 We actually haven't done this together before, so we've got a sort of an idea of who's doing which part. So just bear with us, we do actually work together in the same office, so we do talk, but sometimes. Anyway, so I'm Paul Sutherland. I'm a Christchurch City Librarian, so I've worked there for a long time. And my role is the rather eloquently digital content innovation librarian, which sounds as exciting as my life really is. And then Sarah's going to introduce herself and then I'll come back soon. Kia ora koutou katoa, kō Sarah Snelink ta kō inong ingoa. I'm the Digital Curation Librarian with the Christchurch City Libraries. My position was a newly created position when I started about two years ago. And since January of this year I have been focusing on the project that we'll be talking about today, which is the Discovery Wall. So the Discovery Wall is an immersive and interactive digital cityscape created mainly from images from the Christchurch City Libraries collection. It is presented on a seven metre long multi-touch screen at Turanga, which is the recently opened library in Christchurch's central city. The aims of the project were to showcase some of the more hidden aspects of our collection to the public, which was basically our digital heritage collection. To connect people to the memories and stories, to build the collection by enabling the public to contribute their own images and stories, and also so they can realise that their own stories are actually important to contribute, and to provide even more whale factor to the city, to the one of the city's anchor rebuild projects. So this is taken on opening day, so it's a very busy day and it's the first time that a lot of the public have seen it. In addition to the seven metre wall in Turanga, there is also a mobile discovery wall. This is me playing on it in our office. So we'll be using the mobile wall for outreach events. Here it is on its first outing to the Positive Aging Expo, which was actually before the opening of Turanga. Here it is at the Heritage Day, which was actually on the same weekend as Turanga opening. So as well as the outreach events that will be touring around our network libraries, so the user experience won't just be in the central city, it will also be around Christchurch. So this is a 75 inch screen, and it has the same content and operates in the same way as the Discovery Wall in Turanga. Website. The third part of the deal is that there is a website, which is at discoverywall.nz. If you've got a phone and you feel distracted, you can look at that now and not pay attention. That has got all the content that's on the Discovery Wall. This also acts as the vehicle for public engagement by adding content to the collection. That, for those of you who are inclined, is a picture of how it all joins together. It was drawn up by the council, our council's IT department. So I just love pictures like that, especially the little people. Sarah and me are down the bottom somewhere. And you're up there on the cloud, on the top right. So how do we get there, and why did we get there? It's kind of interesting to reflect on. We're aware the Canterbury earthquake sequence happened in 2010-2011. This is a slide from GNS about a month after 22 February, showing the intensity of some of those earthquake sequences. They didn't stop when the slide was made, but it's the best one I could find. So there was a bit of disruption to the city. And rather pros, actually, this is out of one of Sarah's document, which was the recovery agency built to rebuild the city. And, you know, the city will never be like it was, which is good and bad. The Warren and Marnie designed building, the 1982 building, a great piece of brutalist architecture. I loved it. I worked in that building on every floor, been at every floor in the basement on the roof, places that you don't even know exist. Fared quite well. But unfortunately, the recovery plan thought that it should go. And it didn't deserve the amount of work that would make it work again, and we needed to move into a new city, a city made up of little blobs. The New Central Library became a part of the recovery, and for those of you who are interested, a lot of it was crown-driven, some of it is crown and council-driven, and the library was an entirely council-driven project. So they moved it, and they put us in the square, which is a good place to be, beside a broken cathedral. So there was a desire to... We said goodbye to the old building. It was just before the building was demolished. It was quite an emotional thing to say goodbye to. Yeah, quite an emotional thing. But while we were saying goodbye to the building and keeping library services, we had two temporary libraries, and we had a whole library service. We had buildings to fix all across the city, along with the rest of the city. Boffins were coming up with architectural visions. So we engaged some people, architecture firm, to sort of come up with a vision for a while factor building. That's it just before it was handed over to the council. With that, while building, and it really is a while building, if you've been there, and if you haven't been there, go there, because it is a while building. That's a library as well. But it's a great civic space, but they wanted some other while factors in it, other than they already had. Interestingly, in one of the very first council documents, there was this thing in there about that the city probably needed, an earthquake museum and maybe an interactive multimedia representation of the city's memory. This to me looks like Gibson were in the game really early on. So, somehow a lot of bit and pieces of negotiating and manoeuvring and it was decided that it was going to happen. And bang, did it happen to the community. $1.24 million, the ombudsman got involved, Gibson wouldn't release the costs, all these sort of things we got told off, but in actual fact it was just a small component of the building's total build and the taxpayer's union should be paying attention to other things. So, what's in it? We said when we first engaged with Gibson, while we're having this, this is going to happen, this is not going to happen, sort of thing along. We said, yeah, we've got heaps of stuff, it's all ready to go, we'll just be able to throw it in. We've been collecting, like we're a collecting organisation, we're a library and we've been digitising material for 20 years. All sorts of material from our archives, publications, postcards. We photographed a lot of things in the, you know, 30 years ago and had them laminated on cardboard and then later on we turned those into digital things. And quite a diverse collection. Then we started, we put some money into actually going out and digitising, actually digitising material, we're using a professional vendor. And reaching out to the community and getting collections, this collection of career war photos were lent to us, we digitised them and the creator of those photographs, Norman Pearson, still has them. So we moved into new territory of actually crowdsourcing our imagery. This is another collection from a little photographer who still owns the physical, the negatives and the photographs. And more recently we've been engaged with the University of Canterbury. This is our fourth year where we've actually had students working as interns or working for their paper going out to the community and photographing the community and actually creating a documentary record of our community as it is now. From a, you know, a documentary professional. Interesting. That's a funny supermarket. Just by the way. We've been heavily involved with Kere Community. We've currently got about 40,000 images on Kere. We had an initial project where we weren't sure whether we wanted to engage with Kere because we thought, well, maybe we would, maybe we wouldn't. But we got stuff in. Then around about the, well, the earthquakes happened and then we started getting earthquake photos. And we've still got, I've got about, I don't know, somewhere between 60 and 100,000 earthquake photos still to deal with. I say that, I don't know the number because there's lots of replicas because they were from the council and there's a lot of file renaming. You've got one file, why don't you rename it five different ways? We started in 2008 with a project for, we call it a photo hunt but it's a crowdsourcing project that we get in one month to get the community to bring in photographs. We scan them and give them back to them and we were adding them. Initially we added them to Flickr and then we added them to Kere. And this year, 247, there's a diverse range of photographs from the community. Went up on the Discovery Wall website. Various themes were becoming evident in our crowdsource material. These are diaries. These are butchers. That butcher shop there is now a plant-based breakfast bar. That butcher shop there, the one on the left, the Addington print, is now a plant-based café. When the word of the Discovery Wall came out, people started saying, I've got some photos. Can you use them? This is someone who went around and took photographs of civic buildings. Some of which, half of those are there, half of them aren't anymore. And just talk, you know, ordinary people's photographs. We had someone who contributed photos. She lived in Christchurch. Her husband was a lecturer at UC and she lived there off and on between the 60s and 2008. So she contributed us a number of photos. We had all these things kind of coming to us. And then this really fantastic thing happened. Well, it's sad and great. The Christchurch Star newspaper had a room with hundreds, this is about a quarter of the filing cabinets of their photo collection that had been pulled out of an liquefaction-filled room and didn't have any catalogue to go with it. It did have some folders and envelopes and things. So it consisted of both copy prints and negatives. And negatives, yeah. So we received this around about the same time as we received the word that the wall is going ahead. And it was quite exciting because it filled in a gap. So we had some community-sourced photographs but these were photographs taken for a newspaper of civic events and the Christchurch Star was less a paper of record or more a paper of the people. So there were lots of people, activity, sports and things. So we started digitising those in-house and Sarah's selecting them for the wall. We've also got these ranges of negatives which have things like that's labelled protest. And that's two sides of the same protest. That's the strikers and that's the people trying to negotiate the strike deal. So we're getting these professionally digitised and that's going to provide a very interesting challenge of how we deal with them. Because the negatives join together and are different pictures. So the Gibson Group are a Wellington-based company that we've worked with to create a wall. They've built three other cityscapes around the world and this is the first in New Zealand. A thousand hero images were required for sufficient population of the Discovery Wall of buildings, streets, landscapes, people and events to enable a three-dimensional collage to be created that users can explore. This creates a visual psych geographic representation of stories about Christchurch for the citizens of and visitors to Christchurch . The nature and scale of the Discovery Wall provided us with the ambitious task to represent some aspects of all of geographic Christchurch, including Becks Peninsula, cover a large time scale, so roughly from the 1860s to the present day, and include a multitude of topics so that everyone can find something in the Discovery Wall to relate to. All visitors to the Discovery Wall will hopefully connect with an image that relates to a story about them, what they've discovered now, activities that they participate in, events that they know about, family stories or trips, or even what they passed on their way to Turinga that day. So I came up with 12 broad topics, people, Kaitahu and Māori content, recreation, public spaces, environment, built environment, services, events, business, transport, animals and societal changes, and then worked with my team to try and flesh out some of these ideas and come up with some lists of things to try and find in our whole collection. I use these listings as a guide rather than as a prescriptive list to find everything. So curating the content for the ward, depending on what I could find in the collection rather than finding exactly everything that we listed out. So that's just one of the nodes that we sort of mind mapped out. And that's just sort of coming up some examples in the central city of specific things that everyone thought was important for the circle. So to create the foundation for the discovery wall to be built, we needed to create a framework based on circle, which is how the interactive experience is designed. We grouped the areas of Christchurch into about 80 communities, or bubbles, and then mapped them onto a circle so that they were roughly in the correct relationship to each other. Each community was then given a code. This was our first freehand drawing, just sort of from memory to actually work. And then that's the one that Gibson came back with and much more professional and much more exact. There was a bit of back and forth to try and really nut out where things should actually go. So this then allows images that this is a more of a central city and the codes that I used. So I had all of these codes in my head and knew exactly what they were. It's living by code. 20 minutes enough. So it's one of the hero images. So I worked with the Maori Services team to select appropriate images to be included in the discovery wall and this is an ongoing process. And we've also included in the CMS structure the ability to atereo in the future when we've got more capacity to be able to do that. This is some of the drafting up of cutting out the images and placing it on the bubble structure. And so some of these hero images were also animated. So like the plane in the sky that goes around in the whole city as well. And this was the mach money that we had in our office to actually see the design come to life because before we got that I was just printing out little images and sticking them on pieces of paper because I was actually managing the whole selection through a spreadsheet because as Paul was talking about well our collections are sort of digitising different places so to get them in one place where I could visually see them it was in a spreadsheet. And this was when we first got the mobile wall. So each hero image also has a album behind it. So in each album we roughly aim to have about five images for when we meet live so that was a thousand hero images and then another four or five thousand album images for when we meet live so that was five thousand images that we needed to source from January to well May for the hero images and then when we opened for the rest. So October. That's some of the search widgets. And then some of the user engagement is that people at the walk and compose a postcard and send it to themselves. They can also comment on images and they can upload their own images as well and this all goes through a moderation process. So we were suffering from serious technical debt and we still are and that we needed to supply images to Gibson and spreadsheets or we could type them in form by form by field by field but we managed to have a process where we can upload things but our current website of our digital images our archives and books etc is all generated using a bit of code access97 joined with a product thumbnail of version 6.4 which is no longer even exists an ODBC connector running on Windows XP running in a virtual machine. So it was pretty good once. So but it manages to produce pages and this is the latest pages that were done for the Central City students project. We had problems with getting all this extra stuff almost weekly alerts with part of the archiving the star project, the stuff that we sent to NZMS, we were receiving about 100 gigabytes per month. On top of the in-house scanning and the material we already got and other program digitisation so I think that's solved now. So before we actually had engaged the war we thought that we were going to we went out to market for a digital heritage repository and this time last year we had actually chosen a vendor but through various internal processes that organisations go through and politics and things it's stalled for a very long time and we've just actually signed a contract this week to come up with a thing so what we did discover while we were creating things for the scary wall is that some of our description of our material wasn't actually that great and we'd done things like told stories on pictures told stories with images that really didn't relate to the image this one particularly interesting about Mandy Rice visiting Christchurch in 1962 so we had put our images on Flickr for our photo hunt and we moved into Kete using some sort of magic because we're not script wizards we're just you know I know a little bit of something but we managed to suck it out of Flickr our Flickr collection and mash the data but then we found when we started to use this stuff that was in Kete we hadn't paid very much attention to file naming and spaces matter we managed to get the data out of Kete I've downloaded every single page our 40,000 pages of Kete two forms HTML and XML and sucked that data out quite good data and created a lot of key value pairs to reconstruct that data so we can import it into the Gibson wall framework I'm just going to carry on you leave the room we won't be long we've had problems with macrons because although Excel our tool of choice because everyone knows Microsoft can handle Unicode when it's exported to CSVs it can't so we managed to find a solution there so I'm now using this export from Excel to CSV to retain the macrons but it also causes another thing if we want to update our data when we export it back into Excel we lose the macrons and of course Excel being our friend wants to turn all the dates into Excel and date format so I use Libra to import and create a Excel file we also discovered that we haven't been very good with copyright and understanding it so we're grappling with that at the moment so we've got the ability to say things in copyright or out of copyright or unsure and we have got a lot of material the Christchurch style material is in copyright and we're okay with that Creative Commons possibly overrated and maybe this is what we should be really looking at moving forward rights statements for the cultural sector rather than the cultural the Creative Commons maybe we need to move on this is just a little few images of the construction of the wall and the opening day there's a few analytics of how people physically engage with the wall so it was kind of a bit so that's pretty much just skip out those last things but this is just quite an interesting thing cos this was in our very first a contributed photo in our very first photo hunt 10 years after the photo was taken uploaded to initially Flicka and then moved to Keta and now it's on the scary wall and there's the person standing in front of the scary wall with his hero image