowd and as I understand it’s now mainly day tourists who go there, and not nearly as many as before. However, tourism remains a pillar in the town’s economy. A fun fact is that Blackpool shares its etymology with Dublin on the other side of the Irish sea: Dublin is derived from Irish Duibhlinn which means ”black pool” (though the common name for the city in modern Irish is Baile Átha Cliath, ”town of the hurdled ford”).

Knowing a bit about Blackpool’s history, it’s not surprising that it’s also home to a Carnegie library which serves as the main public library of the town. The Carnegie libraries were built between 1883 and 1929 with money donated from the Scottish-American philanthropist Andrew Carnegie and of the 2509 libraries, 660 are located in the United Kingdom and Ireland. What makes the Blackpool Central Library unique among Carnegie libraries is that it has a portrait of the philanthropist. As you ascend the stairs and reach the upper floor (which hosts local history collections and the Brunswick room) the donor’s gaze meet you from a stained glass window. This part of the library was closed of for renovation when I visited but the lovely librarian Jools showed me the closed section and also told me the story about the rare Carnegie portrait.

The public libraries of Blackpool have seven other branches that together with the Central Library serves the town’s population (~141,000 people). What really struck me with the Central Library was that it was so colourful. Many Carnegie libraries (and other libraries from the same era) I’ve visited look very similar, with white walls and an old fashioned sense of a library space trying to fit in with modern services. It’s hard to put my finger on it but I think it has something to do with only shelves, furniture, and signage dividing the space into different sections, whereas in Blackpool painted walls and decorations are used to create spaces (for example the children’s section). Then again, perhaps this only reflects my personal opinion about white walls being inherently uncosy, it seems to be a ”neutral” standard in apartments as well and I’ve rented plenty of places where the walls had to be covered in posters and photos to combat the eerie feeling of being lost in a desolate snowstorm. Either way, the colours of Blackpool were wondrous and if I remember correctly the decorations had been made by a local artist (maybe even a former staff member?) and the imaginative bookcase seems to have been built by local dads.

Supporting dads through collaboration with the charity Dads Matter UK was an interesting focus that I haven’t really noticed in libraries before (maybe I’m just unobservant) and it made me think about libraries as an important place for such activities. Libraries are neutral and open spaces and even if you go their for peer support groups to help with your anxiety etc. no one seeing you at the library would immediately know the purpose for your visit – you might just as well be there to print documents, get books with your children, or use the bathroom. The broad scope of library activities (and activities taking place in the library) by design helps protect the privacy of the individual who participates.

My usual library tourism is just popping in at the public library in the place I’m visiting and have a look around. If no people are around I might take some pictures and I’m a fan of studying the event boards to see what kind of activities libraries and their partners (for example local organisations) arrange. Sometimes friendly library staff ask if I want any help and sometimes this will lead to a short conversation about me being a librarian and that I like visiting libraries whenever I travel somewhere. In Blackpool I started talking to librarian Jools who prompted by my story started sharing facts about the library and the town. Unfortunately, I got to the library just 15 minutes before closing time on September 28 so we didn’t have much time, but Jools kindly invited me back the next day to see the upper floor and to hear more about the library’s activities.

One remarkable feature of the library is the stained glass windows that were made for the library’s centenary in 2011. They were created through consultation with community and staff members and the themes of the windows reflects Blackpool’s history, present, and future. By each window there was a sign explaining the window and I’ve included an image of the Freedom window explanation in this post (the text: FREEDOM: Words, knowledge, ideas all create new ways of thinking and ways of living. This window celebrates freedom of thought and speech.) I’m sure anyone familiar with me or my research can imagine how much this resonates with me. You can read more about the centenary redesign of the library here, or the making of the stained glass windows here.

The library also offers a lot of activities to support its community’s social, reading, and IT skills needs – among other things (see image of the event board to explore further). When I met Jools the next morning she had just broadcasted a digital story event through the library’s social media. Here’s an example of a digital story session on Blackpool Libraries’ facebook page, and below is an image of the studio which was a corner of her office. I’ve understood (not just based on Blackpool) that in many public libraries digital events have started and/or expanded during the pandemic, and they continue to be a vital part of post-pandemic library services to make sure the library can reach all of its users.

There always more to say and write and tell, but I’m wrapping up this post and I hope your curiosity will lead you to this amazing library one day. Going back to my British friends who said Blackpool was a rundown resort that had seen its best days I’d have to say that whatever else in the city may lead to this impression the library certainly doesn’t. It is such an imaginative, beautiful, and friendly space and I hope and assume that Blackpool citizens share my sentiment about the library.

What on Earth Happened with the IFLA Trend Report?

IFLA’s 2013 Trend Report is a highly insightful and useful document which in retrospect seems to be well ahead of its time. Looking back at the information landscape that year, the SDGs, the AI boom, the pandemic shift to digital education and communication, and the Cambridge Analytica scandal were yet to come. Edward Snowden’s leaked classified NSA documentation the same year, and Dr Olivier Crepin-Leblond’s leading statement (see below) in the insights document was not common knowledge, I think, among librarians:

Data collection today is not constrained to the Internet: it is present in every action in the “real” world too, from shopping to travelling, working, etc…if this is left to Technology, we have passed the point of no return: today it is technically possible to follow someone in their daily life simply with image recognition, their mobile phone, their credit card and their Internet use.

There was an extensive literature review, expert submissions representing a broad range of experts (a wide variety of NGOs, academia, industry…), and a thorough process of meetings and debates to discuss and develop approaches to the trends. I attended a workshop about the trend report at the BOBCATSSS student conference in Lyon in 2016, which I apparently also wrote about (I honestly have no memory of this, but it was two weeks before I moved from being an MA student in London to become a policy and advocacy assistant in The Hague, so maybe I offered? I was looking for the original BOBCATSSS 2016 web page but the domain seems to have been overtaken by some marketing business bent on preying on library nostalgists like me). Btw I was attending the conference to give a badass workshop on EU copyright reform. B) Light blue colour on text to make me seem more humble, hehe…

”Who’s profiting from your personal data?”, CC BY 4.0 IFLA

In short, it was good work. Built on facts and dialogue. The insights document is still used in information studies courses to teach future librarians. It was part of the curriculum in a course I taught at Åbo Akademi University in the autumn 2021 and it gave me many ideas on how to take the discussion further. One of the course assignments was to discover and present new trends – or rather updated trends with a national policy twist – relating to the original document. This inspired great ideas and discussions in the class room and I got a really positive vibe about the future of librarianship (to be fair, interacting with students will almost always spark joy as they have not yet found themselves locked in the working adult’s mantra of ”avoiding and accepting things” (sv. förhålla sig till och finna sig i saker) but continuously question the order of the world and take innovative approaches to solving its problems).

While the original document was built on facts and dialogue, the 2022 update (subtitled A call for radical hope across our field) seems to build its narrative on emotions and anecdotal evidence.  Shying away from the broader perspective of a global information society it seeks to present ”ideas for how we – as a field and as a federation – can make ourselves ready not just to face, but to make the best of the future”. A pep talk document? The document has been co-written by IFLA’s emerging global leaders, i.e. a group of young library professionals who (as far as I understand) were appointed leaders by receiving WLIC conference grants in 2022.

Who are and who were the international library leaders?

I think this new IFLA approach to international library leadership is quite interesting. Some might remember the IFLA International Leadership Programme, ILP, (you might notice I’m using an Internet Archive Wayback Machine link – it’s surprisingly difficult to find any information about ILP on the new IFLA website – the old links are dead and if something still can be found on the webpage it’s not through the site’s search function which clearly was not made by a librarian), which was a ”two-year Programme designed to increase the cohort of leaders who can effectively represent the wider library sector in the international arena, and to develop leaders within IFLA.” This programme was developed and initially led by the amazing Fiona Bradley, with the second round skilfully led by the current acting secretary general Helen Mandl, and its

”activities may require the participant to undertake a number of tasks including: evidence-based/secondary/comparative research; writing documents such as policies, submissions, interventions, statements, speeches; liaison with other bodies at national, regional or international levels; representing IFLA at international or regional forums…”

The associates for the programme were required to have some seniority in their leadership experience (”It is expected that participants will already have demonstrated their leadership within IFLA and/or a national or regional association that is a member of IFLA”). I’m not sure why this programme was discontinued and why international library leadership now seems to focus on new talents who will be ”the leaders of tomorrow”, but I do think it has an impact of what you can bring to the table when updating one of the most visionary and insightful documents IFLA has produced. I mean, I am young (34 thanks for asking) and quite brilliant, but I’m no Divina Frau-Meigs (… and that’s about as humble as I’ll get).

Self-agency and global action – important building stone or distraction from target?

I think the lack of experience and inspirational aspiration might be the explanations for the content of the 2022 update. Obviously, I do not take issue with the thoughts of the emerging leaders – my criticism is toward the decision to use this particular publication as a feel-good pamphlet for IFLA’s bizarrely abstract strategy (we all have different interests and I happen to think that a library related strategy document in the 2020s that mentions neither ”information society”, ”copyright”, ”AI”, ”privacy”, nor ”open science”  is a bit removed from reality).

In the 2022 update ”the ideas shared have been structured according to the four pillars of IFLA’s mission – to inspire, engage, enable and connect the global library field.” Building on these pillars, the update presents ”our own to-do list in the coming years if we are to be ready to seize the opportunities and face down the threats that lie out there for us.” Here is a summary for The recommendations for our field, and I have taken the liberty of emphasising some of the words:

1. We need to see libraries as players in a wide variety of policy areas
2. We should be more open in where and how we engage in
advocacy, making a wider variety of issues our own
3. We should intensify and improve our own advocacy

4. We need to adopt a broad definition of our field, and ensure that
being part of it is synonymous with action
5. We must see outreach as key to achieving our missions

6. We need to feel a sense of agency in the face of the future

7. We need to embrace and share innovation

8. We need to see ourselves as a core part of the education
infrastructure
9. We need to support emerging leaders as
a core plank of sustainability, while also seeing that we all have potential to develop
10. We must make connecting with others
in our field an integral part of our practice
11. We should invest seriously in our
connections with partners and supporters

What I’ve emphasised are wordings that I interpret as related to some kind of inner development for the individual librarian (maybe also the organisation). To take action in the world, we need to take action with ourselves first. This is a very interesting rhetoric that I also recognise in the Inner Development Goals, a set of goals created because someone realised that the reason the progress of the SDGs is so slow is because ”we lack the inner capacity to deal with our increasingly complex environment and challenges. Fortunately, modern research shows that the inner abilities we now all need can be developed.” The IDGs lists skills we need to drive this change, for example ”a commitment and ability to act with sincerity, honesty and integrity”, ”skills in inspiring and mobilizing others to engage in shared purposes”, and ”willingness and competence to embrace diversity and include people and collectives with different views and backgrounds”.

Why are strategy documents moving in this emotive direction? Is it related to the post-truth society, misinformation, and lack of trust, meaning that the ground for trust and collaboration we now have to build on is not a common mission (e.g. ”reform copyright!”, ”literacy for all!”) but a common sentiment (e.g. ”we feel knowledge should be accessible to all”, ”we feel we should be open to new innovations”)? Either way I think it’s safe to say the set of recommendations are far removed from the questions asked in the initial trend report, compare for instance ”We need to embrace and share innovation”, ”We need to feel a sense of agency in the face of the future” with ”Who will benefit most from the changing information chain? And how will our regulatory frameworks adapt to support an evolving information chain in the new global economy?”

Quo vadis, IFLA?

There is also a list with recommendations for the federation. A main problem for me is that many of these recommendations are so vague that they are hopeless to take action on (” We need to make links between global issues and individual experience”; ”We should understand our field and its needs and how to support it most effectively”).

I had originally copied and commented a lot of text from the 2022 update because there is a lot to comment on. I even made a new subheading: ”An idea store for the Newcomers Session”. But I felt it was a bit useless to comment on specific paragraphs because I do see what this document (as a whole) is trying to do. I don’t fully understand its purpose but I do see how some people could be inspired by it.

What I don’t see is how it can be so far from the original document, and how it doesn’t relate to trends and the trend report at all (unless we count inner development or being inspired as trends). Only if you squint you can see some relevant highlights in the 41 pages long text. For example on pages 25 and 34, where the open movement, urban development and public health are discussed in some (small) detail. The original trend report is not referred to but one could make the connection.

Interestingly the document ends with ”this report is all about the steps we can take in order to build a sustainable future for our field”, cementing that this trend report and maybe even IFLA’s work in general, is mainly about our field. Ironically it then ”calls on readers to think outside of the box” – I suppose it means outside the box, but not outside the books? Pun intended.

The end

Actually, it doesn’t end there. The last few paragraphs are inexplicably dedicated to an assessment model you can apply to your national library field: ”You could start by looking at them individually and assigning a score, before having a group discussion where you compare assessments…”  I wouldn’t say such evaluation methodologies are a particularly good example of out-of-the-box thinking, but sure, I guess it is a way to put numbers on a text that has been heavily dependent on feelings and impressions.

”Multiplying the scores by the weightings would make it possible to come up with an index of sustainability, which in turn would make it possible to identify in which areas you could be focusing effort in order to boost your overall performance.”

An index of sustainability.

At this point I’m just speechless.

In Memoriam Aaron Swartz 1986-2013

Today marks the tenth death anniversary of Aaron Swartz, who died far too young. The tragic event still casts a long shadow over MIT, the US government, and copyright extremists so hopelessly behind in time. When I feel stuck in my thoughts or when I struggle to find meaning with what I do, I go back to these words by Aaron Swartz:

”What is the most important thing you could be working on in the world right now? … And if you’re not working on that, why aren’t you?”

Aaron Swartz advocated public access to information and was involved in the Open Library project, which recently has been under attack from publishers who claim that ”the Internet Archive is engaging in wilful mass copyright infringement” because of their National Emergency Library, where they made all their books more readily available ”to meet students’ and readers’ needs while schools and libraries are closed at global scale”. There are certainly different ways to tackle a global pandemic.

Let us never forget Aaron Swartz. Let us continue to work for what he stood for and continue on the path he staked out. And if you haven’t seen the film about him, The Internet’s Own Boy, go watch it now, and then share it with everyone you know.

”I love libraries, you know. I’m the kind of person who goes to a new city and immediately seeks out the library.”

True North? Yes, All Library Compasses Point at Lancaster University Library

Whenever I’ve heard Lancaster I’ve thought about Safe Warm Lancashire Home. This all changed the past summer when I went to the LIBER conference in Odense to give a presentation on cultural heritage hackathons and met Andrew Barker, university librarian at Lancaster University, who spoke about enhancing digital discoverability of special collections in the same conference session. The thing that really got my attention in their presentation was when Andrew presented Lancaster University as small enough to innovate and build community, putting them in a great position to explore new practices – ”Through disruptive innovation, we will build lasting change” I quoted in my tweet from the event (here are some of my other LIBER tweets, in case anyone’s interested).  Being ”small enough” means the university is not so big that any innovation gets immediately drowned in bureaucracy and conflicting interests, and still not so small that the organisation has too few resources to be able to innovate. It seems to me to be a sweet spot for library innovation, and the approach (disruptive innovation! lasting change!) really speaks to me. I would’ve applied for a job on the spot if I wasn’t already so pleased with where I am right now (and also because of Brexit).

As I had already planned to spend a few days in Manchester after my conference marathon in Ireland I asked Andrew if I could stop by for a visit in early August and to my utter delight he said yes, so on August 3 I took the northbound from Oxford Road towards Windermere, passing old cotton mills and the stations of Wigan and Preston before arriving in Lancaster, a city built of yellowy gray stones rather than the Mancunian red brick buildings I had just left. I walked into town and switched to a city bus taking me to the campus of Lancaster University, situated south of the city centre and built in the 1960s. The buses normally stop in the Underpass (oh stop it with the Morrissey references!) which would immediately take you to Alexandra Square, the university’s main plaza, but during my visit there were some Underpass and road closures around campus (makes sense do to the traffic work during the summer holidays) so I arrived at the library gates from another direction, after having stealthily followed some other bus passengers who didn’t seem as lost as I did, hehe.

Alexandra Square at Lancaster University

Alexandra Square at the centre of Lancaster University. Library entrance to the left in the inner corner.

Because of the summer holidays a lot of my pictures will look quite empty. However, walking around the campus it was really easy to imagine how vibrant and welcoming it would be during the year, buzzing with students and staff on their way to lectures, people, and places, enjoying their coffee and their discussions in one of the campus cafés (I had one of the best coffees I’ve ever had when I was there so the coffee really is worth mentioning – that was some proper intellectual fuel!)

I entered the library and was welcomed by Andrew who gave me a splendid tour. The library is still located in the same place as when it was opened by Philip Larkin in January 1967, and it has since been extended twice, I think, with the most recent extension being opened in 2021. If you don’t know what you’re looking for, these extensions are quite hard to notice in the library. The spaces flow seamlessly into one another, very clearly giving the impression of one library (rather than spaces being divided into the old part and the new part, which is quite common in libraries with extensions, cf. Carolina Rediviva and Turku City Library).

In the newest extension, which is built to reflect the new vision of the library, there are 450 new study spaces (that’s a lot! as a comparison reading room A at Carolina Rediviva has 82 study spaces). The spaces are divided into different areas, taking into account sound levels, types of furniture, open spaces and smaller nooks, computer equipment… all to cater to different needs and wants of the library users. This is obviously quite common when building or remodeling library spaces, but nevertheless exciting to see because of the level of ambition and the success of it in the Lancaster library. I was overwhelmed by a sudden need to sit down and study in at least five spaces we passed because they looked so inviting and pleasant, it was like balm for the mind.

All floors of the building had been gifted with green walls. They’re described in the press release as ”[l]iving walls of expertly selected, glossy, vibrant plants, intermittent trickling watering systems and an array of tastefully chosen, stylish furniture all add to the calm, relaxing environment” and I think that sums it up quite well. Why we don’t make these everywhere? It seems like the kind of thing that could be easily incorporated into older buildings as well? I felt like Alice in Wonderland when I took the spray bottle and followed the ”please mist me” instruction. I’m sure it was more therapeutic for me than the plants – I just had to take a five minute break in writing this to reminisce about this moment.

While on the topic of green in the library, I also got to meet the library tree Norma! The tree was named through a vote where 41,5 % of the 1330 votes were cast on Norma (I’ll just assume Tree McTreeface was a close second).  The tree grows in an inside courtyard which is also a space for events in the library (such as the university librarian DJ’ing to welcome new students or library festivals!). Since the study spaces on the floors above this courtyard are silent reading spaces there has to be a careful balance between events and study spaces so as not to disrupt too much. However, there is quite a large amount of silent study spaces elsewhere in the library, so when events do take place it’s quite easy to temporarily redirect users in need of quiet spaces to other parts of the library.

Another place for silent studies is the main reading room, a room I really enjoyed because of the different type of desks and because of the amazing light in that room. It had a temple-like feel to it. To give you an impression of the library as a whole I also added some images from the third floor bridge below. The library is generally very spacious and very bright. I like that. It’s a bit like being in a Star Trek city in the future, you know the ones from TNG when it was still very utopian.

We also looked at the space for postgraduates in the library which was currently being refurbished to better suit the needs and wants of the postgraduate students. It took me back to the time when I was active in the student union at Uppsala University and advocated for specific reading rooms and/or spaces for master students at the university library. There had been a decrease in the use of reading rooms at the library, partly because doctoral researchers over time had gotten better working conditions (such as salaries and offices), so one way to repurpose this reading rooms would’ve been to dedicate some spaces to students. However, specific spaces for master students were instead organised by the faculties and usually in leftover rooms in the campus buildings (mine was in a basement and we rarely went there), completely disregarding the potential synergies of an interdisciplinary research environment. I still don’t know why but I assume this was related to either money, prestige, or a siloed organisational structure (or possible all three). Either way, things hadn’t changed much when I came back to work as a librarian at the same university a few years later.

Looking at Swedish higher education statistics we do have steady increase of international students who come to Sweden to study at master programmes (97 % of the incoming freemovers were studying at a programme in 2020/21 – most of them at a master programme – compared to 80 % in 2013/14, and most students who pay tuition fees are in master programmes as well) so in one way it’s baffling that we’re not better at adapting our higher ed infrastructure (including libraries) to accommodate for this group. The post-Bologna master’s craze led to many new programmes but I feel we’ve missed something crucial in creating the best study environment for this group – both regarding spaces and events. This group would also be less involved in student politics, for several reasons, so it’s hard for (especially international) master students to efficiently advocate their interests.

Anyway, comparing those experiences with the development of the postgrad spaces in Lancaster shows what a university and university library could be like, and how they could work with their users to make the best out of everything for everyone. However, the last I heard from my library (I’m on leave until 2024 for my doctoral research) didn’t make me super hopeful about a positive, student-friendly development during the next 10 years… ¯\_(ツ)_/¯ Maybe the student union needs another library focused student union party? (Yes, I was in one of those. It was started by the magnificent Moa Ekbom.)

Last but not least (there is really so much more to say about my visit to Lancaster University Library, so maybe I’ll add more to this post later on), a thing that really impressed me was the fiction collection which aimed to function a bit like a public library, a cultural living room, for the university students. Since the university is situated on a campus a bit out of town, and students tend to live on campus and spend a lot of time at the campus, it becomes a sort of small society in itself. It is therefore natural and necessary that the university library takes on a wider role for its community than, say, a university library within 10 minutes walking distance from a public library would do. The collection on the photo is meant to provide leisure reading for the students, and other activities and events at the library (such as the festival mentioned above) also bear witness to how the library consciously takes on this pivotal role. When Andrew explained this mindset I was very impressed by the fact that university library management could so astutely observe and act on their role in the wider scheme of things. Well done!

Leisure reading in the fiction collection and the library as a campus living room.

Wikimedia+Libraries International Convention 2022 in Maynooth

I had the pleasure of attending Wikimedia+Libraries International Convention 2022 in Maynooth just outside of Dublin on July 23-24. I got roped into the convention through librarian extraordinaire Laurie Bridges, and they suggested I join the scholarship committee to help assess applications from scholarship applicants. It was interesting work and I noticed it was quite similar to assessing scholarship applications for my student organisation V-Dala Nation where I once served as scholarship secretary (although in this case much less financial data and less extensive spread sheets – thankfully!)

The library, Maynooth University – Leabharlann, Ollscoil Mhá Nuad. Photo by me, CC BY-SA 4.0.

The setting for the convention was the beautiful library of Maynooth University. I didn’t take a lot of pictures of the library, but it was a beautiful, bright building with great spaces for studying, teaching. and meeting people and I could really picture myself as a student enjoying spending time at the library.

The conference started of with an excellent keynote by Dr Nkem Osuigwe, one of my library role models. Their talk was titled Wikimedia through the Prisms of Critical Librarianship, and I really appreciated the critical take on librarianship which I feel is sometimes lacking in the Nordic LIS field. According to Osuigwe, critical theory

examines what exists in society/particular field and,
challenges assumptions and practices,
asks questions about historical, economic, social and cultural issues underpinning practice,
interrogates whose perspective is being heard/seen and promoted in existing structures and systems,
views how the frameworks and standards of existing structures and systems came to be, and
configures in social justice

and it’s employed to

– explain what is wrong with current realities of praxis
– identify those who can think through critically to suggest and drive change, and
– provide practical pathways for social transformation as well as more criticism.

These extracts are verbatim from a couple of slides in Osuigwe’s presentation and I find them very relevant. For me, being critical of something is not negative criticism (which I think it’s often interpreted as!) but rather something that drives positive change in an organisation. The last four years I’ve worked at a university library and I think there has been a shift towards being an isolate service provider rather than being an intellectually driven integrated part of the university driving change through its activities. It’s both the activities the library does as much as the general mindset that cause this. For example, the shift to open science (a value libraries typically advocate) is hindered by bureaucratic obstacles and complacency. It sometimes seems as critical theory is left at the door when one moves from library education to the library profession. I have never been able to accept this since I believe critical thinking is a skill you acquire for life, not for education. This has put me in a tight spot several times in my professional career!

As you can see, Osuigwe’s talk helped me critically assess my own professional situation, which is very valuable to me. But of course the talk had a broader impact as well and I appreciate how they placed Wikimedia as an emancipatory tool to support fundamental human rights, such as freedom of expression and access to information. According to Osuigwe (and I agree!) ”a core aspect of critical librarianship is that librarians are activists by calling as they defend intellectual freedom and promote cultural resistance irrespective of prevailing political, economic and social attitudes that promote the ’caging of knowledge’.” They also mentioned that the default setting of a library is open, and this is worth mentioning because I think there is an idea that libraries are neutral, which is all good in one sense, but what happens when neutral is in conflict with open?

Libraries, politics and activism is something I briefly mention in this article in Biblioteksbladet (in Swedish), regarding climate action in libraries. The shortened quote makes me sound very harsh, but I do think there is a certain anxiety in Swedish libraries regarding anything that might be considered ”political”. In this column on Wikipedia in Bibliotekbladet (in Swedish) I theorise that our perceptions of power is at the core of how Swedish librarians act and think about Wikimedia, activism and other issues – there seems to be preference for hierarchical structures rather than a flat power distribution. I wonder if responsibility is at the core of this (i.e. when do want to assume responsibility, and when do we prefer to be indifferent and unconcerned) and if it is connected to the move from critical librarianship in library education to the neutral public servant in the library profession.

Osuigwe also underlined how Wikimedia encourages the plurality of voices, for instance through linguistic availability, and this theme was also something that came up in Michael David Miller’s presentation in the session A Booktalk: Wikipedia and Academic Libraries, A Global Project (presentation available here) where they talked about the LGBTQ+ content of francophone Wikipedia and how they had discovered it wasn’t really representative of the francophone communities, but mainly consisted of articles on events in the United States (see image from presentation below).

LGBTQ+ Content in Francophone Wikipedia, presentation by Michael David Miller (page 16 in this presentation, CC BY-SA 4.0)

This highlights that even though translation of articles about important people and events are prevalent, the Wikipedia content might not be representative of the community that is reading the encyclopædia and this is an issue that must be dealt with, since it creates a sense of invisibility. As Miller quoted Kelly Doyle:

“The cultural capital of Wikipedia is such that existence within it denotes a level of power and importance. The phenomenon of considering something or someone truly significant or insignificant, through its presence or absence on Wikipedia, can be a damaging one.

Or in their own words: Ultimately, I want to exist. Of course a large part of the presentation was focused on how they had attempted to solve this issue: McGill University Library (where Miller works) had in partnership with Bibliothèque du Centre communautaire LGBTQ+ de Montréal and the Café des savoirs libre organised LGBTQ+ contribution events, which had resulted in new articles being created on historical LGBTQ+ events and spaces in Montréal, Montréal drag queens Rita Baga and Barbada de Barbades, and queer Quebecois authors Kevin Lambert and Antoine Charbonneau-Demers.

Miller’s presentation was very inspiring and it gave me the idea to try to organise a similar editing event focusing on LGBTQ+ articles in Swedish Finland, perhaps in collaboration with the organisation Projekt Fredrika r.f., which aims to increase access to information about Swedish Finland on Wikipedia (mainly on Swedish Wikipedia, but also in other languages). We’ll see how that goes! Anyway, if you want to read more about Miller’s (and other cool people’s) projects the book Wikipedia and Academic Libraries can be found here.

Wikimedia+Libraries International Convention 2022 – Group photo. Photographer: B20180, CC BY-SA 4.0

There so many more things to mention from WikiLibCon (so many great people! so many awesome ideas! and I chaired a session for the first time in my life!) so maybe there’ll be a part two to this post, we’ll see! In the meantime, you can check out my tweet feed for those days which lists the highlights as they happened!

A Quick Stop in Holyhead

Since the early 19th century Holyhead has been the primary sealink along the route from Dublin to London. Departing by ferry from Dublin I had a couple of hours to spend in this town before taking the train to Manc’r.

The face accurately describes the feeling of not being able to find the library. Also, the post office was in the opposite direction.

As one does, I immediately headed for the local library. On the way I dropped in at the post office to buy new stamps for my Dublin postcards – this morning when I left for the port I could not find a post box to save my life, and of course there wasn’t one at the ferry terminal.

The library turned out to be quite hard to locate, as the map location led me to a location which advertised hypnotherapy. While libraries continuously branch out to stay relevant, it’s still customary to use the word library, so I did some internet searching for alternative locations of the library.

Not a library.

Turns out the library moved into a new location three years ago and was now situated in the old market hall. They had moved there in late 2019, and so because of covid hadn’t had too much time to use the community spaces at the centre of the new library.

Main space in the library. Upper floors are office spaces for tent, mezzanine floor consist of library collections.

Even though there are quite few Welsh speakers in Holyhead, all signage was bilingual. I was recommended a book called Welsh in 12 Weeks by the librarian and I am very tempted to order it online. The librarian taught me the correct pronunciation of llyfrgell (literally ‘book cell’) to get me started (ll is voiceless in Welsh! So I assume lloll is some kind of wheezing laugh).

One of several meeting spaces library users can book.

Like in many new libraries, there were plenty of places to meet other people in this library. This mirrors the original use of the market hall, which according to the exhibition on one of the walls was the social and cultural centre of Holyhead in past times, hosting events and exhibitions on Dr Livingstone’s travels, Egyptian artefacts, and more. As a library in the centre of the community it has the same potential now.

Main hall from the inside, with main entrance and information desk at the far end. To the right an exhibition about the market hall.

The library staff was very friendly and happily shared facts about the library with me. After signing the guestbook (such a nice touch! Apparently they get a lot of cruise ship visitors) I went down the street and had the best coffee I’ve had in years at The Hive (!!!) so that’s a strong recommendation if you’re ever in town. The barista said the good quality of the drinking water in town contributes to the amazing taste of the coffee (very similar to Iceland in that regard).

”Digital turn” vs. ”computational turn”

While having a hunch usually is enough to make a tweet about something (often hoping someone will either prove you wrong or right, or ask interesting follow-up questions), it is sometimes necessary to look into things to discover if your hunch has any validity.

In this case, my hunch is that digital turn and computational turn are (or rather have become) empty phrases used by humanities researchers to sound hip and aware about the fact that the internet happened and that digital literacy has an impact of our way to research and understand things. Maybe my hunch is more of a prejudice, based on hearing too many complacent remarks from newly turned digital humanists, and maybe I should just leave this as a rant with a TL;DR I am a bitter and prejudiced librarian at the end. But… let’s look at some data instead.

DHQ – a landmark digital humanities journal

Digital Humanities Quarterly is one of the most well-known digital humanities journals and possibly a good material for looking into whether the phrases digital turn and computational turn are used/over-used/under-used in the field in general. I downloaded a batch of DHQ content from their website (yay open access and general accesibility!) in 2019 and have all articles from vol 1 issue 1 to vol 13 issue 3 on my computer.

I uploaded these articles in an xml format to the excellent online text mining tool Voyant and was pleased to find Voyant was great at handling xml files (I’m making a note for future reference as I use this tool when I teach digital tools and methods at Uppsala University Library). I got some immediate results and couldn’t immediately grasp how the Phrases tool work so here I’m posting the results shown in the Contexts tool. (Quick note: This is just because I’m lazy/not overly invested in this topic, but if you really want to learn one of the Voyant functions in-depth they have GREAT DOCUMENTATION.)

The phrases aren’t super common in DHQ articles, it seems. Here they are, presented in the context (embedding code provided graciously by Voyant’s export functions).

Digital turn

[update 2023-01-10: the corpus files have disappeared and I haven’t the energy to replicate it. Voyant Tools is still around though, so go ahead and do it yourself if you’re keen!]

Computational turn

[update 2023-01-10: the corpus files have disappeared and I haven’t the energy to replicate it. Voyant Tools is still around though, so go ahead and do it yourself if you’re keen!]

So, not very convincing results to prove my hunch is right, but maybe an insight into the original of digital turn? I could definitely follow-up on that David M. Berry thread and try to look into some citation network data. I won’t, at least not now, but I could.

Searching for the phrase in Summon (ub.uu.se)

The question that popped into my head after seeing the above-mentioned results was: Maybe recognised digital humanities scholars are less prone to using these terms? Maybe they are used by researchers who are ”new” in the field, or those who are using the term in another, non DH context to sound impressive or pedagogical about the digital transformation of science and society?

The next thing I did may not answer these questions, but it does give some insight on the overarching academic disciplines where the phrase digital turn is most common. So, what did I do? Simple, I did a phrase search on ”digital turn” in the online catalogue of Uppsala University Library, Summon.

I received 1441 results on this search and decided to filter them according to discipline (a facet in the left hand pane of the search interface). The disciplines are quite detailed, so I did a manual sorting of the disciplines into the high level categories used in DiVA (you can read more about these at the DiVA wiki on Advanced search, look under Controlled searches > Category ID).

A few of the disciplines were hard to sort (recreation & sports; parapsychology & occult sciences; applied sciences; geography) so for these I had a quick look on the search results and decided on category based on the articles and/or journals that were represented in the results.

(Side note: parapsychology & occults sciences had 1 result, and led me to the fascinating journal Aries, which on the publisher’s web page has the tantalising description ”the first professional academic journal specifically devoted to a long-neglected but now rapidly developing domain of research in the humanities, usually referred to as ”Western Esotericism”.” The question I know we’re all asking ourselves now is: is the ghost of Sir Arthur Conan Doyle sometimes guest editor, or even *drum roll* ghost writer for this journal?)

While I have a whole spreadsheet with this information, I will just post some highlights here. You can also get the link to the search results. You can obviously have the spreadsheet if you like (just send an e-mail), I’m just too lazy to post it here now since it’s quite basic and therefore not worth the effort.

Okay, so highlights. The ”digital turn” usage per high level category is:

Category Number of search results
Agricultural and Veterinary Sciences 
Engineering and Technology 146
Humanities and the Arts 773
Medical and Health Sciences 74
Natural Sciences 69
Social Sciences 823
All 1887

As you can see, All amounts to a larger amount of search results (1887) than I previously stated (1441). My guess is that since I imported the numbers per discipline, some of the results will have been tagged with two or more disciplines, meaning they count twice as examples of a discipline in the table.

You can also gather from the table that the phrase ”digital turn” is way more popular in humanities and social sciences – together they account for 1596 of 1887 results, i.e. 84,6 %!

Why is this? Is the phrase ”digital turn” more fascinating in social sciences and humanities? Did the other sciences simply not encounter a digital turn, but rather a digital transition spread out over such a long period of time that digitalisation wasn’t received as something revolutionary and sensational?

Where is it? Where is the ”digital turn”?

The temporal aspect is also interesting – the first 40 results were published before 2000 (with the oldest actually being a record from 1898, from Medical Times and Register – apparently the phrase was found in the full-text (which wasn’t available to me), but I couldn’t find it, despite reading through all 8 pages (and learning a lot about surgical practices)). A time graph of the result list would be interesting to see, but I’m not yet sure of the best way to export the result list as an easy-to-work-with data set, so that will have to wait.

Maybe I’ll look into computational turn tomorrow.

Spatiality

The bigness of the world is redemption. Despair compresses you into a small space, and a depression is literally a hollow in the ground. To dig deeper into the self, to go underground, is sometimes necessary, but so is the other route of getting out of yourself, into the larger world, into the openness in which you need not clutch your story and your troubles so tightly to your chest. Being able to travel both ways matters, and sometimes the way back into the heart of the question begins by going outward and beyond. This is the expansiveness that sometimes comes literally in a landscape or that tugs you out of yourself in a story.

Rebecca Solnit, The Faraway Nearby

A Short Note on Animal Welfare in British Politics

It is easy to be swayed by populist propaganda, especially if it comes from a) political parties and b) the press. Both parts are equally guilty of misinformation through ”political information”, although one might argue this is not their responsibility as a public education system exists which is meant to teach citizens information literacy and critical thinking.

An interview with Morrissey was recently posted on Morrissey’s (?) new (?) web page. While many of the points have been a topic of discussion (and loathing and gloating &c) one case is certainly the mention of the right-wing party For Britain. This is the quote:

JOHN: You say you have never known a British political party that represents your views.

MORRISSEY: There is a new party called For Britain. They have the best approach to animal welfare, whereas no other party even bothers to mention animal welfare. The EU will not protect animals from halal or kosher practice. For Britain seem to say what many British people are currently thinking, which is why the BBC or Channel 4 News will not acknowledge them, because, well, For Britain would change British politics forever … and we can’t have that! If you love animals, you really cannot vote Labour or Conservative. Give animals a break. They’ve done enough for you. Let them live.
(source)

Because people generally make sloppy analyses of Morrissey’s political statements, and because people are generally bad at fact checking, I decided to do some for myself.

This is what For Britain’s manifesto says on animal welfare:

12.Agriculture & Fisheries
• Reintroduction of 200 mile limit under UNCLOS 1977;
• Rebuild UK fishing fleet with UK boats, gear & crew;
• Farming: Support transition from CAP with an end goal of self-sufficiency;
• Farming & Fisheries are strategic and must be assisted to regrow – abuse by major buyers must be tackled;
• End the live export of animals;
• End religious slaughter;
• Prioritise a culture of animal welfare in agriculture;

This is what Labour’s manifesto says on animal welfare:

Animal Welfare

This is what the Conservative’s manifesto says on animal welfare (the issuu publication was not ideal for browsing so I did a simple search on ”animal” in the text and may for that reason have missed something):

We will continue to take action to improve animal welfare. We will implement our proposed reforms on pet sales and licensing and will make CCTV recording in slaughterhouses mandatory. As we leave the European Union, we can take early steps to control the export of live farm animals for slaughter.

My conclusion is his first statement is incorrect; both Labour and Conservatives mention animal welfare in their manifestos. As to what they say, one might ask what the difference is between >prioritising a culture of animal welfare in agriculture (For Britain) and promote cruelty-free animal husbandry (Labour)? They seem equally vague to me and I’d be much more interested to read any proposed legislation they might have been working on to achieve these goals. (As for the Conservatives I’m not sure how CCTV is supposed to make anyone feel better while being slaughtered…? Cf. Morrissey’s ”humane slaughter” argument.)

As for the second statement, on halal and kosher slaughter, it is notable that For Britain is the only one of the three parties who call for the end of any slaughter. On the other hand, they want to rebuild the UK fishing fleet and regrow the fishing industry, so the conclusion one can draw (and I’m genuinely surprised Morrissey does not do this, but on the other hand he probably has better things to do than look into political manifestos :)) from their manifesto is that the issue isn’t about animal welfare as much as racial positioning and national promotion – which is absolutely disgusting. The sociologist John Lever has written a short piece on the issue of how ”concerns about religious animal slaughter and animal welfare are consistent across […] historical periods and the paper explores the extent to which these issues act as a proxy for real life problems connected to wider processes of socioeconomic development and change.” (My italics)

Another interesting article on the topic is Killing Animals for Food: How Science, Religion and Technologies Affect the Public Debate About Religious Slaughter by sociologist Mara Miele, where she notes that the cultural amnesia regarding meat production (i.e. the UK view and knowledge on slaughterhouses as compared to non-mechanised slaughter on small scale farms) ”might create the conditions of possibility for cruelty of a new kind, on a greater, more deeply hidden scale” (i.e. the abattoir).

The whole piece is actually quite insightful (and doesn’t seem to evaluate which type of killing is the greater evil) and her end statement is: ”For [the current] ethical questioning [the] two institutions (the traditional practice of killing and the modern slaughterhouse) do not seem to offer satisfactory answers: the most pressing issue that will need to be addressed is not how to kill ‘humanely’ farm animals for food, but how to find ways to reduce the number of animals that need to be killed for food.”

Now, my ideal newspaper would have written about this instead. I mean, if the Guardian really wants to throw dirt on Morrissey, wouldn’t it be more satisfactory to do so with actual facts? Alas no, because what they do write on the issue is:

Morrissey instead throws his weight behind For Britain, the far-right party set up by former Ukip member Anne Marie Waters, someone he namechecked in a recent concert on the BBC. He said he was supporting the party because “they have the best approach to animal welfare”.

I did do search on the Guardian webpage for articles on [animal welfare ”for britain”] and [animal welfare ”anne marie waters”] and the only related things that show up in the search is more articles about Morrissey (really?) and this ludicrous piece on Easter eggs, where Anne Marie Waters try to make a cheap political point based on a Sainsbury’s tweet with incorrect facts, presumably made by a poor communications employee who really just makes it clear that large (and small) companies need to employ educated social media strategists who can anticipate which words and phrases might cause outrage by trolls on Twitter.

As usual my suggestion to everyone involved (fans, journalists, animal rights activists) is to read a book. Or just, you know, use the internet. It’s basically a library at your finger tips. Read, think – then write.

By the way, to whichever one of the mentioned groups you belong if I were you I’d be more worried about the lack of analysis and fact checking in the Guardian (and other newspapers, but does that even need to be said?). It is the press that is the fourth estate, not Morrissey.

Freedom of Panorama Public Art Walks at Icepops 2018

Yesterday I held a short lightning talk on the public art maps I previously wrote about on the UK Copyright Literacy blog (also cross-posted on this blog).

I’ve done a minor update on the interactive map page, adding public art in Uppsala with English text. I am planning to add more art in Uppsala and other cities, but time is (as always) scarce.

I wish I had been more of my usual enthusiastic self in the lightning talk but as soon as I stepped of the plane in Manchester on Monday I felt this terrible cold coming on and it still has me in a firm grip. As I’m staying the week in Liverpool for LILAC 2018 this is mighty annoying. Due to low energy levels I skipped this morning’s parallel sessions.

I did however attend the wonderful session on The Publishing Trap and I am now very keen to make a copy of the game to play at home (which is Uppsala University Library for the time being – surprise!). Luckily, some things are unbound by the unnatural national borders we keep up by copyright, so there’s not too many adaptions needed (if any?); open access and scholarly perceptions on publishing and openness are quite similar in Sweden and the UK. (A Brask note* that I haven’t studied all the board game materials in details.)

Well, while everyone else has been networking and checking out the terracotta army (did you know Liverpool has the oldest Chinese community in Europe?) at least my feverish sinuses has inspired this blog post.

* A Brask note is a sort of disclaimer, although the etymology behind the Swedish brasklapp is so intriguing that it, like lagom, should be exported to the English language. And possibly many other languages as well.

Public Art and Policy: Educating Library Users in Copyright Literacy

As part of Kista Library’s Welcome Refugee Days on 17-20 June I arranged a Mozilla Maker Party to teach the public library users about copyright in everyday life. While copyright might seem like a difficult and dull topic of interest only to a select few (mainly creators and lawyers), it is actually one of the most urgent topics of media and information literacy (MIL).

Why is copyright essential to media and information literacy?

In the 2013 UNESCO publication Media and Information Literacy: Policy and Strategy Guidelines, UNESCO gives ”a full recognition that copyright is essential for enhancing individual creativity, for the advancement of knowledge and cultural expressions, and for the promotion of cultural diversity”,  while underlining that there is a difference between protectionism and empowerment when advocating for ethical use of media and information. A protectionist policy would e.g. be ”focus[sing] on copyright of scientific and educational resources”, while an empowering policy would be ”advocacy through MIL for open education resources and open access to scientific information”. Marika Alneng, author of Folkbibliotek i förändring – navigera med medie- och informationskunnighet (The changing public library – a navigation through media and information literacy, my translation), describes copyright as one of eight common denominators for the MIL teaching practises of public libraries in Sweden. She notes – and I wholeheartedly agree – that teaching copyright literacy to librarians (who in turn will teach the library users) could be done on a more positive note. To focus on what you can do, instead of what you can’t do would be much more beneficial for the creativity and innovation that the European Union strives for (cf. (4) in the InfoSoc Directive (2001/29/EC)). Such an empowerment focus should also aim to increase the legal confidence of librarians – a greatly desired skill, as librarians are the citizens’ go-to-persons for all things digital in the information society.

What is a Maker Party?

Mozilla describes their Maker Party as ”a place for artists to connect with educators; for activists to trade ideas with coders; and for entrepreneurs to chat with makers. It’s a place to network, innovate and make a difference.” In 2016, the Maker Party theme of the year was ”to challenge outdated copyright laws in the European Union.” Mozilla had prepared three different activities which all highlighted European copyright absurdities – and how to advocate for changing them – in a modern sharing-is-caring society: Post Crimes, Meme Around, and Contributing to the Commons. Since all 28 member states of the European Union have different copyright legislations, I tweaked the activities to fit the Swedish circumstances. (It is for example a bit unclear to me if the Swedish quotation exception in copyright actually covers the making of memes and reaction gifs. Read more here about the European Parliament’s proposed changes to EU copyright – fingers crossed we can all meme around in the future!)

The Public Art Conundrum of Sweden

However, it is painstakingly clear that publishing pictures of public art online is not allowed according to Swedish copyright law – Sweden’s highest court judged in favour of the Visual Arts Copyright Society in Sweden in their case against Wikimedia Sweden, arguing that while individuals were permitted to photograph artwork on display in public spaces, it was ”an entirely different matter” to make the photographs available in a database for free and unlimited use. But what is a database? Well, BASICALLY EVERYTHING ONLINE. Oxford Dictionaries defines database as:

”[A] structured set of data held in a computer, especially one that is accessible in various ways.”

This means posting pictures of public art in Sweden online (whether it is on a tourist selfie or on a Wikipedia page) is copyright infringement. This includes sharing pictures on social media platforms such as Flickr, Facebook, and Instagram. Oh, to imagine I used to make fun of photographing the Eiffel tower in the day time vs. the night time…!

A map showing various stages of freedom of panorama in copyright legislation. Note how red Sweden is! Like one, big August crayfish party. (Map from Wikimedia Commons, by Mardus et al. CC BY-SA 3.0)

So, what to make of this? I had an idea.

Activity 1: A City Tour of Public Art

Cameras ready! And back to the Maker Party in Kista: I decided to construct a city tour of public art, where the library users were given a map pointing out public art in the vicinity of the library. They were invited to walk this tour and learn a bit more about the works of art, and by doing so also learning about their local society, it’s history and the cultural landscaping of the city. Indeed, the colourful pillars at the metro station in Kista is not an architectural curiosity like the tower in Pisa, but an artistic interpretation of the transition between rest and dynamic movement. Who knew? PDF’s with the City Tour maps can be found at the bottom of this post. When finishing the tour, the participants were introduced to a second map, one where the location markers had been replaced with either a red x (meaning the work could not be photographed and shared in a digital format) or a green check (meaning the work could be photographed and shared in a digital format). As the Swedish copyright law states that copyright expires 70 years after the author’s death, any public work of art made by an artist who died 1946 or earlier can be photographed and shared freely online.

This means good news for old kings…

… but bad news for Marianne Lindberg de Geer’s sexually hyperactive granite rabbits.

Activity 2: Contributing to the Commons

The second activity was meant to empower the users (much welcomed after introducing the supreme court’s protectionist view on public art) and was presented in a simple poster exhibition which introduced the Swedish copyright law, Creative Commons licences, where to find CC materials, and the photo challenge of Wikimedia Commons. This activity was based on the Mozilla Maker Party activity with the same name. Due to the drop-in organisation of my maker party it wasn’t possible to follow their schedule, but the components were there all the same. The aim was to, in a simple way, explain how digital creativity and copyright can be used to share and remix content, and also showcase how this can be built upon to support digital innovation and entrepeneurship. While it may seem a bit far-fetched, there is a strong connection to the Welcome Refugee Days event: by teaching library visitors about the legal system governing digital innovation and creativity they can get the knowledge and confidence to start their own businesses – which leads to both digital inclusion and integration into society. In other words, getting a key to solve one issue may get you past all those other doors as well.

Materials used in the Maker Party

Click the links to access the city tour maps and the poster exhibition (in Swedish). All map graphics are © OpenStreetMap contributors, and all maps and materials are therefore shared under CC BY-SA 2.0.

  1. Kista Public Art City Tour – 2 pages, A4
  2. Kungsträdgården Public Art City Tour – 2 pages, A4
  3. Poster Exhibition – 4 pages, A3
  4. soon to be uploaded – maps of answers to the city tours

Gallery from the event

Pictures mostly by me; if not, they’re reposted with permission.

Willy Vandersteen and his other legacy

En sådan lustig slump! Häromdagen var jag på Eleonora Rosatis evenemang The Wonderful Life of EU Copyright Law and Policy och advokat Geert Glas berättade ingående om rättsfallet Deckmyn vs. Vandersteen, där definitionen av upphovsrättslagens begrepp parodi var viktig för att utröna huruvida brott hade begåtts eller inte:

Article 22(1) of the Law of 30 June 1994 on copyright and related rights (Belgisch Staatsblad of 27 July 1994, p. 19297) states:
‘Once a work has been lawfully published, its author may not prohibit:

6. caricature, parody and pastiche, observing fair practice;
…’

Fallet rör en bild som är en parafras på ett omslag till serien Suske en Wiske, tecknad av Willy Vandersteen, och som använts av Vlaams Belang-politikern Johan Deckmyn i en kalender publicerad av partiet (se illustrationerna i jämförelse med varandra på denna sida). Vandersteens menar:

The drawing at issue resembled that appearing on the cover of the Suske en Wiske comic book entitled ‘De Wilde Weldoener’ (which may roughly be translated as ‘The Compulsive Benefactor’), which was completed in 1961 by Mr Vandersteen. That drawing is a representation of one of the comic book’s main characters wearing a white tunic and throwing coins to people who are trying to pick them up. In the drawing at issue, that character was replaced by the Mayor of the City of Ghent and the people picking up the coins were replaced by people wearing veils and people of colour.

Och angående försvaret om att bilden är ett parodiskt inslag framför de följande:

Vandersteen and Others dispute that interpretation, since, according to them, parody must meet certain criteria, which are not fulfilled in this case, namely: to fulfil a critical purpose; itself show originality; display humorous traits; seek to ridicule the original work; and not borrow a greater number of formal elements from the original work than is strictly necessary in order to produce the parody. In those circumstances, they also allege that the drawing at issue conveyed a discriminatory message, since the characters who, in the original work, pick up the scattered coins, were replaced in the drawing at issue by people wearing veils and people of colour.

Aha, där ser vi något: är det så att upphovsrättsintrånget inte är en egentlig skada i sig, utan att teckningen framför ett diskriminerande budskap som således kommer att associeras med serien? Är det vidare så att diskriminering inte går att komma åt via dagens lagstiftning och att upphovsrätten därför används till för att markera mot detta? Det är verkligen en intressant fråga!

Det som gör slumpen lustig är att jag i dag satt och läste i De gulden passer: Journal for book history från konferensen SHARP 2014 (Society for the History of Authorship, Reading & Publishing) och hittade en artikel av Gert Meesters som handlar om just Willy Vandersteen and his legacy: Comics publishing in Antwerp from 1945 to the present day. Enligt artikeln (s. 127) tecknade Willy Vandersteen under täcknamnet Kaproen antisemitiska illustrationer under andra världskriget. Meesters skriver: ”His political opinions were known to fluctuate from time to time, but he remained rather conservative during most of his career.”

Jag antar att vi vid det här laget skulle kunna fråga oss om upphovsmannen egentligen hade haft något emot Deckmyns användande av materialet? Och i så fall av vilken anledning: upphovsrättsliga eller ideologiska skäl? Och förresten är det kanske helt ointressant att fundera på vad upphovsmannen egentligen hade velat? Belgiska seriers funktion som nationalklenod gör det kanske ännu viktigare att serierna hålls politiskt korrekta (på
s. 140-141 i Meesters artikel går det att läsa om muralmålningar med seriemotiv och seriepriser – varav ett (på ca €6,000) namngivet efter Vandersteen – vilket visar på seriernas betydelse för Flandern och Belgien.)

Nationalismen är tyvärr på framfart i Europa, och förespråkarna använder inte sällan yttrandefriheten som en sköld för diverse uppseendeväckande dåd (jfr. Lars Vilks rondellhund). I det här fallet får frågan om upphovsrätt och begreppet parodi skymma (eller påvisa?) den egentligt intressanta frågan: den om rasismen i Europa.

The Misspelt Three Names

Sherlock-ASIP-London

Here, have a treat: a cross-post with my Tumblr, explaining about some of the names that can be seen in the map of BBC’s Sherlock episode A Study in Pink. Although this first sentence was not included in the original post as anyone reading it on Tumblr would’ve needed no explanation of the picture. ”All together now…” ”Rachel!” etc.

Ivor Pl is actually the road turning left (from Allsop Pl) – so far so obvious – but also note Dorest Sq, Glouchester Pl and Marlybone R.

Now, Dorest Sq is obviously just a mistakely written Dorset Sq (at least there is no logical, linguistic reason behind the misspelling as far as I can see), but let’s talk about the fascinating names of Marlybone Road and Glouchester Place!

Marlybone R, or Marylebone as is the actual name, is a very confusing name to try to pronounce for tourists. When you hear its name being called out in the speakers you will hear something that sounds like /marlibon/ or /marrylebon/ – and ”Hullo!” as Sherlock Holmes would’ve cried out – isn’t this suspiciously close to something we see in the map above?
My guess is that Englishmen’s confusion is regarding the spelling, not the pronounciation, but I have no proof of this – except the map above – so don’t take my word for it. Some onomastician has surely written loads about this.

What, though, is the reason for this confusion that makes us wonder if all our English classes on pronounciation were for nothing? Well, it is the fact that Marylebone Rd in 1453 was written Maryburne, Marybourne in 1492 (take that, Columbus!), Marybon in 1542 and Marylebone in 1626. The meaning of the name is ’(place by) St Mary’s stream’ with reference to the dedication of the 15th century church which was built there, and to the Old English burna ’stream’. As A Dictionary of London Place Names (Mills, 2010) would tell us, the inserted -le- is probably introduced on the analogy of other names, like St Mary-le-Bow where it has ”a loose, connective sense”. For other names with the old element burna, please visit this marvellous site I just found: Key to English Place-Names and type in ”burn”. You’re welcome.

Place-names can be very transparent (like Baker Street, where presumeably a baker once lived) or not transparent at all (like Marylebone Road) – which makes it such a fascinating thing to read about (and study, which many linguists do!). We choose names for ourselves and for places so that we can identify it in common – and human kind has always done so. Doesn’t the thought just blow your mind?

Which brings us to Glouchester Pl, or rather Gloucester Pl, which the previously mentioned KEPN explains as ”’Roman town called Glevum’. The first element may be based on a Brit. *Glevon/*Glaivon, ’bright’, although this interpretation is tentative.” -cester derives from Old English ceaster ’a city; an old fortification; a Roman site’, which in turn comes from the Latin castrum ’fortified place’. (As a small note, according to The Online Etymology Dictionary castellum is the Latin diminutive of castrum, and the origin of the word castle. You’re welcome again.)

Of course, writing Glouchester makes all the sense in the world – compare with similar place-names like Manchester, Winchester, Chesterfield etc. Even though Wiktionary explains the pronounciation as /’ɡlɒstə/ (yes I copied proper IPA this time) the analogous -chester is based on written language, not pronounciations of the name (note that this is my guess).

”Why the name Gloucester Place then?” you ask. Well, this is probably due to some person from Gloucestershire who either lived in London (near this place) or was famous and/or well-liked enough to get a street named after him-/herself.

(You should also give me A for effort on the alluding title of this post.)