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From page 2 to page 6. This project has received funding from the European Union's Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No 892230. The PI is Francesca Saggini. See CORDIS website at https://cordis.europa.eu/project/id/892230

Executive SummaryBetween 2017 and 2019, Oceanic Exchanges (http://www.oceanicexchanges.org), funded through the Transatlantic Partnership for Social Sciences and Humanities 2016 Digging into Data Challenge (https://diggingintodata.org), brought together leading efforts in computational periodicals research from six countries—Finland, Germany, Mexico, the Netherlands, the United Kingdom, and the United States—to examine patterns of information flow across national and linguistic boundaries. Over the past thirty years,national libraries, universities and commercial publishers around the world have made available hundreds of millions of pages of historical newspapers through mass digitisation and currently release over one million new pages per month worldwide. These have become vital resources not only for academics but for journalists,politicians, schools, and the general public. However, these digitisation programmes share a critical weakness:the very creation of national newspaper collections obscures the fact that international news exchange was central to the nineteenth-century press.The Atlas of Digitised Newspapers and Metadata is an open access guide to a selection of newspaper databases around the world. Its initial selection is limited in scope, being comprised of the ten databases (including the aggregator Europeana) for which we were able to secure access and licensing to the machine-readable data.Nonetheless, it aims to form the foundation of a wider mapping of collections beyond its current North Atlantic and Anglophone-Pacific focus. It brings together their histories and digitisation choices with a deeper look at the language of the digitised newspaper, the evolution of newspaper terminology and the variety of metadata available in these collections. It explores how machine-readable information about an issue, volume, page,and author is stored in the digital file alongside the raw content or text, and provides a controlled vocabulary designed to be used across disciplines, within academia and beyond.This report draws upon multiple taxonomies: our own open access dataset (doi:10.6084/m9.figshare.11560110),which provides a full catalogue of metadata fields across the collections, academic and industry discussions of the newspaper as a journalistic form and historical artefact, digitisation guidelines and strategies, library websites, annual reports, interviews with librarians and digitisation providers and the data files themselves.The maps of this Atlas explore each of our overarching categories in detail, providing a selection of languagevariants, the technical definition we employed in the categorisation process, and notes on its usage acrossthe collections and in the wider world of press history. This allows a greater understanding of how the term iscurrently being used in different ways by different groups, and allows researchers to navigate to the specific type of information they require and ascertain its availability across these collections. Each entry also includes technical information for obtaining this data across the collections, including data types, which often vary considerably, and XPaths for locating the information within that dataset. With this information, researchers should be able to understand the different structures of these collections and develop computational means forrobustly comparing datasets to explore deeper and more meaningful research.After using the Atlas, we hope that readers will begin to understand the great wealth of metadata available for digitised newspapers, much of which is comparable across collections, nations and languages. As we explored these collections, we found a sincere effort on the part of librarians, scholars and commercial providers to converge upon a knowledge system that allowed meaningful enquiry and reflected a consistent layer (if not a complete reproduction) of these historical artefacts. However, this seeming convergence does mask important outliers and divergent interpretations of key bibliographic and conceptual categories—divergences that we hope these maps will highlight, and encourage future digitisers to consider when building or expanding their databases. In sum, the rise of digitisation promises great opportunities for those who wish to engage with newspaper archives, but as with all historical archives, digital collections require researchers to be mindful of their shape, provenance and structure before any conclusion can be drawn. It is the responsibility of both digitiser and researcher to understand both the map and also the terrain.

First paragraph: The Extended Mind is based on the idea that our bodies, objects, language, institutions, other people and environments, expand our capacity to think, feel and orient ourselves in the world. This idea, that cognition is not simply something that takes place in the brain, is often called distributed cognition. A curatorial and academic endeavour, the exhibition grows from a collaboration between Talbot Rice Gallery and a research project called The History of Distributed Cognition.

Shift/Work SpeculationsPerformance #1 : Kochi-Muziris Biennale, in Kerala, India 20-24th March 2017.Commissioned by the Kochi-Muziris Biennale, Speculations is a Shift/Workshop that runs over two 3-hour shifts. Composition: Speculations was collectively composed and play-tested at Edinburgh Sculpture Workshop on the 3rd and 4th of March 2017, a participatory action-research workshop ordained to fabricate speculative artistic research methods.What were we 'composing'?We composed a workshop in which participants develop, learn and apply speculative artistic research methods. It is crucial that the genesis of this workshop is, in its own right, speculative. Our speculative process encouraged artistic practices that cannot be held, observed‌ or enacted without taking risks or experiencing their consequences. To this end, Shift/Work: Speculations was collectively composed (basho paragogy).Speculative methods may include, but are not limited to: abduction, syncretism, forecasting, futurism, divination, becoming-rites, probing (making and employing actants), paradisciplinarity, ‘pataphysics, hyperstition, theory-fiction, mythopoesis, fabulation, fictioning, (mis)management, gaming / playing, versioning, licensing, servicizing, technés / technoetics, extended cognition (ExC), imaginative propositions, paper architecture, thought experiments, proposing, lateral thinking/feeling/knowing, weird-ing, speculative realism, mangle-practice….Who were the Shift/Workers?A compagon of ‘composers’ - comprising artists, curators, designers, musicians, producers, educationalists, social anthropologists, philosophers and futurists - joined us at Edinburgh Sculpture Workshop in March 2017 to scribe and audition Speculations. Working in three groups, participants composed three iterative workshops. The three groups then rotated, each participating in the workshops composed by their peers. 2) PerformanceOur post-workshop re-calibration of the three workshops translated them into one workshop composition. Shift/Work then directed this ‘calibrated’ workshop at the Kochi-Muziris Biennale, in Kerala, India 20-24th March 2017.The composition is published as an OER on www.shiftwork.org.ukPlease visit our website to obtain a poster (scroll-score) and instruction pamphlet for printing.

Programme for the event Torsten Lauschmann + international shorts at the festival EAMIF held at the Edinburgh FIlmhouse on Thursday 10th December 2015. 

Exhibition of Freud's House: the Double (2015) at the International 3 Gallery to coincide with the Manchester Contemporary Art Fair. Commissioned by University of Salford.

In this extended article, Emile Chabal and Stephan Malinowski reflect on the use of history in the debate on the UK’s relationship with Europe and question two historical narratives put forward about Britain – that its history has been uniquely continuous and that is has been exceptional. They suggest that Britain has been marked not by the continuity of its history but by the stability of its elites. They also argue that its imperial legacy, among other factors, makes Britain more like other European countries than not.

This output is a curated exhibition which extends my research into the locale of creative endevour. This particular output focussed upon artists motivations relative to matter. IDEAS IN THINGSDavid BlackallerJuan CruzAlan CurrallSiân Robinson Daviescurated by Dean HughesPrivate view: Thursday 26 June 2014, 6:30–8:30 pmExhibition dates: 27 June –26 July 2014"Now I am not what I was when the word was forming to say what I am."William Carlos Williams, The Great American Novel'Ideas in things' presents an equal sense of wonder between both ‘things’ and ‘language’. The artists included in the exhibition are collected here for their resonance in how each charts the movement of the making of an artwork from a natural to an artificial phenomenon. This transition presents a classic artistic or, more commonly associated, poetic problem of the desire to evoke uniquely personal experience through a public medium. The drive to force the conventions of alanguage to express the private nature of experience is the bedrock of creative work. In working with quotidian objects the dilemma that presents itself is that in choosing to talk about ordinary matter is to risk falsifying-yet equally and at the same time to remain silent or speechless is to risk creative annihilationThe exhibition was reviewed in Frieze September 2014 by Chris Fite-Wassilak