 We start today's session with a prerecorded presentation on a voice for the voiceless. Instagram has an exhibition space for working-class book inscriptions. This session is presented by Lauren Alex O'Hagan, who is a research associate in the Department of Sociological Studies at the University of Sheffield. She leads the reading, writing, and rebellion, understanding literacies and class conflict through the Edwardian Book Inscription Project, funded by the Economic and Social Research Council, and has published extensively on class conflict, literacy practices, and consumer culture in Victorian and Edwardian Britain. Hi everybody. So in this mini presentation, I wanted to talk about my recent project, Read and Write and Rebellion. It was funded by the ESRC and explores class-based descriptive practices in Edwardian Britain. And one of the main outputs of this project was an exhibition of working-class book inscriptions and how they can help us to rethink life in Edwardian Britain. But of course, COVID hit and I had to rapidly change my plans and think about different ways of exhibiting, and I decided to choose Instagram. One of the reasons that I decided to use Instagram was because a colleague of mine, Dr. Alex Beeston, had very successfully held an Instagram exhibition several years earlier on her research on women in photography. So I kind of used her format as an inspiration for my own. And what I did was organize this exhibition over roughly a six-week period. So as it was about working-class inscriptions, I decided to start it on World Book Day on the 5th of March and end it on International Workers Day on the 1st of May. And every day at the same time, I would post an image from my data set. You can see some of the examples here on screen. And alongside the image, I would have a brief written reflection. And this would be about the inscriber to the person who the book belonged to and a little bit of biographical information about their life. But then also some more information about the context of the inscription. So what kind of function did it have? What did it tell us about the person, whether that was in terms of education, politics, working life, leisure, and so on. And I would also go into detail about its material features. So the type of pen that was used, or pencil, or if it was a book plate or a prize sticker, the colors that were used, the typography that was used. And again, what that might tell us about working-class life. So the exhibition was relatively successful, considering that it was carried out during the first few months of the pandemic. It attracted between 300 and 400 people through its duration. And these people tended to leave comments, likes. They retweeted because I shared these Instagram posts across Twitter as well. So I thought it would be a good idea to reflect on some of the pros and cons in this final slide. So first I would say that a big advantage is that Instagram attracts an international audience. So unlike if you held this in a physical space, where you had quite a limited audience in terms of local people, maybe national people. Here I was able to put my inscriptions up on a world stage and share them with many people across the world. And we did attract people from Australia, America, Asia, which was really great. Another advantage I think it gives you more opportunities for creativity and lead to this and enhance aesthetic experience. Because again, unlike in a museum where something may be hidden behind glass and protected online, you're able to really look at the inscription up close, look at its material features, which was an important aspect for me, as I said, because of the way that these things were written or printed. So you could engage with them in ways that you might not be able to in a museum. And creativity also because I had to think about the captions and the kind of theme that I wanted to talk about there, how I was going to engage the audience through questions, maybe get them to think about any inscriptions that they own at home or practices that they have related to books. Also, it was a chance to collect and store feedback. So here, because the feedback, people can leave comments. That was an incident source of feedback for me. So when I was assessing the success of the exhibition, I could look at this and that was very helpful. And similarly, it's like a permanent archive because it is now up on Instagram. It stays up there. I can constantly refer back to it. So if I'm doing things about project impact, but also linked to that as a teaching resource. So I've used this many times in classes to show people, you know, how an exhibition can be carried out, but also to get them to engage with the data and again, the ability to share. So whether that's across Instagram or Twitter, people could share the posts with one another. Cons would be increased competition. So being online, you're competing against so many different platforms, you know, other social media channels. Maybe people use a Netflix YouTube, whereas in a museum, people are very dedicated to that one activity when they're there. So a link to that would be short attention span. You need to be aware, again, of these competing interests and that people might not be fully invested in the exhibition as they would be in real life. There's a risk of image theft. Of course, if you're putting up images, there's a chance that somebody else could take them, repost them elsewhere without crediting you. So that's something that is worth considering. The lack of stumble upon nature. So what I like about physical exhibitions is that, you know, you don't follow a linear order. You might see something over here, then something catches your eye over there and you move to it. Whereas with Instagram is far more fixed in that way. So you have to work through the posts one by one. Also, replicas not originals. So this could also pose a problem where some people might want to physically see that object, get a sense of its dimensions. Here, you're just seeing a flat 2D image, which of course affects how you interpret it. And then finally, the things I put in the middle here. Accessibility, because I think it's good in terms of it has, it does increase accessibility because people that are maybe disabled have issues in getting to museums physically or walking around. They can just sit in the comfort of their own home and look at images. But I was thinking of people who are maybe, you know, sight impaired could be more difficult for them having to follow this small text or even people that have problems with dyslexia, where again, you're kind of fixed on this format that you can't change the size or color to accommodate people. And finally, attracting younger audiences. Instagram is really good in that it engages these younger populations that might not physically go to museums. But in doing that, it's kind of discriminates against older populations who might not be as likely to use it. Thank you so much, Lauren. Just for our audience's information, Lauren will be joining us in the question and answer session. And therefore, you would be able to post questions for her. Really interesting to see how social media can actually sometimes act as a bridge between the physical and digital. So thank you so much for giving us your views and your story on that. Our second presentation is on ANZAC Stories, Power of Voice Command, which will be given to us by Anna Raunig from State Library of Queensland. Anna Raunig is the Executive Director of Content and Client Services at State Library of Queensland. And it's responsible for collections and services to Queensland community. A particular thank you, Anna, for joining quite late in the evening from Australia. And we are looking forward to hearing from you. There we go. State Library is the leading reference and research library in Queensland. We're responsible for collecting and preserving a comprehensive collection of Queensland's cultural and documentary heritage and providing free access to information for all Queenslanders and the advancement of public libraries across the state. In 2019, we were approached by the Queensland government to curate the online content and manage the exhibition spaces in the redeveloped ANZAC Square Memorial Galleries in Brisbane-specific CBD. The galleries under the Shrine of Remembrance were envisaged as a memorial space, showcasing the plaques that have been placed in the Shrine since the 1930s, and the digital interactive content from our collection. There are three galleries in the Shrine, one focused on World War I, World War II, and post-World War II battles and peacekeeping. And those slides will be coming up. As you'll be able to see in the slides, it's a mixture of traditional plaques and contemporary interactive content. Staff have the responsibility for engaging with visitors, helping with the use of the digital screens, answering questions, and conducting school and visitor tours. One of the principles of the redeveloped ANZAC Square was to be recognised as a state memorial. A new website and online content was fundamental to this principle. We opened the new galleries on the 2nd of July 2019. Visitation was tracking well. And then on March 23, the state went into lockdown. While we were organising ourselves, making sure that staff were safe and occupied, webpages updated and services ongoing, the reality set in. It was 23 days to ANZAC Day. ANZAC Day is the National Day of Remembrance in Australia and New Zealand that commemorates those who served and died in all wars, conflicts, and peacekeeping operations. The team developed commemorate differently campaign for ANZAC, focused on collections and access from home. In 2019, we'd started working with Elkira, a voice company, on a project focused on making our website and catalogue more accessible, primarily for people with a disability. We'd been hearing about voice skills and discussing ideas of how this new technology could be used at State Library. Voice technology or command is seen by many as a new frontier. Many of us are already using it when we're in the car and send a text message or use a home device to set an alarm or ask Google something. How could this application work in libraries? The idea to build a voice-activated skill to support ANZAC Day was born. Elkira had three weeks to produce a voice activation product to highlight our historical and contemporary content from State Library's collections and allow the community to pay their respects from home. The conversation application enabled State Library to explore new approaches to engage with communities. Voice skills available on smart devices, your phones, Android or iPhone via Google Assistant and smart home devices such as an Echo or Google Home. You need trigger words. In our case, we decided on launch ANZAC Stories. ANZAC Stories options include listen to the last post, observe a minute silence, listen to some oral histories or request that a puppy be laid in the memorial on your behalf. Users also had the option to request for a photograph of ANZAC Square Gallery with the plaque and the puppy be emailed to them. Here's the flowchart coming up of the puppy request, it gives you an indication of the complexity of the process and how we had to work hard to ensure that it was a smooth and engaging process where the user didn't get lost. There's the flowchart. Next, we have some images of the staff and the poppies and the planks that were being emailed to the clients. Marketing was a key to the success of this application. We were lucky to connect with Amazon who promoted ANZAC Stories through their email channels and website. The Premier of Queensland included it in a media release. There were TV and radio interviews. We, in less than a week, we had 265 requests for poppies to be laid in the gallery. People from all over Australia, as well as the US, New Zealand and the UK requested poppies be left on their behalf an exciting demonstration of breach. And the graph that just sped through showed the ongoing usage past ANZAC Day. Some issues and learnings, I think have clear objectives. Make sure we test over and over again. Finally, some opportunities for libraries. I think there's some really exciting opportunities for libraries, including challenges and opportunities to advocate for better services from our vendors, particularly our library management vendors. There's an app out there that you can use to find your next Stephen King Book by answering some questions about what you've been reading. So you can see the opportunities here for libraries. We've received some recognition, both within the library sector and outside the library sector, and I think it's fantastic for organisations outside the library. Hey, Google, talk to ANZAC Stories. Here's the snook. Listen to some stories. Each story is about two minutes. You can navigate through the stories by saying, hey, Google, previous or next. Would you like to start with World War I, World War II, or post-1945? World War II. We have six moving stories from World War II. The first is a touching letter from Sergeant Cecil Hale. Sergeant Cecil Hale, 100 Squadron RAAF. A signals operator. Great. Thank you. So there's links there to the content as well as contact details. For us, we'd be happy to speak to you and I encourage you to give it a go on Amazon or Google. Talk to ANZAC Stories. Thank you. Thank you so much, Anna. What a fantastic presentation on integration of technology into promoting really powerful stories. Really appreciated that. And I'm sure the audience will be really excited about the prospects here as well. Our third presentation today is on the topic of before, during and after. How a digital engagement project embrace the COVID lockdown to promote new models of engagement. And our speakers today are Miriam Silverman and Matthew Davies. Miriam is the head of partnerships for HuMap, the interactive mapping platform whose designers created layers of London. She has been heavily involved in the heritage sector for many years, particularly at the intersection between digital tools and public engagement with history. Matthew Davies is the executive dean and professor of urban history at Birkbeck University of London and a historian of medieval and early modern cities working particularly on London. Today's presentation is about how a digital engagement project embraced the COVID lockdown to promote new models of engagement. Thank you, Miriam and Matthew, over to you. Thank you. Good afternoon, everyone. I'm Miriam Silverman, head of partnerships for mapping platform HuMap. And with me is Professor Matthew Davies, head of digital humanities at Birkbeck University. I'll talk today is about the layers of London project and how the team in charge coped with the COVID lockdown. We'll give a brief history of the website, what have been going on before lockdown, what happened when COVID hit and new projects have emerged. We'll check out the metrics on usage and then draw some lessons of what worked and what didn't. The layers of London is a public engagement project which uses digital technology to connect many thousands of people with the history and heritage of London. We're doing this through an interactive digital map which includes hundreds of map layers covering around 2000 years of London's history. Users can contribute their own stories and perspectives to the map by adding records attached to particular places. And these can include photos, films and documents. We currently have more than 10,000 contributions on a huge range of topics. And to achieve all this, we've worked really closely with schools, community groups of different kinds and lots of partners, including libraries, archives and heritage bodies in London and beyond. In March 2020, the team at layers were working with a number of sectors. 600 volunteers have been recruited while community groups use the site to map their existing research. Schools across London were using it in their teaching. Institutions like Birkbeck had embedded layers in its history degree programs. Layers were hosting internships and work placements. For the public, there were a range of events with talks attracting audiences of up to 200 people. Several key projects were in play listed here, such as our Hurt Inventive Vents, whereby volunteers identified the ventilation shafts which appear all over London. Come March, although they expected something to happen, the team weren't anticipating the speed at which it did. They'd been planning more in-person events and guest lectures like a photography course. They went suddenly from weekly team meetings to everyone being at home. But at first, the team were quite reactive. They used Zoom because it had already established itself and they made the first forays into webinars hosted on their own YouTube channel. Initially, they would freak out over technical glitches like losing the sound, but as time went on, they and their audience learned together. They concentrated on practical topics such as how to use the site. Later on, they asked other organizations such as Mola and UCL to showcase their London research. Twitter campaigns were at first small, such as the Easter Egg Competition and the Endeavour to find the greatest layer of all time. Those days then ramped up over the summer. Each time a new layer or a new webinar was added, it was promoted. They continued to have small fund campaigns such as asking people to post the post boxes in their area or capture the silence of the summer something users could do during their walks. Several projects were started listed here, aimed at different levels of commitment. One of the most successful was the Book Club which involves sending volunteers a free book every month and they would add the places mentioned in it to the map. This got a lot of pick up. Events in America and the drive for more diversity spurred the push for projects with a wider demographic appeal and social relevance, such as the arrival of the Windrush where a data layer was created with each post representing the first place and arrival lid and something about them. Team member Adam Corsini added 133 music videos shot in London from the Verbs bittersweet symphony to Bob Dylan's subterranean homesick blues. All in all, the team created 23 webinars on YouTube which reached a much wider audience nationally and internationally than in-person events. Interestingly, some of the more technical archeological ones garnered the most views such as DIY buildings archeology. Towards the end of the period, the team put together a virtual mini conference promoting other heritage projects in London such as the Museum of Youth Culture. So of our most successful crowdsourcing projects came into their own during lockdown. We worked with LSE Library on a new tool that's allowed users to trace layers corresponding to colour-coded levels of poverty and wealth onto Charles Boo's famous poverty map of the 1880s. And we also have our project that allowed users to use an online tool to geolocate more than 20,000 aerial photographs of London taken in the late 1940s. This was a daunting but very successful project essentially locating and merging thousands of individual photos into a single crowdsourced image of the whole of London as a really important moment in its history. Lockdown had a galvanising effect on increasing user numbers which rose from 2,200 to nearly 4,300 over the year. In the second half of the year, the team were disbanded as the funded part of the project came to an end. The numbers show there were fewer new users and reports created demonstrating how important it is to keep your projects in the public eye. However, as we can see from the next slide, there was positive news. For page views and unique page views, the metrics are again divided between the first half of the year with the team and the second half without. Counterintuitively, these rose in the second half despite lower levels of participation, the site consolidated its usefulness over the winter. Twitter metrics clearly showed the importance of having a team as mentions and retreats what rose as more were published. Engagement fell as the number of tweets fell, although it was heartening to see that there was still really good traction that likely the result of higher numbers of followers gained during the lockdown summer. Some things weren't as successful. Although the team had put a lot of effort into creating school programs like history of my school, the pressures that teachers were under meant that this sector fell by the way. Instead of trying to reach school children, they provided digital CBD sessions. Similarly, the number of volunteers did not grow because it was impossible to provide the personal face-to-face training needed. Finally, the original project had hoped to encourage comments within the records, but people seemed content to view rather than leave their thoughts. This, of course, could be regarded as a positive. A few lessons from this experience. If there are a variety of interesting things to point at, then people will show up and stay, but records need to be findable and the site navigable. Layers were specifically designed by Huma to put the user experience front and center. Volunteer retention was high because the project on offer provided the satisfaction necessary in small bites were socially useful and helped with wellbeing. The campaigns changed all the time and were a mixture of short and fun and long-term and serious. This meant you could appeal to a wider audience. An enthusiastic team in place was also key who could bounce ideas off each other and could divide the work among them. The long-established relationships with partner institutions meant there was a pool of experts to draw from. All of these factors combined meant that the layers team were able to maintain and increase engagement with the site and hopefully provide some lessons on how digital tools can help when your public has shifted arenas. Thank you so much, Matthew and William. What a fantastic presentation and so much content captured in such a small amount of time. I'm hugely appreciative of that. Thank you very much. We are going to move to our fourth presentation of this session, which is on scrapbooking COVID-19 and children's experience of the pandemic. It will be presented by Debbie Chalice, who's an education and outreach officer at the Library of the London School of Economics and Political Science. The idea for a project working with children on understanding COVID-19 was first planned in July to September of 2020, but underwent a lot of changes due to working within an event of historical significance. Thank you so much, Debbie, for your time really looking forward to hearing from you, over to you. Thank you. I'm going to be a disembodied head for a moment to play this. Okay, so hopefully everybody can see that. Can you all see that? Yes. Yes, brilliant. Thank you. Okay, so this project combined archives and research around COVID-19 society, with school learning. We basically took, as our kind of archive source, this scrapbook that's in the Women's Library collection at LSE, and it's of Louisa Garrett Anderson from her archives, and she is commander of the only women's military hospital during the First World War, which was situated in Covent Garden. The interesting thing about the hospital is it was open for a further year after the First World War ended to deal with the influenza epidemic. One of the staff at the hospital is this woman called Lena Last, whose papers we also have, and she was both a member of staff, but also got the influenza virus. So we wanted a personal way in to understand how epidemics of the past basically had an impact on today. And it was an idea to try and understand COVID through thinking about the influenza epidemic from 1918 to 1920. So we got a school involved, who in Barnett and an artist involved. The school actually asked to have something a little bit earlier than we planned, but we were doing it January, February, but they wanted something for November to kind of explain the end of the First World War and the influenza epidemic a bit earlier. They thought it would help. So we got Wendy Moore, who's written a book, and she gave a little video. And about the time we were planning the project in September, we were put in touch with the authors of this report at LSE. And they basically had focused on the society's reaction to COVID and the kind of long-term implications of grief. It's downloadable, and there is actually a section on the influenza epidemic. So we planned to do some, we basically recorded some interviews on Zoom with some of the academics, a learning thing is to make them shorter rather than longer, and I did edit them, as well as Antelus DNA, who's written and got a museum on unseen disabilities. At the same time, we also wanted the participation of children. We knew we couldn't go into the classroom, but we thought we'd be able to zoom in at the time we were planning it. So we had this online survey. We agreed them all with the head teacher and the teachers. They actually really wanted the survey too. We got it approved through the LSE research ethics committee and then we put together a form for parents and guardians. I'm not going to go through all the learning outcomes, but these are just things that you can see. I can always send you this afterwards if you want. The main focus was really that on attachment and resilience to improve emotional resilience. And that's why we were embedding this idea of the recovery curriculum. Although it did have curriculum links to the national curriculum, that was our real emphasis. Now, of course, it got to the end of December and it was quite obvious that our school in London was going to be homeschooling even before the national announcement. We had an emergency meeting with the teachers and they were really keen for the project to still go ahead. So we basically posted the materials to the school to send out to all the students. We then basically rearranged what we thought our teaching sessions would be and the other side of the work with Becky Kenning put together five worksheets. So there's five worksheets to go with each lesson. So the lessons started a week or so later than we'd envisaged and then we also did some videos which I'll hopefully just show a clip off. There's no sound to the video, it's just to give you an idea. So there were free videos and Becky also worked on a worksheet of ideas. At the same time, we also put the online survey on for the children to fill in. I'll pause that video now and hopefully we'll move. And so they could basically take part in the survey and as well as be feeding back to their teachers on what they were doing and why it's not moving on. There it is, good. So basically it was all going together for this festival for LSE. So we basically put a website together. There was an introductory video. If you go into the website you can watch that video and all the resources are on there, the worksheets, the videos and all the lessons and the lesson plans, that kind of thing. And while we were just putting that website together the teachers were getting the children's work back through Google Classroom. And it was really lovely to see them come in basically being emailed to me like just after half-term because the sort of half-term project was to kind of put their scrapbooks together as far as they could do. And then this was basically the results from the survey. So we had 114 students filled it in. The idea was to reflect some of the graphics, reflect some of the worksheets. So this is one of the lockdown community. One of their projects was to map the local community and what was important to them. And this gives you just a snapshot of just a very small cohort of nine to 11 year olds, mainly, and I should say we were planning to do it just for year five but it ended up being year six as well. And one of our important things was to find out how they felt about it. And as you can see, quite a high percentage felt anxious and had difficulty expressing how they felt as well as practical things about what they were doing. And I think, you know, we planned some of these survey questions in November and I wonder had we done this last summer in the first lockdown whether the boring would have been quite so big. But of course they were literally answering this, you know, through January and early February. And, you know, and stuck at home during the winter. So we then made these infographics into postcards and posters which we've sent to the school and each child to took part got a pack of the postcards after Easter as a kind of thank you for taking part in the projects. Our long-term legacy, well, we put it on the times education supplement as we were almost writing it actually which is a sort of resources page on there for teachers to download. We've had almost a thousand downloads since early February. And then recently about a month ago they spent live on the My Learning websites. And so there's another legacy there. And I just wanted to finish with this last slide to give you the last, you know, basically the last words from the children themselves and what they wanted to see, what they were most looking forward to when they were coming out of lockdown or the pandemic. And I think we can all identify certainly with the first three going on a holiday, doing more sport game, that's normal. And that's me, Dana, stop sharing my screen. Thank you. Thank you so much, Debbie. And what an important topic to also gather insights on. This is our societal memory and will remain there for our future generations. Thank you so much for highlighting that and showcasing that to our audiences today. And our fifth presentation and the last presentation for today is on the topic of digitally mediated youth engagement for GLAMs during the pandemic by Alisa Pellegrini. Alisa works on policy research and education topics in the cultural and creative industry. She works as a research associate at Web2Learn and as policy and impact advisor at the European Fashion Heritage Association. Thank you so much for joining us, Alisa. Over to you. Hello. Okay. Here we go. So, good morning, everyone. Today I am going to present the GLAMS project that started in April 2021 and will finish in February 2022. In particular, today we'll focus on the first part of the project, a collection of practices of digitally mediated youth engagement for GLAMs during the pandemic. So, the research brings into light concrete remarkable examples of youth engagement as means to leverage the GLAM sector in Europe. As demonstrated by the needs analysis conducted by Europe between August and September 2020 GLAMs around Europe express multifarious needs as in digital skills, openness, stronger connections to the audiences, etc. Our project tackles these issues as, in fact, our objectives are to provide a collection of youth engagement in GLAMs' ordinary activities to boost the transferability of expertise and scalability by other GLAM stakeholders and to identify challenges and opportunities for the GLAM sector. The project will give practical insights and ready to use or adapt use cases successfully implemented by other GLAMs in Europe. In addition, it will present youth engagement as means to support the resilience of the cultural and creative sector. The first part of the GLAMS project is divided into five steps, and today I'm going to present the first one, the desktop research and survey, but before, let's have a look at the methodology. Through the desktop research and survey, we identified more than 100 cases across 20 countries looking at information such as COVID-19 responsiveness, audience targeted, technology used, and audience engagement type. Then using five criteria, we identified 15 practices, and during this presentation, I will just share six of them because of time constraints. The selected practices had to be developed as a response to COVID-19 explicitly target youth, easy to use technology such as social media, and encourage the public to connect the collection with the surrounding context in order they had to call the audience to give their personal contribution to the project. Finally, we are conducting 15 interviews with the organizer of the practices, and Inogus will publish an open access publication. Here we have the first case called Singer TV Kids that was developed at Singer Laran in the Netherlands. The museum developed Do It Yourself workshops on YouTube where children learn great tips on how to recreate artworks and sculptures of the museum's collection. Children could then share their works on social media through hashtags. Then we have this second case, which is Giacometti Cebu, developed at the Giacometti Foundation of Paris. The Giacometti Foundation developed challenges launched on social networks for three to 18 years old children and teens. In particular, 10 in-depth tutorials of creative activities were downloadable from the initiative's website. Participants could use everyday objects available at home to recreate artworks of the artist Alberto Giacometti. The public could then post their final creation result in front of the workshops on Instagram. Here we have a third case, a face and mask trend developed on TikTok by the Gimé Museum of Paris. The institution opened a TikTok account during the pandemic. They tried to reach out to the young audience that uses the social media platform. The museum created filters inspired by the museum's collection and the audience could use these filters to make and create original and fun videos to be shared on TikTok. Also, in this case, hashtags were used in order to create a sort of trend. This fourth case is called Miami's May Museum and it was developed at the National Museum's Liverpool in the UK. Children were asked to choose around 10 objects that would be an exhibition about their lives or to create their art gallery or drawings or paintings that represented the objects or people most important to them. These children were then asked to name the exhibition, design a poster and create a promotional video to be shared on social media using the hashtag Miami's May Museum. The winners took part in a digital exhibition and met a top curator who shared tips on setting up a blockbuster exhibition. And runners-up received a voucher to spend in the shops when the institution would reopen. Then we have this case, the five cases, one, two, three codes developed at the Museum of Arts and photographs of Zagreb Krashe. The public was invited to look at the photograph proposed part of the museum's collection where many represented jumping and to use the imagination to create their own photo of suspended movement. The museum then asked participants to send their photos to the institutions you made. Finally, we have a case called Remake with Foam at Home developed at the photography museum of Amsterdam. The museum alleged its public to reinterpret in their own way artworks of Dutch photographers from the museum's collections or exhibitions. The participants had to look closely at all the elements in the given photo to understand which objects, family members and roommates they needed to recreate the photograph. The public could then post their best Remake on Instagram tagging the museum and using the various hashtags. Every week a new photo was uploaded on the Instagram profile of the museum and participants with the most exciting Remakes won the latest issue of Foam magazine. Here with the next steps of the project from July till August 2021. At the moment we are conducting interviews with the organizers of the 15 practices we have selected. Then we'll further analysis the exemplary practices and at the end of August we'll release a report and infographics in an open access in order to be available to everyone. Subsequently from September 2021 on words we'll organize training opportunities such as webinars for GLAMS to leverage the digital transformation through few participation. Then we'll implement cultural events by GLAMS involving youth and finally we'll map social change as it is manifested through youth engagement for GLAM recovery. Thank you very much for your attention. You have our FITRA account the website of our Association Web to Learn and also the link to the project if you want to know more about it. Thank you so much. What a fascinating journey through different case studies of how youth engagement has been pursued and I hope achieved as well. I think it would be fascinating for us to know in your second stage of this project what impact this has generated and how much engagement has happened really exciting and really interesting. Thank you, Alisa. If I can now invite fellow presenters to turn their cameras on and join us for the question and answer session and I should also invite all of our audience members to take a second to connect your thoughts on the vast amount of information that's just come your way and really interesting information that's come your way and think about any additional questions you may have. I'm going to use my moderator privilege and ask the first question and particularly this is for Lauren but Alisa you may want to join in at some point as well. Lauren you were mentioning as not originals as I think it was in the con category and I'm wondering whether you have any thoughts on whether you can use that to also bring physical audiences in afterwards to gain engagement through digital in the first place but then create more physical engagement through that. What are some of your views on that? Yeah definitely and that was kind of one of the conclusions that I made from the project really. The idea that Instagram is not a replacement for a physical exhibition but coming moving out of the pandemic is something that can definitely be used in tandem with actual exhibitions and museums and I think they can complement each other in many ways so as you said yeah it can always be used as a piece of exhibition leading up physical events you could be posting posts on there to give people an idea of the kind of things that they'll engage with and that might even encourage people to visit because it gives them a taster of what they might expect and then also moving beyond the physical exhibition it's then a space where you can continue that engagement with the public and have it there permanently stored for them to access. Absolutely and Alisa do you think that might also be the case with the case studies you showed? I know it's not necessarily your question to answer but I'm just wondering whether you can also see the potential of digital to also engage audiences more physically as well. Yes absolutely because of course these institutions are engaging youth and so there will be a sort of relationship and connection that will be developed and also in the future there will be more opportunities for GLAMs and youth collaborations so I think it's a first step for also something that goes beyond the virtual. Thank you so much we have a question and I think this one is for Anna which is would you have proceeded and progressed with ANZAC stories if COVID wouldn't have happened or would you have taken a different approach? I think we definitely would have proceeded with voice activation skill of some sort we would never have signed off I think on doing it within a three week time frame so we would have taken a bit more time but I think certainly the opportunity to engage with different audiences and experiment with the technology is something we would have progressed but it's amazing what something like lockdown will make you do or give you the confidence to do. Absolutely and if I may ask a follow-up on that Anna would you use more voice enabled storytelling in the future? Yeah we have another application that we've built for we have a literacy program for under fives first five forever so we've developed another app that allows parents to engage when their hands are full or they're in the car to have storytelling going and keep their children engaged so I think there's lots of different opportunities we have so much content that certainly the children storytelling one is working really well. I can definitely relate to that one as well so thank you so much really appreciate that. A question for Miriam and Matthew which is firstly thank you for your presentation but also what made the layers a very compelling project during lockdown and also how is this project continuing without a dedicated team? So I'll just pick up the second piece first so although there is not a dedicated team there is still one person Rebecca Reid who is managing the site in a sort of bare bones kind of way but in a very effective way because she's still retweeting from the layers Twitter account and sort of promoting the site so one person can still do an awful lot of really good work in promoting it. Secondly there's still a lot of organisations that are coming to layers from within London and asking to have their collections put on and so the collections and the records continue to grow even beyond lockdown because it's such a perfect place to put those kind of heritage and heritage information and of course once you have that new information on there that's something else to promote by social media. Thirdly the whole of the the layer site is going to be moving to a different platform it's obviously still a mapping platform soon and that will add further functionality to it and that will be something else which will provide a sort of an ability to promote it and make it even more engaging and as part of that Humap or error who created Humap we will also be promoting the site so being able to kind of partner with your digital agency means you get a double dip you get your layers team doing their part and then we'll be doing our part in promoting the site too through some quite concentrated digital marketing so it will keep going it's too fantastic a project to ever really fall by the wayside and having it on a new platform means that the tax never going to go to the wall it's always going to be maintained and updated. I think what made it so compelling during lockdown is that it's so immersive so you can there's so many different stories on there that would appeal to different people whether it's the deep historical layers or more fun things like corner shops of south London or the punks of the 1980s or the social relevance of things like Windrush and the UCL slave stories on there the slave networks so there's really something for everyone and once you start dipping into those records you can just keep going from one collection to another and immerse yourself even more so it's a very immersive site where you just find yourself falling into this rabbit hole of London life whichever kind of London life you're interested in from the Romans to the present day and so that's something you can obviously do at home when you can't get out Matthew would you like to add anything to that? No I think Miriam's covered it really well I think there was if you like for people to we all have to move our lives online and therefore living in this online world there's a website which allows you to explore your local area for example and so to get a sense of what it was like in history so I think that really appealed to people alongside some of the specific projects that we ran to get people interested into getting busy and so on I think in terms of the team Miriam's right that essentially it's Mia's director and Rebecca project administrator we hope to have a bit more resource coming through in the next year possibly sooner than that in terms of academic support also Lez is embedded in a research centre on the history of people placed in community at the Institute for Historical Research so that means it's plugged into public engagement and it's in an institutional way so it forms part of the engagement strategies for an institution so it's not a standalone thing anymore so by being embedded with the institution and being embedded with the developer I think that's a good way to sort of support a project that has to outlive its funding stream in a sense as many projects do that's a really good answer thank you both of you particularly I think the more we can align these projects with the university's research engagement and civic mission I think the more well embedded they are and I'm also noticing a really good mix of research and digital agency partnerships in Anna's discussion and also in this project as well there's some really good potential on digital humanities and spatial humanities projects in the future on that front we've got more questions coming in so we have a question for Debbie can I just say what a fascinating presentation and I was just trying to get to the information so quickly and one thing I picked up in one of the slides was 78% of the children noticed less noise and more wildlife and I thought we've all experienced that and we really all enjoyed elements of that so it's really nice to see that but you also mentioned or at least the children mentioned that they miss the social out going the sports or the other things seeing their friends and there's a question about how when you were developing the ways in which you instigated this project were you thinking about how this will feel in terms of not engaging the children directly and will it now change the way you engage with audiences in the future completely? Thank you, that's a really interesting question the short answer is yes it will change how we engage because once you've been through something like this you learn so much from changing your practice all the time and actually this project kind of grew and grew as well people got really interested in it and contacted me about it afterwards so yes on the engagement with the children I really miss that personally as an educator I totally miss that even though I was homeschooling my own at the time so they would probably tell me off because I probably had more interest in this but at the same time I saw what they were going through and I talked to the teachers part of the reason the teachers were so keen to do it and so keen for us to send physical like a scrapbook and tissue paper and actual stuff for them to do was because they had a real sense that they were just looking at a screen they were using Google Classroom which is great and it makes things much easier but they really wanted them to do something that was something practical and then the lessons that we were doing they wanted to use them as a check-in with the children to see how they were feeling and to talk about some of the issues so although I didn't have that direct engagement with the children in some ways I had more engagement with the teachers and sort of really got a sense from them of what they wanted and we had this kind of sort of training session at the beginning of January and then we had to sort of eat every few days by emailing each other so in some ways that changes the practice I think thinking about an idea I've got at the moment I definitely want to embed some of these using video and using a longer time frame and say just doing something over an afternoon or a day which is what we've done before so the short answer was yes the longer answer is yes but I'm not quite sure what and how we can get some of that participation with the children like we embed that as well as having some of the online stuff that we do Thank you Debbie and I think it's worth saying that we're all learning from this pandemic on what works and what doesn't work and what we adapt and what we don't adapt in the future Lauren coming back to you there's a question about your Instagram approach and whether you used a new Instagram account whether it was an existing Instagram account did you previously had audiences built up already or did you have to build them all over again from the beginning and also going forward did you see a drop in audience engagement after the exhibition finished or is there a way to engage them continuously in this process Sure, yeah I created the Instagram account especially for the project, it's part of a one year project so it kind of went beyond just the exhibition itself and yeah but we launched it and we had a lot of media around it at the time so I did a couple of articles in the Wells Art Review also for the Edwardian Culture Network and the British Association of Victorian Studies so that got quite a lot of interest but I definitely saw it grow throughout the exhibition so at launch there was probably about 60 something followers and that gradually increased over the weeks to 300, 400 by the end I did find that it was the same kind of people who tended to comment each day there was a core group of people there but I found one thing on Instagram that was really important was the use of hashtags and also the app tagging people so I found particularly when some of the inscriptions were prize speakers awarded by Sunday schools or schools or other institutions like the Salvation Army the Railway Mission so when I tagged these institutions into the inscriptions that was really useful because then they picked up on it they re-posted it to their followers because they were the ones that had the most engagement or ones that also had quite relevant themes so there were quite a lot of posts about the trade union movement and the labour movement so I found that these ones were very kind of relevant at the time because it was pining with the politics that were going on so I found that again these increased a lot of participation and yeah naturally as the project ended people have kind of stopped following us but I found again that that core group that were interested have been keeping in touch with me by email and it's really nice because they actually keep sending me inscriptions all the time that they come across or from their own collection so that's been really good to keep engagement with them in that way that's really really good to hear actually because that way you know that your engaged audience group is there and you can use them to share ideas and see what else might come through that yeah Alisa fantastic presentation there was just so much in there and I wonder whether you can give us a bit more about the 5 criteria that you used to select the 15 case studies if you can just give us a bit more on that yes of course so we first of all researched activities that were developed during the pandemic so the initiatives that were launched after March 2020 or it was mentioned in the website of the initiative explicitly that they were a reaction to the pandemic then we wanted to see the role of youth in glam recovery and so this is the reason why we looked for initiatives that explicitly targeted youth then we also wanted to research easy to use technology and this because we wanted to have also the criteria of self-expression and so technology is to be easy to use by youth so for example mobile apps, social media use of us that has Lauren said is quite important and also we wanted these initiatives to be easily replicable and also transferable to other institutions so a sort of best practices that other institutions can use in the future and if you have easy to use technology of course is easier to do this and then also we wanted to see a connection between the collection of the exhibition and the social, political and environmental context of the moment and finally we wanted the self-expression criteria because we wanted to initiatives that gave space to visitors in order to express themselves and to give their personal contribution because we wanted the engagement and the involvement to be one of the most important elements also because of course the engagement of the audience is one of the first things at the moment is quite important. Thank you and we have another question coming in Debbie this one is again for you which is I think people are acknowledging how important these scrapbooks are for the future and for people to look back on how children felt about this whole pandemic and they're wondering about the long-term preservation about whether it will be kept in an archive for the future. I don't actually have the scrapbooks that children do so they were scanned in and sent through Google Classroom and then emailed to me I'm hoping still to visit the school to get all the kids to bring them in and then I can photograph them so there is a plan but that was part of the project plan was to do that right at the end but because of the continuing pandemic obviously we're still stuck in some kind of lockdown until the 19th of July we haven't been able to go back to school because of course schools closed that week so ideally yes we will and we'll have some kind of record and of course we have the records through the posters and the postcards and that's partly why we created that web page so we will have an archive of basically this project and most importantly how the children felt going through the lockdown in January, February.