I have been interested in the Domesday project for a while. The idea that a snapshot of Britain was taken, in the form of maps, photographs and text. Yet, the data was unavailable to most people.

The Domesday project was as much an ambitious experiment with technology as anything else. The technology was just about available, but a lot of pioneering work had to be done, and the hardware required for it was prohibitively expensive, leaving many of the contributors somewhat miffed.

Since then, it has become one of the most famous examples of digital obsolesence. This was due to a combination of the technology required to read the discs becoming increasingly rare, and idiosyncratic code.

The Domesday project came at a time when the technology was available, but the standards were not yet there to make it stable enough for long-term preservation, or even easy access in the short term. It’s a reminder that digital technologies are hugely enabling, yet frighteningly fragile.

Then there are the copyright issues surrounding both the content and the technology.

Joys of browsing Domesday Reloaded

The BBC should be applauded for finally managing to open up some of the data to the public on the web. The Domesday project was created before the web was invented. This isn’t how the content was designed to be viewed, so navigation is a bit cumbersome.

But aside from this gripe, the Domesday Reloaded website is turning out to be a fascinating resource.

I was born in 1986, the same year in which the Domesday project disc was published. So the Britain described here is a place that I don’t remember. But enough of it is familiar for it to feel incredibly relevant to me. It’s almost like being given a little upgrade to my memory, so that I can have snippets of knowledge from just before I was born.

Take the photographs for D-block GB-328000-690000 — the centre of Kirkcaldy, my hometown (D-block being one of the 4km by 3km areas the UK was divided into). It took me a little while to recognise “Kirkcaldy’s busy High Street”. But once I spotted British Home Stores, I was right there.

Yet, despite the familiarity, it is almost a completely different world. My memory of the High Street before it was pedestrianised is very limited. But it is just within touching distance of my memory for me to feel a strong connection with it.

The text entries are also fascinating. Most of the contributions were provided by primary schools. A decision was taken by the Domesday project not to edit the contributions, so the quality and style of writing varies from area to area.

As such, what strikes me the most is that it informs you as much about the prejudices of the school pupils and their teachers as it does about the area. It also retains their poor spelling and strange grammar.

For instance, an entry from Dundee (D-block GB-336000-732000) called ‘Traffic in and out’ is a basic survey of vehicles travelling on a road, with guesses as to where the vehicles are going and why. It lacks the academic rigour you would ideally want from a historical document.

But while some of the entries may seem banal, it was designed to be this way. The aim was to genuinely document society by capturing childrens’ curiosity with everything. This way it wouldn’t leave out what adults perceive as being obvious, when it wouldn’t necessarily be so obvious to someone in 1,000 years.

The really big shame is that not every part of Britain was documented. I could understand remote rural areas not being included. But sadly some highly populated areas have also been missed out. For instance, two D-blocks that cover the centre and east of Dundee lie blank, as does much of London.

But what exists is a joy. Even in the little amount of scanning I have done, I have already learned new information about the area I live in, which has set my mind racing and inspired me to investigate further.

Challenges for the modern day equivalents

What also struck me is how we actually already have readily-accessible modern-day equivalents of the Domesday project, almost by accident. The BBC is asking for users to update the content for D-blocks that were documented in 1986, to take an equivalent snapshot of 2011. I may go out and take some photographs for that.

But this sort of local information is staggeringly well documented already. We have Wikipedia, which can be edited by anyone but retains an academic approach that the Domesday project lacked. As such, it is a treasure trove of local information that can probably be relied on more.

Meanwhile, Google Earth and Google Maps provide masses of images of all corners of the country. It absolutely dwarfs what’s on Domesday Reloaded.

But the big question, which can’t be answered at the moment, is whether the wealth of information available on the web can be packaged up into a Domesday-style snapshot and preserved forever. The challenges of web preservation are massive.

Like the Domesday project, we could find the digital information almost slipping through our hands. The BBC know that themselves. With a stroke of a pen, it was decided that a significant chunk of British web heritage will be removed when the BBC removes some of its archived pages from the web.

I was browsing the Absolute Radio website earlier today, and noticed just how much they push DAB. On the Listen live page, it actually highlights DAB as the most prominent option. You can see how important digital is to Absolute.

Contrast this with the recent Radio 5 Live campaign that treats digital as an afterthought.

Also, once again I was listening to Radio 4 this week when Eddie Mair mentioned people listening to cricket on longwave. But no mention of the excellent 5 Live Sports Extra service, which broadcasts the same as Test Match Special on Radio 4 longwave, just without the shipping forecast interruptions.

Adam and Joe return tomorrow morning at 10am on BBC 6 Music!

To celebrate, here is a clip of one of the funniest moments of the programme — when Adam and Joe dangerously ate a chill cake that was sent in by a listener.

Just as well it was time to go home.

I always find it interesting watching closedowns from the past. Continuity announcers just don’t seem so important these days, do they? Today they would never tell you to take care when heading out on the roads.

“Seven twenty seven Rob sport.”

The amazing this is that you know exactly what he means, which I guess is the sign of a great broadcaster. But ever since I first noticed it, it has stuck out to me every single time.

Here is the title sequence to Grand Prix from 1979, the first Formula 1 season to be broadcast in full by the BBC.

Like many BBC Sport theme tunes, The Chain has gone into legend. Just as Soul Limbo is inextricably linked with cricket, so The Chain goes hand-in-hand with Formula 1. This is despite a 12 year break in which it was never used in ITV’s coverage of the sport.

I fondly remember this 1995 title sequence, which was being used when I was first getting into F1 (unfortunately this is the best quality I could find).

The Chain is one of those elements of Formula 1 broadcasting that have become almost religiously important to many of the sport’s followers. Murray Walker is another.

There is almost a folklore of F1 broadcasting which has made F1 fans particularly protective, and often critical of even the highest quality broadcasting. Commentators James Allen and Jonathan Legard have both learned that to their cost.

When F1 returned to the BBC for the 2009 season, they had no choice but to choose The Chain (albeit with a lot of sound effects added).

Google has teamed up with some awesome organisations to offer budding young scientists some great prizes for coming up with neat ideas.

Along with Cern, Lego, National Geographic and Scientific American, Google is asking for people aged between 13 and 18 to submit their projects to the Google Global Science Fair. They describe it as “the world’s first online global science competition”.

The scheme also harnesses the power of the internet, with entrants being asked to submit their projects by building a website using Google Sites.

With some great prizes on offer, I would probably be tempted if I was eligible! And what a cool video too.

The news that the BBC is considering reversing its decision to close down the Asian Network marks the corporation’s second major U-turn on a digital radio service closure. The first was the more high-profile threat to close 6 Music.

The dithering indecisiveness is enough. But what really annoys me about these decisions is the underlying reason behind them — ratings — and the story it tells.

Lacklustre awareness

Both 6 Music and the Asian Network had relatively poor ratings before the BBC announced that the services would close. In that sense, it was easy to see why the savings-seeking BBC was lining them up for the chop.

Then something funny happened. Ratings shot through the roof. After its closure was announced, the number of 6 Music listeners doubled from 600,000 a week to 1.2 million a week. It wasn’t just a flash in the pan either. Since 6 Music was saved from the axe, ratings have remained over the 1 million mark.

The problem is that beforehand, awareness of BBC 6 Music was extremely low. Only 20 per cent of UK adults had even heard of the station. No wonder ratings are so poor if four fifths of the potential audience doesn’t even know of its existence!

Similarly, ratings for the Asian Network have increased by a third since its closure was announced. The increase in ratings has been given as the reason for the BBC’s U-turn.

Publicity vacuum hurts BBC digital radio

The problem is that the closure threat was the most publicity 6 Music and the Asian Network had ever had. The BBC isn’t usually shy of promoting its own services, but it has completely failed to sell its digital radio stations to the public at large. In fact, it has completely failed to sell digital radio full stop.

Just look at the digital radio listenership figures — figure 3.34 in this Ofcom report (PDF) (via James Cridland).

A measley 18 per cent of Radio 1 listeners listen over a digital format. The highest figure among BBC radio stations (excluding those available on digital platforms only) is 5 Live — 36 per cent. These listeners have a significant incentive to move to digital though, as otherwise 5 Live is only available on poor quality medium wave frequencies.

Meanwhile, over half of listeners to Absolute Radio listen over a digital platform. Absolute’s success in pursuing digital platforms is well-documented.

Skewed priorities

Considering that the BBC is supposed to be investing in digital radio, it is not doing a very good job of promoting it. Despite having great content on its digital services, the BBC is shy of actually promoting them.

In this department, it is being considerably outperformed by Absolute Radio, a commercial outlet that doesn’t have a chunk of license fee money set aside for pushing digital. The BBC seems to have lost all of its enthusiasim for digital, even when it is producing excellent digital services.

As James Cridland pointed out, fans following the Ashes earlier this year will not have missed a ball were they listening on 5 Live Sports Extra, as I did. Yet all over the news the following day was the fact that BBC radio listeners were deprived of the victorious moment because the shipping forecast was being broadcast on Radio 4 longwave at the time.

This provided plenty of good coverage in the shape of, “ha, that crazy old shipping forecast, eh?!” All very good. But why wasn’t the point driven home that an excellent digital service was broadcasting the cricket completely uninterrupted?

I am sure there are lots of avid cricket fans out there that rely on their longwave signal. But I have checked, and I don’t even own any equipment that can pick up longwave. I suspect if I were to go to the shops to buy a radio, I would have to make a special effort to find one that could receive longwave. Meanwhile, I could pick up a DAB radio for about £30 with no trouble whatsoever.

Where are the promos?

Why did the Radio 2 breakfast slot get a big push when Chris Evans started presenting it? The Radio 2 breakfast show is the most popular radio programme in the country, with around 10 million listeners. If there is one radio show that does not need promoting, it is this — whether it has a new presenter or not.

With radio, the BBC seems to have got its marketing priorities all wrong. Where are the big promos for stations like 6 Music, Radio 7 or the Asian Network? Why isn’t it pushing 5 Live Sports Extra harder at avid sports fans?

Easy target

I used to think the chances of the BBC dropping its F1 coverage at the end of the current contract were fairly high. For critics of the BBC, F1 is an easy target.

For one thing, the image of F1 as a glamorous, expensive sport for rich men doesn’t help. Nor, indeed, does the perception that it is environmentally unfriendly.

There is also a myth that Formula 1 can be adequately covered by commercial broadcasters. Anyone who actually tried to sit down and watch a race on ITV will know that this is simply not true. But the fact that it has only been back on the BBC for two years so far means that it is not seen as a BBC jewel.

Hugely popular

But since it regained the rights in 2009, the BBC have done such an exemplary job of covering the sport that it has become a matter of even greater importance to many F1 fans. It’s not just about the lack of advert interruptions, which was a huge barrier to ITV gaining acceptance from fans. It is the sheer breadth and depth of the BBC’s coverage.

The quality of the programme itself is top-notch, despite apparently having a much lower budget than ITV. All practice sessions are broadcast on the red button or online. And post-race analysis often goes on for as long as the race itself. There is plenty of archive footage on offer too.

As a result, ratings for Formula 1 are generally much higher than they were by the time ITV was finished with it. A recent BBC Trust report revaled that Formula 1 coverage was exceeding all of its targets and enabled it to reach a young male audience that the BBC otherwise finds difficult to reach.

The other sporting event that was regarded as a ‘hit’ by all measures was Wimbledon. This is the other sport apparently being considered for the chop.

So are the BBC planning to do a 6 Music, and demonstrate that BBC coverage of these events needs to be saved as a result of strong viewer opinion? Or is F1 genuinely being lined up for the axe?

Budget cuts

It’s pretty clear that the BBC’s F1 coverage has faced a budget cut for the year. The BBC took the odd decision of removing the well-respected commentator Jonathan Legard, and failing to properly replace him. Instead, the rest of the existing team has been reshuffled and each member of the on-screen team will be spread more thinly.

For instance, it is expected that Martin Brundle will continue to do his pre-race gridwalk, do a full race commentary, and participate in the post-race analysis. David Coulthard will continue in his punditry role both before and after the race, in addition to being the co-commentator during the race. This would normally amount to four or more hours of continuous live broadcasting (more if the race is delayed for some reason), without much in the way of a break.

As former grand prix drivers, there is no doubt that Martin Brundle and David Coulthard have stamina. But I think even the most seasoned broadcasting pros would find this sort of workload to be a tough act.

So why not bring someone new on board? Is it just a case of a salami slice budget cut, or is the BBC preparing to wind down its coverage of F1 altogether?