Collections – Page 3 – Vital North Partnership

The Catherine Storr Experience: From Collection to Cardboard

This digital age of ours poses a challenge to both museums and higher education. How can museums present physical collections digitally? And how can academic research into these collections engage the Google Cardboard generation?

The Catherine Storr Experience, a new augmented reality exhibition based on the work of author Catherine Storr, launched by Newcastle University and Seven Stories: the National Centre for Children’s Books, attempts to meet that challenge.

The content for the experience was provided by Kim Reynolds, Professor of Children’s Literature in the School of English Literature, Language and Linguistics. Kim wanted to produce a digital exhibition based on her research into Seven Stories’ Catherine Storr archive. Discussing this with the Seven Stories Collections Team, it quickly became apparent that Kim’s ambitions for the project were to do something really new.

So I put Kim in touch with Dr Tom Schofield in Digital Cultures in Culture Lab at Newcastle University to see if they could help. Tom worked with developer Dan Foster Smith, Seven Stories’ Archivist Kris McKie, and Kim to put The Catherine Storr Experience together.

The Mirror Image Ghost. Image: Newcastle University

The result? The Catherine Storr Experience explores the unsettling novel of Storr’s Marianne Dreams (1958), and the house that Marianne draws. Using the context of Marianne’s room, the augmented reality experience introduces a number of Storr’s books and illustrators, as well as some aspects of her life. The experience allows you to explore different objects, characters and settings by moving your smartphone or cursor.

It uses the very latest in WebVR technology. I haven’t seen anything like this yet in digital collections, so I asked Dan about the technological innovation:

“This is new and experimental technology, which is on the edge of a breakthrough into the mainstream. It has the ability to take information that has traditionally been displayed in a flat, 2D way and literally add another dimension to it!

Websites have the great advantage of allowing the viewer to navigate the information at their own pace. Video and TV captivate and engage the viewer. This sort of experience combines the best of both; I like to think of it as a guided tour with the ability for you to ‘ask’ questions along the way.”

Inside the house of Marianne Dreams. Image: Newcastle University

Throughout The Catherine Storr Experience you can spot illustrations, photographs and other items from the Seven Stories Collection. Some of the materials included in the experience also relate to Storr’s personal life and were kindly loaned by her family, extending the Seven Stories material. The project has also enabled Seven Stories to digitise all of their Storr holdings so this is available to readers and researchers around the world.

From Seven Stories’ perspective, Kris commented that this partnership had brought a new dimension to their digital collections:

“It was interesting to see how a group of talented people from outside the museums and heritage sector were able to respond to the challenge of representing an archive in a new way; Kim was able to bring her expertise to write the content, and Dan and Tom were able to envision a unique platform to present it. It will be intriguing to see what people make of The Catherine Storr Experience and the additional content on our website.”

'Marianne draws a house, and the house is Marianne.' Image: Newcastle University — ‘Marianne draws a house, and the house is Marianne.’ Image: Newcastle University

And I’ll leave it to Kim to have the final word:

“Working with colleagues in Culture Lab and Seven Stories made it possible to experiment with new ways of presenting archival mterial and reaching out to audiences all over the world. It required new ways of writing, and Dan and Tom approached the task in adventurous ways that re-engaged me with the material. It was an exciting and challenging – in the best possible ways – collaboration.”

http://digitalcultures.ncl.ac.uk/Catherine-Storr/

Discovering home, heritage and history at Seven Stories

In this guest post, Dr Lucy Pearson, Lecturer in Children’s Literature at Newcastle University’s School of English Literature, Language and Linguistics and Gavin Hetherington, a BA English Literature with Creative Writing student, reflect on the third year students’ visit to Seven Stories: The National Centre for Children’s Books in October.

Dr Lucy Pearson

My third-year module ‘Home, Heritage, History’ asks students to think about these three themes in the children’s books of the twentieth century, and to think about how English Literature might use archives and museums. This module evolved from my close working relationship with Seven Stories – I’m taking full advantage of having a heritage organisation devoted exclusively to children’s literature right on our doorstep! One of the highlights of my teaching year is the module field trip to Seven Stories, and this year’s trip was extra special.

The team at Seven Stories stayed on after hours to give my students exclusive access to the Seven Stories Visitor Centre in the Ouseburn Valley. The Collections Team brought along some archive material for students to have a closer look at: we explored some of Helen Craig’s original artwork for Angelina Ballerina, looked at some of Robert Westall’s correspondence and his manuscript drafts of The Machine Gunners, and investigated the creation of Tom’s Midnight Garden and The Borrowers through correspondence, artwork, and drafts. Mary Norton’s letter to her illustrator Diana Stanley in which she writes about the horror of the blank page when starting a new work struck a chord with us all! It’s a special feeling to handle the original material and see authors’ false starts, crossings out and uncertainties.

Dr Jessica Medhurst gave the students a guided tour. Image: Newcastle University

Students also had a chance to explore the galleries and think about how Seven Stories shares our heritage of children’s literature with the public. This was especially exciting this year because our KTP Research Associate Jessica Medhurst came along to give students a tour of Michael Morpurgo: A Lifetime in Stories and talk about the ideas behind the exhibition. Jessica has been working closely with the Seven Stories exhibitions team and conducting research to support their development of the exhibition, so she knows everything there is to know about the Morpurgo exhibition. The exhibition theme of storytelling was especially interesting to members of the group who are also creative writers: student Gavin Hetherington gives his account below.

In the Rhyme Around the World exhibition, Storycatcher Lawrence gave students a taste of the experience regular visitors to Seven Stories can enjoy – and they had some fun exploring the interactive aspects of the exhibition!

Interacting with the exhibitions. Image: Newcastle University

We finished the evening with a quiz, where students showed an expert knowledge of children’s books (and a healthy competitive streak!)

If you’re envious of the students’ exclusive access to Seven Stories, it’s not too late to sign up for our Being Human event on 24th November, which will offer all the fun the students enjoyed plus a little bit more.

Gavin Hetherington

As a creative writer, visiting Seven Stories was not only educational, but also inspirational. The biggest part of this children’s literature archive is that they have acquired original materials from iconic authors in order to preserve and protect them from being shipped elsewhere. In doing so, this material is available to be admired, ensuring that visitors can always walk away with something from the experience.

Students exploring the Michael Morpurgo exhibition. Image: Newcastle University

To go from Michael Morpurgo’s ‘Dreamtime’ in his exhibition, to the ‘Cabinet of Curiosities’ – a short walk away – shows how deeply connected every part of his writing process is, from his creative ideas whilst walking through the pastoral, to the illustrators that have collaborated on his work, boasting watercolour paintings that reflect some part of his stories. We are submerged in his mind and are able to interact with the pieces that make up his imagination, and it spills over into the visitors’ reality. Morpurgo himself, in a very cosy setting of a shed and a recording of the famed author speaking directly to us, said that we should ‘fill our heads with this world of which you are a part’ and that, for us creative writers, it is not ‘magic’ that conjured the words we seek to write, but ourselves, as we write the story we truly believe in, from our minds to the paper before us.

I could not help but be fascinated as Morpurgo himself comes to life, as do the other writers who have created such timeless children’s stories, with the manuscript of The Borrowers and the facsimile of Tom’s Midnight Garden. These personal objects reveal the process of their writing, that the finished product we all cherish began in a way that the creative writer can relate, and thus helps us to aspire to be like them. The exhibits in Seven Stories humanises the writers, shows us the processes of their hard work and how they each used their own modes of magic to bring their stories to life.

Applications open for the David Almond Fellowships

David Almond (above, with Michael Morpurgo). Award-winning North East children’s writer. Patron of Seven Stories, the National Centre for Children’s Books. Honorary graduate of Newcastle University. So it seems only fitting that we named our annual fellowships in children’s literature in David’s honour!

Newcastle University and Seven Stories’ David Almond Fellowships aim to promote high-quality research into the Seven Stories Collection by supporting award holders to make a study visit to Newcastle. And there are so many amazing collections that you could research! Take a look at Seven Stories’ informative Collections blog for an insight into some of our holdings.

Collections at Seven Stories. Image: Seven Stories, the National Centre for Children's Books. Photography: Damian Wootten. — Image: Seven Stories, the National Centre for Children’s Books. Photography: Damien Wootten

We launched the David Almond Fellowships in 2012 to increase national and international access to Seven Stories’ Collection and build new links with researchers. So far, we’ve awarded 11 Fellowships and over half of our Fellows have come from outside the UK.

Lucy Stone, one of our 2016 award-holders, says of her David Almond Fellowship:

“To take up the pen, pencil or paintbrush proffers the chance to make sense of the beautiful, but also perplexing world into which children are born, grow and find their place as an adult. The Judith Kerr Collection contains a myriad of remarkable drawings, paintings and writings child Kerr crafted pre- and during her family’s exile from Nazi Germany. Thanks to a David Almond Fellowship, I had the wonderful opportunity this summer to examine Kerr’s juvenilia, now part of my doctoral research involving consulting archives across Europe and the US to determine what writing and drawing can offer refugee children. Everyone at Seven Stories and the Children’s Literature Unit were incredibly helpful and supportive; the Fellowship proved invaluable.”

Collections at Seven Stories. Image: Seven Stories, the National Centre for Children's Books. Photograph: Damien Wootten. — Image: Seven Stories, the National Centre for Children’s Books. Photograph: Damien Wootten.

And, applications for the 2016/17 David Almond Fellowships are now open! You have until 1 December 2016 to apply for visits to be taken before the end of August 2017. Have a look at the David Almond Fellowship Information 2016-2017 for full details of how to apply, and download the David Almond Fellowship Application form.

We would love to welcome you to Newcastle as a David Almond Fellow – and you could even research David’s collection…

For more information about the David Almond Fellowships, visit the School of English Literature, Language and Linguistics website or contact Professor Kim Reynolds.