Saturday, April 30, 2016

Boston College's McMullen Museum of Art

Image taken by author
The McMullen Museum of Art at Boston College is a non-accredited art museum which specializes in fully-contextualized exhibitions. That is, they create displays which not only highlight artwork, but factor in the political climate, culture, and history behind these objects. Ideally, visitors leave with a basic background within which to see and understand the items on exhibit. The current exhibition is titled The Arts and Crafts Movement: Making it Irish and is being put on in honor of the centennial anniversary of the Easter Rising. Past exhibitions have included works by Caravaggio and John La Farge. The museum considers its core mission to, “cultivate learning, celebrate artistic excellence, explore the visual traditions of diverse cultures, inspire faculty and student research based on the visual arts” (bc.edu/bc_org/avp/cas/artmuseum/about/index.html). In addition to their multidisciplinary exhibits, the museum offers a wide array of other exhibition-related programs, such as lectures, theatrical performances, films, lectures, and readings.
According to the museum’s website, there are three full time staff members who handle a majority of the groundwork, however, professors and even students are brought in to assist with the setup and research on exhibits.
  • Director
  • Assistant Director/Exhibition Design/Collections Management/Curatorial Affairs
  • Assistant Director/Graphic Design/Information Manager
Image captured from
http://www.bc.edu/bc_org/avp/cas/artmuseum/collections/index.html
The museum also holds several permanent collections including American Paintings, Italian Paintings, Flemish Tapestries, and Gifts from William and Alison Vareika (this includes works by John La Farge and William Trost Richards). According to the website, these collections are accessible to BU students and faculty. There is a virtual gallery available for free online which highlights the most exceptional works in each collections, although it only offers very low quality images. There is no information pertaining to the actual size of each collection, and there are fewer than 15 images presented from each collection in the virtual gallery. As if to compensate for this, a huge amount of information is available for each item.
  • Title
  • Artist (with dates)
  • Time and Place of Origin
  • Material
  • BC ID#
  • Depiction
  • Artist Information
  • Provenance
  • Restoration Work
  • Comments
  • Bibliography/Literature



  • How would you characterize your site in terms of its collections?
    • Characteristics
      • Governance systems
        • A non-accredited museum under the purview of Boston College
      • Services they offer and functions they serve
        • Free tours every Sunday at 2:00 PM
        • Free exhibitions open to the public
        • Free online virtual gallery
        • Exhibition-related programs
          • Musical and theatrical performances
          • Films
          • Gallery Talks
          • Symposia
          • Lectures
          • Readings
          • Receptions
        • Private Permanent Collections
        • The website offers an abundance of information about how to reach the museum from various points around the city, informs patrons that parking can be very minimal when Boston College has a home game, and includes a schedule of what days there are home games
    • Types of Collections
      • What are the types of collections they hold?
        • American Paintings
        • Italian Paintings
        • Flemish Tapestries
        • Paintings by John LaFarge and William Trost Richards
        • A variety of items on loan from other institutions for special exhibits
      • What is the composition of their holdings?
        • Paintings and Tapestries in the permanent collections
      • Which collections are significant or notable?
        • All permanent collections include works from notable artists, such as John La Farge, Samuel W. Griggs, and Giovanni Battista Salvi
    • Condition of collections
      • Overall?
        • Guards patrol exhibitions to ensure safety of the objects
      • How accessible are the objects in the collection?
        • Physically
          • Building is handicapped accessible, not terribly easy to find, lower floor of the exhibition area does not have elevator access
          • I contacted the Museum three times, once via email and twice via telephone, to try and get some answers to basic questions, like can I access the private collections as a member of the public? I never received any responses.
        • Special Exhibitions are free to the public
        • Permanent Collections are accessible only to BC community. I drew this conclusion based on the following information from the About the McMullen page on the museum’s website. “Students and faculty at the University have access to the McMullen’ extensive permanent collections, which dates back to the nineteenth century and continues to grow through gifts and acquisitions.” (bc.edu/bc_org/avp/cas/artmuseum/about/index.html)
    • Environment
      • What controls are in place?
        • unknown
      • How much (%) of collection is inadequate conditions?
        • unknown
    • Preservation and Disaster Planning
      • Do they have a plan?
      • There is no information on the website which indicates they do or do not have a plan. However, as part of the BC system, it is probably mandatory that they have some sort of disaster plan before they receive funding from the school.
      • Is preservation part of the mission?
        • The Museum’s mission, which is horribly brief, is completely centered around exhibiting fun things and celebrating art and artists and inspiring faculty and students. There is no mention of preservation, or any kind of restoration work.
      • How does it cover people with disabilities?
        • The Museum is handicap accessible, but I don’t recall seeing an elevator which allows a patron to access the bottom floor of the exhibition space. Devlin Hall does have an elevator, but there is no door into the lower exhibit space.
    • Critical Institutional Priorities
      • What are the most critical issues in terms of the collection?
        • For the Exhibitions - short term (usually a matter of months up to a year) preservation and safety. Many of these items are on loan, and the Museum must ensure they are returned in the same condition to their owners.
        • For Permanent Collections - interest, funding, and possibly preservation? Again, I was not able to reach anyone about this, but I would guess that a majority of the BC students do not even know the McMullen has a permanent collection. Since they and the faculty are the only folks with access, I would think that the Museum has to put in a lot of footwork to generate interest in the collections. This is also directly linked to funding, as is the preservation aspect. The college has to balance funding the museum and preserving the paintings and tapestries with using their limited space wisely. I don’t know if these collections are housed in a gallery, or if they are kept in a secure area and accessed only when a student or faculty member requests to see them.
      • What do they think is the most important?
        • Because the museum does not charge an admission fee, they do ask in a straightforward way that visitors who enjoy their experience at the McMullen consider donating, or becoming a member. There are several strata of donors. The higher level the donor, the more private events connected with the museum they are invited to. The funds from these patrons, according to to the Museum, is the “single most important source of annual income” (bc.edu/bc_org/avp/cas/artmuseum/membership/index.html) and goes to support their exhibitions and the scholarly catalogues that accompany each one.
          • Friends of the Museum
            • Friend - $50-$249
            • Museum Associate - $250-$999
          • Patrons of the Museum
            • Patron - $1000-$2,499
            • Sustaining Patron - $2,500-$4,999
            • Supporting Patron - $5,000-$9,999
            • Director’s Circle Patron - $10,000 and above

There is very little information about the Museum apart from its own website. It’s incredibly easy to navigate, but vague on access. The museum promotes its previous exhibition catalogs, and provides a wealth of information about the current exhibition, press releases, and when best to visit. The virtual gallery is a nice touch, especially for those who are denied access to see the real thing. I would recommend that they shoot higher resolution images to accompany their information about the selected works.

Monday, April 25, 2016

Fashion and Textile Museum & Museum at the Fashion Institute of Technology social media

For this project I decided to look at two museums that focus on similar materials and see how they handled their social media, if they took similar approaches or were vastly different. The two museums I looked at was the Fashion and Textile Museum in London and the Museum at the Fashion Institute of Technology in New York.





According to their website the Fashion and Textile Museum describes themselves as:

…a cutting edge centre for contemporary fashion, textiles and jewellery in London. Founded by iconic British designer Zandra Rhodes, the centre showcases a programme of changing exhibitions exploring elements of fashion, textile and jewellery as well as the Academy which runs courses for creative students and businesses. Situated in the heart of fashionable Bermondsey Village, in a fantastic building designed by Mexican architect Ricardo Legorreta, the FTM aims not just to display and collect items relating to fashion, jewellery and textile design, but to offer inspiration to a new generation of creatives. Now redeveloped and operated by Newham College, the museum is a hub of learning, ideas and networking for the fashion and jewellery industry. The Museum does not have a permanent display, but offers an exciting program of focussed temporary exhibitions and displays throughout the year which allows the Museum to showcase a rich variety of contemporary fashion and textile items.

The museum uses the standard social media outlets. Below are the links as well as number of followers for each outlet.
Facebook-68,618, active since 2008
Twitter-20,250, 8,377 tweets
Instagram-18,600, 684 posts
Pinterest-4,500 followers, 1,600 pins

I was unable to locate any actual social media policy or mission statement on their site.

The Museum at the Fashion Institute of Technology describes themselves on their site as:

…accredited by the American Alliance of Museums, is one of a select group of specialized fashion museums, including the Muse de la Mode, the Mode Museum, and the Museo de la Moda. For the 100,000 people who visit The Museum at FIT each year, we work to create exhibitions, programs, and publications that are both entertaining and educational. The mission of the Museum is to advance knowledge of fashion through exhibitions, programs and publications. Founded in 1969, the Museum was installed in the current building in 1974, and exhibitions began to be presented in 1975. Dr. Valerie Steele has been director of The Museum at FIT since 2003 and chief curator since 1997. 

This museum uses many more social media outlets than the Fashion and Textile Museum.
Facebook-83,590, active since 2008
Flickr-182, 78 albums
Foursquare- 327 photos, 182 votes
Instagram- 7,770, 139 posts
Pinterest-15,200 followers, 5,100 pins
Tumblr- not very active
Twitter-16,001, 7,918 tweets
YouTube-742 subscribers

The Museum at FIT does have their social media policy posted on their site:
Blog/s 
The Museum at FIT may provide blog/s for the exchange of ideas and information. By posting comments to an MFIT blog you agree to avoid abusive language and refrain from posting any content that infringes upon any third party's rights, including privacy, copyright, trademark, or patent. All comments are posted immediately upon receipt. We reserve the right to modify or delete comments we find to be inappropriate or offensive or not related to the topic. We will not correct spelling, grammar, or factual errors but we may comment on them. We hope you share your thoughts with us. Please note: We may discontinue our blogs at any time. We do not have the ability to remove comments upon your request. By submitting comments, you acknowledge that they will be posted immediately on the World Wide Web. You agree we have the right to quote from your comments in all media now known and hereinafter devised.
Social Network Sites
The Museum at FIT may maintain a presence on one or more social networking websites, such as Facebook. By posting comments to an MFIT social network website you agree to avoid abusive language and refrain from posting any content that infringes upon any third party's rights, including privacy, copyright, trademark, or patent. All comments are posted immediately upon receipt. We reserve the right to delete comments we find to be inappropriate or offensive or not related to the topic. We will not correct spelling, grammar, or factual errors but we may comment on them. We hope you share your thoughts with us. Please note: by submitting comments, you acknowledge that they will be posted immediately. You agree we have the right to quote from your comments in all media now known and hereinafter devised.
Terms and Conditions for MFITs Flickr uploads
Your photo submission must be of you or your work and no larger than 2MB (about 1000 pixels on the longest side). Do not use copyright-protected material unless given express permission from the copyright holder.


In going over both sites I would say that both have their strengths and weaknesses. The Fashion and Textile Museum although not having as many outlets is very cohesive in the material they put on each of their sites without being repetitive. They appear to be very active on all of the sites with regular postings almost everyday, even multiple times a day. In comparison to the Museum at FIT the Fashion and Textile Museum’s Instagram is far superior in having almost 6 times as many posts and twice as many followers. The Museum at FIT however would appear to be reaching more people. They have numerous outlets and are fairly active in updating them however with so many outlets some of the material they post is repetitive, using the same images and text on multiple sites. One thing that I found interesting with the Museum at FIT was on their homepage they have an actual social media page that pulls together all of their postings on their different outlets and also pulls pieces (such as articles from New York Times) where they are mentioned into one specific place. Overall both museums are utilizing social media effectively, they are reaching out to their patrons, spreading information, and enticing future visitors.


1. http://www.fitnyc.edu/museum/ 
2. http://www.ftmlondon.org 

Saturday, April 16, 2016

Crowdsourcing: Building Inspector and Shakespeare's World

Building Inspector

http://buildinginspector.nypl.org
"Kill Time. Make History." is the tagline of New York Public Library's Building Inspector, a joint project of NYPL Labs and the library's Lionel Pincus and Princess Firyal Map Division.  The public, crowdsourcing side of the project is a simple, engaging, and somewhat game-like website that encourages human input in harvesting data from digitized historical maps of New York City.  For someone like myself who loves public history and adores Sanborn Insurance Maps (and could happily spend all day with them), Building Inspector is an engagingly addictive and absolutely gratifying time-suck. 
The site was launched in late 2013 and, although it is apparently more robust today than it was at its inception, it is remarkably simple, beautifully streamlined, and compellingly easy to use.  The foundation of the project is NYPL's Map Division's collection of maps and atlases of the world and of New York City in particular.  Counting in the thousands, spanning decades and centuries, and detailing untold changes in the city's landscape over time, the collection offers an opportunity to bring it all together as a part of an even greater vision: that of the NYC Space/Time Directory and a goal of "turning historical maps and other geographic sources into a digital time-travel service for New York City."  The simple objective is "to extract, correct and analyze data from historical maps." (1) 
The process (along with the incredible vision of what will be) involves a series of enormous and crucial steps.  Behind the scenes, maps and atlases are first scanned, page by page, at high resolution in order to be "rectified." The process of rectifying a map also includes a largely crowdsourced element: NYPL's Map Warper tool (http://maps.nypl.org/warper/) engages volunteer involvement in identifying and streamlining the scale, orientation, and pagination of maps of myriad variances.  This normalizing process aligns every map to precise points of latitude and longitude and ultimately (or will ultimately) allow them to be layered, enabling a journey through time, and viewing the changes to the city from any location or vantage point.  
The next step is "Vectorizing" and basically consists of computer identification of recognizable demarcations.  This step both eliminates ridiculously astounding hours of human labor in the project AND ensures that humans must participate in the rest of the process for many years before it is complete.  The Vectorizer software is incredibly powerful and time-saving.  Analyzing fire insurance maps, it can identify approximately 150,000 building footprints per day -- astronomically faster than humans, as "it took NYPL staff and volunteers two years to extract 170,000 footprints (and some additional metadata) from four atlases in the library’s collection."  However, the software is no match for the human brain.  Thus comes the final stage in the process and the Building Inspector site, itself.  Inviting human interaction with the data, Building Inspector both checks and cleans data and trains the computers and software to read the maps more effectively. (2)
So how does Building Inspector work?  The gist of contributors' tasks is cleaning up computer software mistakes and identifying as much data as possible on each map .  The tasks are simple and easy to learn.  Currently, there are five task options that, even for someone unfamiliar with insurance maps, NYC history, or basic word processing, can be completed with absolute ease.  Additionally, quick training videos are available and prompt new users to watch them when first entering a task page.
Tasks include Checking Footprints, Fixing Footprints, identifying colors that indicate building structure, and transcribing either location addresses or noted location place names or attributions.   The site allows anyone to contribute, but in order to track one's mounting contributions (as well as rank) one must register.  

Although Building Inspector is described as a game by NYPL Labs, an Inspector really only competes for a ranking and has no idea how much competition there is, who they are, or how much they have done to accomplish their ranking.  Not being anything of a gamer myself, I didn't much mind -- although something still lit a little competitive fire in me.  I wanted to see my ranking go up, but in reality I was mostly driven by my passion for the task and the connection to historic material.

How NYPL Labs measures success not entirely clear.  Nor is it evident how many Inpsectors are contributing.   My earliest ranks (or those when I first thought to check)  indicated that I was likely one of a few thousand, although there was also no indication of just how much or how frequently contributors participated.  However, just last week NYPL tweeted that the crowd had recently hit the milestone of completing 1.5 million tasks, so clearly something is being accomplished.


Accuracy is achieved by majority rule.  Each image task is presented to multiple Building Inspectors who each cast a "vote" until consensus is reached.  The site summarizes the process with the following example: 
For Footprint Inspection, it’s coming to consensus on whether the computer-detected footprint is a Yes, No, or a Fix. We show the same footprint to at least 3 different people, and every 10 minutes we tally up the votes. If 75% or more agree, that footprint has reached “consensus” and the system removes it from the inspection queue. If the jury's still out, we keep the footprint in circulation until consensus is reached, focusing our collective efforts on the buildings most in need." (3)
Skillful completion of tasks is, of course, the best measure of success and hitting milestones helps to track that completion.  
You have reached the end of the internet.
When all tasks have been completed in one area (for the moment) the notice above pops up: "No unprocessed data found for this task.  Good news!! This seems to be complete.  Maybe try another task?"  If one waits a little while and comes back, however, more tasks quickly rise to the surface.  It is presumable that this pause may be occurring between sessions of result tallying, but reaching this point felt more like being denied something I wanted than something to celebrate.  They hooked me!

NYPL's Mission Statement is lengthy, detailed, and (like the institution itself) encompasses much.  Its three primary foci are to "inspire lifelong learning by creating more able learners and researchers...; advance knowledge by providing free and open access to materials and information that reflect New York’s global perspective;" and "strengthen our communities by promoting full citizenship and participation in society."  Within the fleshed out language of their mission, there are many highlights that are supported by the Building Inspector project.  Among them are the goals to:
  • Support creativity, research, and problem-solving
  • Bring people together to spark creative synergies and learn from each other
  • Inspire interest, expand horizons, and enrich perspectives
  • Build tools that allow us to connect with the world in our areas of expertise
  • Provide dynamic resources to help patrons understand and engage in society
  • Create safe and reliable places where we and our patrons can enjoy, honor, celebrate, and engage with our communities
  • Offer unique and authoritative materials of historical importance. (4)


Although NYPL Labs calls Building Inspector a game, I have doubts that many will share that view.  They have scarcely built up any gaming aspects of the site beyond announcing an Inspector's rank.  I am not a gamer by any stretch of the imagination and I found it quite lackluster in any of what I would consider gaming allure.  Rather, I found it a well designed tool that I enjoyed using and found that, by far,  my greatest incentive was the opportunity to interact with the wonderful maps. 
Of greater concern (and only just encountered at the very last minute when I was (once again) enticed to rectify one more (really, just one more, I swear -- well maybe 3 so I can bring my completion record to a nice square number -- and then I'll just really quickly check my ranking and be done -- okay, maybe there is some game element...) is -- I'll begin again.  Of greater concern (based on my recent revelation) is the true development of consensus among different sets of eyes.  Despite the wonderfully illustrated example of how consensus is reached (and, therefore, knowledge is gained and maps are made wholly searchable and interactive through the power of many volunteers and great algorithms) I found myself (in a very brief visit back to the site for further research and not at all because I was compelled to go back and fix a few more footprints) faced with an exact same footprint I had already re-vectored.  Perhaps it was an anomaly; perhaps I have been "playing" more often than others on this task recently; perhaps, perhaps, perhaps.... I am not sure what to make of it, but I will say (after playing with the site far longer than was ever envisioned for this assignment) this was the first and only hiccup I encountered.  That said, from the standpoint of accuracy and consensus, I do not find asking the same person twice about the same property is a best practice in true crowdsourcing.  Though, indeed, I have much to learn.

Shakespeare's World

 https://www.shakespearesworld.org/#/

Shakespeare's World is a collaboration between the Folger Shakespeare Library in Washington, D.C., and Oxford University Press's Oxford English Dictionary.  The transcription project is hosted by Zooniverse.org at Oxford University.  Zooniverse hosts a variety of crowdsourcing projects in many fields and describes itself as "the world’s largest and most popular platform for people-powered research."  Shakespeare's World is among their latest projects, having launched only a few months ago in December 2015.  Although Shakespeare gives the project its name, he has very little to do with its focus or content.  His lifetime (1564-1616) and 2016 being the 400th anniversary of his death provide touchpoints, but the documents people are asked to transcribe relate more to day-to-day life in Shakespeare's time than to anything pertaining to him properly. 
The Folger Shakespeare Library does not list a mission statement, as such, on their website but does discuss their focus and actions on their "About the Folger" page. They state that, "By promoting understanding of Shakespeare and his world, the Folger reminds us of the enduring influence of his works, the formative effects of the Renaissance on our own time, and the power of the written and spoken word." (5)  This project clearly supports that aim.

The involvement of the Oxford English Dictionary, however, is what most intrigued me about this project.  As one of the best examples of crowdsourcing in history and the authority on the English language and the origins of words and their use, the OED's involvement is focused on the hope of discovering new word usages, earlier instances of word usage, and building a greater understanding of the English language and its growth.  The OED is produced by Oxford University Press, which is a Department of Oxford University.  The Press, itself, states no so-titled "mission" on its site but does frequently express that "It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide." (6) Toward meeting these goals, it is noteworthy that within the first week of the launch of Shakespeare's World the OED had already identified new material -- an early and unrecorded variant of taffeta, "taffytie" -- and more has steadily followed. (7)
Shakespeare's World offers transcribers an easy to use keypad, complete with shortcuts for words commonly abbreviated in Shakespeare's time.
So, how does Shakespeare's World work?  Contributors are invited to register with Zooniverse -- a simple and straightforward user name, password, email address process -- and then can begin transcribing individual pages of manuscripts from Early Modern England.  There is a brief slideshow of directions, tips, and advice (all the slides of which are easily referenced at any time), as well as a Guide page with additional and more in-depth assistance on topics such as paleography, numbers, and county names -- all of which are immensely informative but equally easy to use and access.  A handy keypad with common abbreviated terms helps to maintain consistent data.  Users also have quick access to a crib sheet of common letter shapes and can also compile their own crib sheets as they go.  Currently the project is focusing on recipe books and letters, but additional materials will be added over time.  
Transcribers work in isolation on single images from various materials and do not see the work of other contributors.  Any amount of text may be transcribed, from a single word to parts of phrases to every line on the page.  Pages are not sequential; after saving work on a page from one manuscript, transcribers may next be assigned something quite different, written by someone else and in another hand entirely.  The idea, according to the blog page for the site, is that this design encourages greater focus on, or "close reading"of, the page at hand: "The Shakespeare’s World system, which only presents one decontextualized page at a time, forces the transcriber to read closely. The handwriting can be difficult and, without an entire manuscript for reference, the only clues to decode an excerpt are on that page. Every letter, every mark, every word is important. And the transcriber is compelled to linger, focusing on the details and considering the possibilities." (8)  Although they may work in isolation on a single page, transcribers can interact, share, and ponder dilemmas on the Talk page of the site. 
Unlike Building Inspector, Shakespeare's World offers some steady and engaging feedback on accomplishments, progress, and questions.  The Talk page is well organized and active with discussions and comments ranging from tips and questions about spellings and penmanship to alerts of new OED discoveries and modernized updates on the old recipes in the manuscripts.  The blog page is less active (the latest post was nearly a month ago), but it does offer deeper insight, images, and in-depth discussion of the project and its highlights periodically.  Few posts receive any comments and, if they do, rarely is there more than one or two.   
There is no way to measure or visualize just what impact you have had as a volunteer -- nor, either, just how much remains to be completed.  In January, just five weeks into the project, a blog post announced some data: 13,876 unique visitors had logged over 23,000 sessions and submitted 24,252 transcriptions.  Most transcribers were from the greater London area, but they noted growth in many other regions and even offered an infographic of the site's activity. (9)  However, I have found no updates on this data or any additional statistics on progress or growth changes to date.  It would be interesting to follow such changes and I am hopeful that they will offer updates along the way.
Geographic locations of Shakespeare's World contributors, as of January 2016. 
Summary
Although Building Inspector and Shakespeare's World both focus on crowdsourcing efforts involving libraries and their desire for greater metadata and searchable content, their collections, methods of collecting data, and how they engage contributors differ a fair amount.  Both are driven to enrich our information worlds and each has a robust site that is both easy to use and compelling (for the contributors they seek).  Building Inspector offers a taste of instant feedback and a tiny element of competition to urge continued contribution, while Shakespeare's World offers a communal opportunity for discourse and intellectual stimulation.  Both could take a page from the other and jump from great to fantastic.

  1. NYC Space/Time Directory, http://spacetime.nypl.org.
  2. Miller, Greg. "Help Bring New York City’s Past Back to Life From Your Phone." Wired. Oct. 21, 2013. http://www.wired.com/2013/10/phone-map-game-new-york-city/.
  3. "What's this all about?" Building Inspector. http://buildinginspector.nypl.org/about
  4. "NYPL's Mission Statement," New York Public Library, http://www.nypl.org/help/about-nypl/mission
  5. "About the Folger," Folger Shakespeare Library, http://www.folger.edu/about
  6. "About Us," Oxford University Press, http://global.oup.com/about/?cc=us.
  7. Durkin, Philip. "Our First Discovery! And a brief history of the Oxfort English Dictionary," shakepearesworldzoo (blog), Shakespeare's World, December 17, 2015, https://blog.shakespearesworld.org/2015/12/17/our-first-discovery-and-a-brief-history-of-the-oxford-english-dictionary/.
  8. LWSmith. "On Close Reading and Teamwork," shakespearesworldzoo (blog), Shakespeare's World, February 3, 2016, https://blog.shakespearesworld.org/2016/02/03/on-close-reading-and-teamwork/
  9. Snakeweight. "Progress Update," hakespearesworldzoo (blog), Shakespeare's World, January 13, 2016, https://blog.shakespearesworld.org/category/stats/.