'Performing arts' covers a vast range of interests and skills, involving as it does designers, directors, actors and performers, musicians, critics, technicians, analysts, administrators, theorists. A central tenet of this Guide is to encourage professionals in the performing arts to consider some of the advantages that digital resources may now offer. It is noticeably different from its predecessors in the series. Not so much a manual of 'how to do it' it is primarily intended to encourage you to use the available technology in the first place. All the contributors have directed successful projects involving various aspects of digital resources related to the performing arts. In some instances it was for documentation purposes, in some for teaching purposes, in some for research purposes, in some for all three. The guide includes a comprehensive glossary of terminology.
|Translated title of the contribution||Creating Digital Performance Resources: A Guide to Good Practice|
|Number of pages||118|
|Publication status||Published - 2002|
Bibliographical noteBS chapters: Section 1, Introduction: Dramatic Forays into IT: working computers with a broom handle (pp. 1-8); Section 2, Digital Resources in Performance Studies: 2.3 Approaches to building digital archives (pp. 33-42).
One of the Guides to Good Practice series (currently 7 volumes including Archaeology 2002, Computer Aided Design 2003. and Corpus Linguistics 2005). The on-line archives outlined in the Performance Resources essays underwent continued development throughout the period under review, most particularly in the areas of Live Art and Digital Performance. The Live Art Archive provides the most extensive database record of Live Art in the world, the Digital Performance Archive is a unique record of early developments in performance computing and has achieved international recognition (e.g. 35,000 citations on Google). In 2006 these archives were acquired by the University of Bristol Theatre Collection and the accompanying databases migrated for long-term access and preservation to the national Arts and Humanities Data Service. Further details at http://www.ahds.ac.uk/performingarts/liveart.htm and online access to all the resulting databases available at: 1. The Live Art Archive. (15,000+ events, 1960s to 2003 searchable by title, practitioner, keyword, venue, date), http://www.ahds.ac.uk/ahdscollections/docroot/liveart/liveartsearch.jsp?string=PA later addition featuring the live art work of practitioner Alastair MacLennan (1981-present) was migrated to AHDS Visual Arts in 2006, see: http://www.vads.ahds.ac.uk/collections/AMW.html 2. The Digital Performance Archive (co-developed with Professor Steve Dixon, Brunel University, cf. Output 3 below) recording developments in the creative use of computer technologies in performance at the onset of the Millennium http://www.ahds.ac.uk/ahdscollections/docroot/dpa/authorssearch.jsp?string=D A later addition in the form of an AHRB and Wellcome Trust funded sci-art project (2001-2003) featuring the work of performance artist Stelarc was migrated to AHDS Performing Arts in 2006, full record available athttp://www.ahds.ac.uk/performingarts/collections/anatomical-exoskeleton/musclemachine.htmAll source materials (publications, journals, articles, reviews, handbills etc) and 80 unique Digital Performance Archive videotapes recording earliest work with computers in performance have been catalogued into and are available via the University of Bristol Theatre Collection, see http://www.bris.ac.uk/theatrecollection/and http://www.bris.ac.uk/theatrecollection/live-art.html Visitor Information: http://www.bris.ac.uk/theatrecollection/visitorinformation.html
Other identifier: 9781842170229
Other: 118 pp + web resources list, 13 b&w illustrations, diagrams, screen-grabs, glossary, bibliography