1 / 19

The Creation and Use of Digital Collections for Performing Arts

The Creation and Use of Digital Collections for Performing Arts. Daisy Abbott and Professor Seamus Ross, AHDS Performing Arts & HATII, University of Glasgow http://www.ahds.ac.uk/performingarts/ http://www.hatii.arts.gla.ac.uk/. What is the Arts and Humanities Data Service?.

angie
Télécharger la présentation

The Creation and Use of Digital Collections for Performing Arts

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. The Creation and Use of Digital Collections for Performing Arts Daisy Abbott and Professor Seamus Ross, AHDS Performing Arts & HATII, University of Glasgow http://www.ahds.ac.uk/performingarts/ http://www.hatii.arts.gla.ac.uk/

  2. What is the Arts and Humanities Data Service? • A UK national service aiding the discovery, creation and preservation of digital resources in and for research, teaching and learning in the arts and humanities. • To support teaching and research, our activities include: • Long term data preservation • Advice on the creation, discovery and use of digital resources • Research into the uses of digital data and its benefits to HE • Research into and support of innovative digital technologies, standards, and infrastructures • Promotion of best practice in these areas

  3. Subject Centres AHDS Performing Arts is one of five subject centres which, together with the Executive, form the AHDS.

  4. Purpose of the scoping study was to understand: • The nature of ‘digital resources’ created and used in the Performing Arts • How their creation and use is integrated into the research, teaching and learning process • What methods scholars are using • The needs of the research and teaching community in terms of advice, technology, and discovering Performing Arts resources • And the relationship between AHDS Performing Arts and the communities of users and content creators we serve.

  5. Getting to Know Our Audience: AHDS Performing Arts Scoping Study • The report’s key findings can be categorised into four areas: • The current state of play in Performing Arts research, teaching, and learning. • The creation and use of digital resources for Performing Arts. • The requirements of the Performing Arts community. • Wider issues regarding the digital representation of Performing Arts and their documentation and preservation. The Scoping Study was sent out to every university library and Performing Arts department in the UK. It is freely available online at http://www.ahds.ac.uk/performingarts/pubs/scoping-study-2006.pdf

  6. How can the study of performance and performance theory be aided by digital resources? “A work of art born on the stage lives only for a moment, and no matter how beautiful it may be it cannot be commanded to stay with us.” (Stanislavski, My Life in Art, 1948) Performance is ephemeral. It is studied through evidence.

  7. Performance as a live event, or ‘text’ • Deliberate construction of meaning through ‘signs’ • Meaning is created by every element present, deliberate or accidental • Individual ‘readings’ of each performance text • Readings provide feedback into the text itself. • All of these elements form a total performative experience • This overall approach is related to the semiotic and phenomenological theoretical approaches.

  8. Performance as created and received by people; subjectivity and agency • Many theoretical approaches cover the agency and subjectivity of both the ‘authors’ of a work and its ‘receivers’ or audience. • Deliberately and self-consciously subjective • Related to psychoanalytic theory, feminist and gender theories, and reader-response and reception theory

  9. Performance as a product of society • Rich relationship with societal context • Related to post-modern and materialist theoretical perspectives • Technological opportunities can lead to Performing Arts becoming self-reflexive and the lines between different media are blurred

  10. Stages of performance • Pre-text (  subtext) • Process • Performance Text • Post-text • Context (  subtext)

  11. From: Five Centuries of Scottish Music (http://www.ahds.ac.uk/performingarts/collections/five-centuries.htm)

  12. From: Stagework (http://www.stagework.org)

  13. From: Designing Shakespeare (http://www.ahds.ac.uk/performingarts/collections/designing-shakespeare.htm)

  14. Two reviews from the Times Digital Archive (accessed through http://infotrac.galegroup.com) and Financial Times http://www.ft.com

  15. Examples of digital evidence

  16. Some resources Most resources Existing digital resources

  17. Desired digital resources Most sought-after types of digital resource

  18. Future directions for digital resources? • The characteristics of digital collections affect the methodology of study of those collections. • Many existing digital resources provide contextual evidence and are suitable only for a material or historical theoretical model of study. • Digital resources for which there is a particularly high demand: • Evidence of the performance text • Materials documenting the creative process • Resources which encourage a semiotic/textual or subjective analysis of the evidence.

  19. Daisy Abbott d.abbott@hatii.arts.gla.ac.ukAHDS Performing Arts collections: http://www.ahds.ac.uk/performingarts/collections/AHDS Performing Arts Scoping Study (PDF, 1.7Mb)http://www.ahds.ac.uk/performingarts/pubs/scoping-study-2006.pdf

More Related