Documenting performance : the context and processes of digital curation and archiving /
"Performance in the digital age has undergone a radical shift in which a once ephemeral art form can now be relived, replayed and repeated. Until now, much scholarship has been devoted to the nature of live performance in the digital age; Documenting Performance is the first book to provide a c...
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| Format: | Electronic eBook |
| Language: | English |
| Published: |
London ; New York :
Bloomsbury Methuen Drama,
2017.
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| Subjects: | |
| Online Access: |
Full text (Emmanuel users only) |
Table of Contents:
- Cover page
- Halftitle page
- Title page
- Copyright page
- Dedication
- Contents
- List of Illustrations
- List of Tables
- List of Contributors
- Acknowledgements
- 1 Documenting Performance: An Introduction
- Common (back)ground
- How to document performance
- Structure
- Part One Contexts for Documenting Performance
- 2 Performance Arts and Their Memories
- The conceptual relationship between memory, performance arts and exhibition
- Practices of documenting memories of performance arts at museums
- Memories of the body and embodied memories
- 3 Description Models for Documenting Performance
- The performance event as a cultural object
- Performing arts digital information initiatives
- A new description paradigm: beyond resources types and domains
- FRBRoo: a domain ontology for performing arts
- A case study: Teatro Municipal Miguel de Cervantes
- Conclusion and future trends
- 4 Intellectual Property Matters for Documenting Performance: Challenges and Current Trends
- Copyright
- Fixity 4 in copyright
- The restrictions of copyright when applied to the performing arts
- Originality and authorship
- Performers' rights
- Documenting performance
- Protecting the documenter's work
- Conclusion
- 5 Expanding Documentation, and Making the Most of 'the Cracks in the Wall'1
- Problematizing the document
- When the artwork is the document: Lynn Hershman Leeson
- Unauthorized documents: Tino Sehgal
- Expanding documentation: JODI
- Conclusion
- Acknowledgements
- Part Two Ways of Documenting Performance
- 6 Remembering Performance Through the Practice of Oral History
- 7 Translating Performance: Desire, Intention and Interpretation in Photographic Documents
- How the subject intervenes
- How the photographer and the camera intervene
- The intervention of the spectator.
- Photography and its intentional gaps
- The photograph as object of translation
- Photographic reception as translation
- Motion, flux and the need for consciousness
- 8 Documenting Audience Experience: Social Media as Lively Stratification
- Documenting 'liveness'
- Experiencing disappearance
- Experiential divergence and cultural legacy
- The stratification of social media
- Live tweeting and blogging: a #lively #resistance
- Conclusion
- 9 Web Archiving and Participation: The Future History of Performance?
- Web archiving and performance
- Mapping the fi eld: web archiving and performance
- Formal social memory
- Informal social memory
- Mixing formal and informal social memory: the Internet Archive
- Web archiving and big data
- a participatory method?
- Conclusion
- 10 Documenting Digital Performance Artworks
- Live performance in the digital era
- Everything is data
- Conclusion
- Part Three From Documents to Documenting
- 11 Paradocumentation and NT Live's 'Cumber Hamlet'
- National Theatre Live
- The deposits of Hamlet
- Encores
- Pre-, post-, and con- text: framing the survey
- Engaging with pre-broadcast paradocumentation
- Engaging with paradocumentation during the broadcast
- Engaging with post-broadcast documentation
- Comparison of audience groups
- Conclusion
- 12 Thinking Virtually in a Distracted Globe: Archiving Shakespeare in Asia
- Hamlets' ghosts on the video player
- Restaging Hamlet
- The archivist as Horatio
- Where is the virtual scene?
- 13 From Copper-plate Inscriptions to Interactive Websites: Documenting Javanese Wayang Theatre
- Copper-plate inscriptions
- Puppet collections
- Anthropological documents
- Audiovisual recordings
- 14 Archiving Western Australian New Music Performance.
- 15 Participation and Presence: Propositional Frameworks for Engaging Users in the Design of the Circus Oz Living Archive
- The Circus Oz Living Archive
- Designing for/with liveness
- Designing for presence
- Designing with/for people
- Discovering the possibility of narrative
- Conclusion
- Part Four Documenting Bodies in Motion
- 16 What do we Document? Dense Video and the Epistemology of Practice
- Document, event, technique
- In praise of video
- Dense video and digital epistemology
- What do we document?
- 17 Pleasures of Writing about the Pleasures of the Practice: Documenting Psychophysical Performer Trainings
- Articulating pleasure
- The drive to write
- Urgency
- Tension and constriction
- 'Knowing through pleasure'
- 18 Dance Archival Futures: Embodied Knowledge and the Digital Archive of Dance
- Ephemerality and the archive
- The digital and the spatio-temporal
- The collective experience as preservation
- The future of the dance archive
- 19 Documenting Dance: Tools, Frameworks and Digital Transformation
- Historic practices: iconography, notation and scoring dance
- Documents and documentation
- Documenting dance: from analogue to digital methods
- Writing the dance: documenting the digital
- Contemporary strategies and methods for documenting dance
- Conclusion
- Notes
- Bibliography
- Index.