 Rhaid i'n gael, mae gennym ni gwybod 3 gweithio'r prysgwm yno, i'n gweithio am ymlaen o ammru Scott, y peth o'r Luminatio Lleinwyr, yn ei ddweud o oerffordd, ac mae aces yn eich cyfnod ar gyfer ymlawr. Cymru. Cymru Francis. Rhaid i'n meddwl i'r llythydd, gyda'r ymddangos am yr ystod yn ei ddweud, a'r hyn yn ei gyfnod yn cael ei ddweud, o'n rhaid i'r cyfnod yn yr unigol. So byddai'n gwelio i chi i'n meddwl am ymddangos i'u. Yn y gallwn gwneud, y gallwn gwneud i'w prifesio'r pramysgol, a dwi'n meddwl i'n gweithio rhai argumentu ac yma'r pethau'r hyn o'r prifesio'r gwneud yw arweud arall. Mae'r cyfrifoedd o'r blwyddynol yma, am fydd yn gweithio'r cyfrifio'r cyfrifio'r cyfrifio'r cyfrifio'r cyfrifio'r cyfrifio. Fy enw'n gwneud cyfnodd y gweithio'r cyfnodd o'r platformio yw eu cyfnodd yn fawr o bwysigol i ddweudio'r llwyffanol ar y llwyffanol ac'r rhai oedd yn y gwaith ymlaen, ond y gwaith yn cael eu bod yn gorfod eich bod y cyfnodd yn y ffordd, ond yn gweithio'r llyfr, ac yw'r gweithio'r cyfnodd ddod o ffyrdd cyfnodd cyfnodd cyfnodd cyfnodd cyfnodd cyfnodd cyfnodd cyfnodd cyfnodd. As I said, my story does start in a university context. I work at the University of Edinburgh, I'm the Deputy Director of Learning, Teaching and Web. In 2015, we ran our first edit-a-thon. It was a three-day event focused on the story of women in medicine, the story of the Edinburgh 7. You can look it up on Wikipedia, there's some excellent pages about it. It was facilitated by the Wikimedian in Residence at the National Library of Scotland at that point, a lovely lady called Ellie Crockford, who's just sitting on the left-hand side of the screen. It was the start of our journey towards having our own Wikimedian in Residence. But because we're a proper research institution and we think about what we do, we evaluated the work that we did. We asked Alison Little John from the Open University and some of her colleagues to analyse our edit-a-thon activity and to help us understand the impact of it. There are a number of pieces of research that have come out of this activity and the work that Alison has done and her colleagues. There was a presentation at OER 16 that some of you might have seen. But there are a couple of points that I really want to draw out of the papers that have been published. The first paper that was published which was looking at the formation of networks of practice and social capital through participation in an edit-a-thon. The few points that I think are really important that I want to draw out are firstly that activity didn't stop when the edit-a-thon stopped. We continued to edit and I was one of the people involved in this edit-a-thon, so I am a research subject in here too. We continued to edit even after the activity had stopped. We did build a network of practice around our editing activities and we communicate with each other, those of us who are involved in that edit-a-thon still. We did consider this activity to be part of our professional development. It was really important to us and it wasn't about the topic that we were studying so much as learning the skills around editing Wikipedia that we felt were important. The second thing, and this is a more recent paper that was published five or six weeks ago now, was looking at the process of becoming an editor and the perceived roles and responsibilities of Wikipedia editors. The key things I think I want to pull out of that are that the process of being involved in the edit-a-thon really got us into the nuts and bolts of how knowledge is created, curated, represented, debated, discussed online. That process of taking responsibility for creating knowledge and thinking about that critically did, for some people, give them the feeling that editing and creating that knowledge was a form of activism. Telling the stories of the first women to matriculate in a university in the UK and telling them accurately and fully was a form of activism. That's then a lesson which I have carried forward and this is where we turn from the thing I did professionally in work to another activity. It's another professional activity. I put two titles for myself on my opening slide. I'm the trustee of a Building Preservation Charity in Edinburgh and we are the stewards custodians of a category A listed building called the Mansfield Traquer Centre. It is an enormous church, a deconsecrated church and it is absolutely covered in murals by a female artist called Phoebe Anna Traquer. She is really important because she's the first professional women artist in Scotland. She's the first member of the Royal Scottish Academy, admitted as an honorary fellow. She's incredibly important in her own right and these murals have got other cultural significance around the church that they were painted for. They say quite a lot about 19th century thought about religion and they say quite a lot about the arts and crafts movement. These aren't the first murals that she painted in Edinburgh. She started her career by painting very, very small chapel in the Royal Hospital for Six Children. The Royal Hospital for Six Children has moved and her murals moved with it and I'll tell you a little bit more about that in a minute. These murals were commissioned by Patrick Eddys in the Edinburgh Social Union and if you know anything about conservation or town planning or interdisciplinary education you may have heard the name Patrick Eddys. If you haven't, go and look him up on Wikipedia. She was asked to paint what was a converted coal shed, very small space and the women's committee who asked for this building to be painted were looking for the quote there, suitable place where the bodies can be left reverently and lovingly for the parents before the murals. This is a very private space. This is a very moving and intimate and difficult space. It's a mortuary chapel in a children's hospital. I mentioned the Edinburgh Social Union and the Commission. This was one of about 20 public art commissions in the city of Edinburgh. It's the only one still in existence. It's had quite an interesting story even before we get to this point in time. As I say, it was painted in this very small space in this converted coal shed and in the early 1890s the hospital moved and Phoebe herself started a petition to move these murals. They were moved into a much larger space and she repainted and filled out the blanks around them. They've had a period of at risk already when the hospital's moved. We find ourselves again today in the same position. The Sick Children's Hospital in Edinburgh has been sold again. It's been sold to private developers. As somebody who has a professional and invested interest in these murals and how they relate to the building that I'm a trustee of and how they relate to the history of the city that I live in, we're faced with two issues that we really need to try and solve. One is that this building isn't accessible. It was never designed to be accessible, so it's massively important artistically, socially, culturally, historically, but you probably shouldn't have access to it. And secondly, it's been sold to a private developer and I think that puts it at risk. They are not necessarily experts or specialists in this kind of thing. They're a housing development company and there is a risk that they will lock the door and nobody will ever see it again. And so myself and a couple of colleagues, a couple of friends who care about this sort of thing, another trustee from the Mansfield Square Trust and a friend from the National Museum of Scotland started thinking about this and started thinking about how to raise awareness. And these are works of official culture. So if you can't see them, how can we get people to care about them? So we commissioned a friend of my friend from the National Museum to take a series of photographs for us, which we committed to releasing under open licences. That was how we got the permission from NHS Lothian to have access to the building before it was sold, that these photographs would actually be available for them, they could go into the Lothian Health Services Archive, they could be used by their artists in residence, they could be used by scholars like my colleague at the museum and my colleague in the Mansfield Square Trust. So we made this upfront commitment to open licences, but it gives us something that we can now use to try and raise awareness. And I'm just going to run through some of the pictures that we took to try and give you an idea of why it's really important to have this record and why it's so impactful, because there are a few things we really need to document. The first is, this is a panel from the first mortuary chapel that was moved. And this is a panel from the second mortuary chapel, the place where all the murals now are, they're very stylistically different. So this represents a real shift in Phoebe Joquere's own painting at that point in time and a shift in her thinking. And so it's important that we have that history of the murals documented. It's another one of the early panels and you can see just how different they are. There are tropes and features that we see in her murals over and again, so if you can see, let's see if I've got a laser pointer, at the back of the mural here in this little vignette is the leaderfoot viaduct in the Borders of Scotland. She paints that viaduct in several classical backgrounds in her paintings. We can see some quite interesting ideas and don't ask me to explain what this means, because I really can't, about mortality in the 19th century, floating hands, people sleeping in serpents with skulls heads, angels, tongues of fire, snakes. We can also see things about the condition. This is missing paint, conservation paper, cracks, more conservation paper, more missing paint. And a test cleaning patch which shows you how discoloured the murals are and actually how vibrant and bright they could be. And without these it would be incredibly difficult, I think, to tell the story of these murals, to explain why they're important, to explain what they mean to cultural heritage, what they mean to artistic heritage, what they mean to thinking about religion and death and mortality in the 19th century. So I said that we committed to releasing them under open licences, but that's all very well and good, but you've got to think about the problem of distribution as well. And the most obvious thing we felt to do, based on my experience in those early editathons, was to use the Wiki Commons platform. So we made all of the images available on Wiki Commons. We then used the images to write Wikipedia articles. We inserted the images into existing Wikipedia articles. This is the hospital and Phoebe DeQuer's own page. And then we did Google search. Three of the images are what appear on the front page. And the article we wrote is the second ranked article. So anybody who hears about this story, who hears about the private development, who even hears those words, is going to be able to type that into Google and find a set of resources that will help them better understand why they're important. And we know this is particularly important in Edinburgh because we know that our local newspaper searches Wikipedia Commons, Wikipedia Commons, and uses images for it to illustrate its stories. Because this is a turnip carved by none other than Lorna Campbell sitting in front. It's your turnip uploaded by our Wikimedia and in residence, randomly picked up by our national newspaper, local newspaper. And they are good at covering the story of this hospital. So I'm trying to put those materials under their notes so that they're really findable. That's a kind of rattle through of a kind of quick case study example. But I really, I hope that I've made the case through kind of sharing my own practice, that if we as institutions invest in the kinds of activities that started this off, the editathon, and we nurture those kinds of activities, actually they can have benefits that move beyond our borders, move beyond the borders of our institution. And again, I think that came up in two of the key notes yesterday about operationalising the knowledge that we get through participating in Open. And I think I'm probably bang on time, Francis. I'm going to finish there. That was a bit of a speed rattle through it, but I'd be very happy to take any questions. But this is what I want. People see these images and I can tell the story about this place that's at risk. It is nothing without these images because they're really powerful because they're a mortuary chapel and a children's hospital. They have real power. As a last case result, if you're not successful, they're still important. That's our big worry and I know this is being streamed, so there's certain things I won't say, but there are times in commercial developments when perhaps cost judgments come into play and yes, these are category A listed and they would be a very big fine if they were damaged. But well, how big would that fine be relative to the size of site and profit to be made? Any questions? Yes, Martin. It's all about Lorna's turnip, really. Lorna's turnip. I missed a trick. I've been lucky enough actually through some of the web governance work that we've been doing at Edinburgh to have Johnston Press, who are the publishers of The Scotsman, come in and talk about their digital strategy with us as part of helping us frame our digital strategy. And I think understanding how print journalism is grappling with the internet and trying to meet them halfway is absolutely what it's about. They all publish their digital strategies online. These are things you can go and look at. They're all trying to work out how to be digital publishers. Johnston Press, I think, are quite enlightened in this space and that they have clocked that Wiki Commons is probably quite a good resource of stuff they can use for free. But, yeah, I mean, we can clearly reach out to them and push some of this stuff a little further under their nose as well. Does that answer it? Yeah. Yeah, I mean, I think I put the stuff into the Wikimedia project because so many people go there to get their information and because Google privileges it. And it's then a spin-off benefit that I also know a couple of companies or a couple of publishers will do that, whether they do that because Google makes it easy for them to do it or whether they do it as a more conscious move. I don't know, but, yeah. Any other questions? I can just ask one. I'm not an expert in this area, but I went to the DC-DC conference discovering communities, discovering collections or something like that anyway. And I heard a talk about a sort of infrastructure framework that allowed a sort of virtual presentation of resources across different collections. It was very technical and probably massively hard to implement. But I wondered whether there was any scope for these not just being picked up by the press through Wikipedia but other digital collections being able to bring them into, you know, in a virtual sense. I think there was a lot of scope for that. There's Lothian Health Services Archive, which is actually based in my institution's library. And I would love copies of these to be lodged with them to sit with the archive of the history of hospitals in Lothian. So they do need to be with that collection. Yes, they almost certainly can be joined with other collections and materials about the arts and crafts. I think there's so many possibilities. What I haven't talked about is Wikidata. I have also been working on Wikidata, which is where we can start to do some of the linked data stuff that will connect these images with other collections through references to the hospital, through references to the mortuary chapel, to Phoebe Drucker and Patrick Edison. I'm still working on that. There's quite a lot to do in that space. But putting structured data behind it to give it a bit more power is also part of the plan. Thanks very much. It was a really interesting talk. It was a bit of a rattle through, but thank you for having me.