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The Following Essay First Appeared on the BBC Domesday Project National Disc, First Published November 1986

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The Following Essay First Appeared on the BBC Domesday Project National Disc, First Published November 1986 The following essay first appeared on the BBC Domesday Project National Disc, first published November 1986. THE DOMESDAY PROJECT An Overview of the Production of the Domesday Discs By Peter Armstrong. Editor, BBC Domesday Project , 1986 A NEW AND UNIQUE MEDIUM The idea for a 20th Century Domesday Book, produced in a form that would make it widely available, was only possible because of recent developments in optical storage. This technology was developed in the 1970s and depends on a laser beam reading millions of ‘pits’ representing pictures, sound and data in the spiral track of a plastic disc. It is the density of this data storage and the fact that discs can be pressed rather than recorded that has opened up the new possibilities of electronic publishing. In particular, the interactive video disc in its most advanced form offers to anyone interested in the exploration and communication of ideas through words and pictures a medium that is cl ose to ideal. It can store film, sound, still photographs, text, data and computer software on the same surf ace and can be cheaply replicated. And, in spite of its huge volume of 110,000 still images and 648 megabytes of data per disc, it can be accessed quickly, so that users can move straight to the section t hey want without being burdened by the sheer mass of material at their disposal. This is made possible by the combination of replay hardware, indexes and retrieval software that the new generation of interactive video discs brings together. How should one think of this new medium? In some ways it is l ike an electronic book, with screen pages that can be arranged into chapters, an index and a table of contents. But most books have a beginning, a middle, and an end, whereas the disc offers random access: you can start at any point and move t o any other. Does this make it more like an encyclopaedia? In a way - though this suggests fixed sections related to topics, while the video disc can put the same material into an almost infinite series of patterns in response to different enquiries. Seen in this way, therefore, it is closer to a data base with pictures, or a set of television programme elements, put together by the disc user, taking the place of the television producer. And then again, interactive video can be seen as operating in the same way as a teacher or expert, training or informing the person using the disc. My own preference is to see the Domesday Discs as a kind of exhibition - an electronic exhibition of British Life in the 1980s. This exhibition tries to reflect many of the aspects of life today in just the same way that, for example, the Great Exhibition of Victorian Britain or the Festival of Britain of 1951 did for their ti mes with traditional means. Like them it is highly selective: it does not aim at the comprehensiveness of an encyclopaedia. It offers not general truths but insights and images that we hope are characteri stic of our era. And the visitor to this electronic exhi bition can wander freely around, focusing on those elements that cat ch the eye. Who is the exhibition for? The advantage of an electronic exhibition is that it can claim to be for everyone. We hope the Domesday Discs will be of real value today particularly to the educational community, as a way of taking stock of the state of the country under many headings. But if our exhibition stands the test of time, it can equally be visited in the coming centuries by those who want to look back at what we thought, how we looked, what we did in the 1980s, and also - from what we deci ded to include in the exhibition - what we thought important. It was this idea of the creation of a multi -media record of our times for use in the future that was the primary motivation in the creation of the Domesday Discs. Who has compiled the exhibition? The BBC has taken the lead, regarding video disc production of this type as an important extension of its public service broadcasting role, and as one of the first steps into the fully interactive television and information systems of the 21st Century. It is appropriate for a broadcasting authority to become involved since we combine editorial, journalistic, and technical skills with the resources of film and picture libraries and a long tradition of popular education and information. So the creation of the discs has been centered on a BBC project team about fort y strong at any one time. But we saw Domesday as a national undertaking - it could not reflect a particular view of Britain. So a system of advisory commit tees was set up (described in section 3). Around these we built up concentric rings of contributors - ranging from full time university teams, through hundreds of voluntary area organizers and contributors, to the million or so people carrying out the surveys on the ground. Our aim has been to produce what I called at the outset of the project a people’s database - not only something that ordinary people could use, giving them access to much of the data about vital issues that is normally difficult to obtain, but also a database that they themsel ves have helped to create. Our portrait of Britain in the 1980s is largely a self - portrait. The two-year process by which the Domesday Discs have been created has not been a centralised operation by a group of people with strong ideas about British life and how it should be reflected. Our role has been rather to gather and shape all the material offered so enthusiastically by thousands of people - photographers, academics, journalists, government statisticians, teachers and pupils, members of conservation groups and political parties, and many many more. And the process is not over. Our hope is to produce further editions of the Discs incorporating feedback and additional material offered by people using them. Only then will I feel justified in calling it a people’s database. HOW THE PROJECT AROSE The first idea was for a television series presented by Michael Wood to mark the 900th anniversary of the Domesday Book with a set of historical essays on Britain from 1086 to the present day. This in turn led me to propose the creation of the Domesday Discs as a twentieth century equivalent of William the Conqueror’s Domesday Book. It was to be a national project based in the first instance on the network of distributed computer power represented by the tens of thousands of micro computers in schools. I spent a week in May 1984 thinking the idea through and writing a detailed proposal with details of content, team, budget and timetable. This proposal was put to BBC Television management and received whole- hearted support. BBC Enterprises agreed to provide the first one million pounds of funding. We then took the idea to the Rt. Hon. Kenneth Baker, then Secretary of State at the Department of Trade and Industry, who agreed a further half a million pounds - in furtherance of their aim of promoting interactive video technology in this country. The D. T. I. in turn - in line with government policy - recommended private sector funding, so we approached Philips Electronics for the f inal half a million pounds. They were to become central part ners in the project as it became clear that a completely new video disc player would have to be designed and manufactured in order to make possible the digital content of the Domesday Discs. Our fourth partner was Acorn Computers, manuf acturers of the BBC micro. With capital equipment and a building loaned from other parts of the BBC, we were ready to begin in the autumn of 1984. That gave us exactly two years to plan and complete the project, including data, picture and text collection, and hardware and software development from scratch. We all knew it was at least a year too little, but the anniversary could hardly be moved. I have been constantly criticised for not coming up with the idea a year earlier! This time pressure has put enormous strain on all of us - particularly for the schools operation. But it has also provided an impetus and a spur, turning deliberation into action faster than is usually the case. THE PROJECT TEAM AND ASSOCIATED COMMITTEES The project team has been made up of between 30 and 60 members for the two years of the project. Some were seconded from different and diverse parts of the BBC, while others came in on contract. The team has included an extraordinary range of skills from social science researchers to systems analysts, from video disc producers to copyright specialists. They have worked harder (often at week-ends and through many nights) and with a spirit of personal dedication more striking than on any other project in my personal experience. For the f ull list of team members and associates please refer to the article called ‘Credits and Acknowledgments’. Internally the team reports to a steering committee of BBC senior management. From the outset I was clear that, in spite of the common prejudice agai nst committees, this was a project that would depend crucially on a hierarchy of committees - many of them working on a voluntary basis. The Education Committee advised on the schools’ participation on the project. The Software Committee discussed the ret rieval soft ware specification. The Technical Liaison Committee covered all aspects of the recording and replay hardware.
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