Performing arts and digital humanities: from traces to data
Cover -- Half-Title Page -- Title Page -- Copyright Page -- Contents -- Foreword -- Preface: "Measuring" Merce Cunningham -- Introduction -- Chapter 1. The Digital Trace: From Data to Metatrace -- 1.1. Tracing the ephemeral -- 1.1.1. An impossible history? -- 1.1.2. Relying on traces -- 1....
Gespeichert in:
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
London Hoboken, N
John Wiley & Sons, Incorporated
2021
|
| Online-Zugang: | FKWA1 |
| Zusammenfassung: | Cover -- Half-Title Page -- Title Page -- Copyright Page -- Contents -- Foreword -- Preface: "Measuring" Merce Cunningham -- Introduction -- Chapter 1. The Digital Trace: From Data to Metatrace -- 1.1. Tracing the ephemeral -- 1.1.1. An impossible history? -- 1.1.2. Relying on traces -- 1.2. The digital trace -- 1.2.1. Digitized traces -- 1.2.2. Born digital traces -- 1.2.3. Heterogeneous, numerous and fragile traces -- 1.3. Transforming traces into data -- 1.3.1. Analog trace and digital trace -- 1.3.2. From trace to data: the datatrace -- 1.3.3. Metatrace -- 1.4. Performing arts data -- 1.4.1. Performing arts data landscapes -- 1.4.2. The Semantic Web paradigm -- 1.4.3. Transforming the living archive into data -- 1.5. Conclusion -- Chapter 2. Preserving the Impermanent -- 2.1. Note: scoring the representation -- 2.1.1. Notation of the performing arts -- 2.1.2. Scoring -- 2.1.3. From autography to allography: scoring digital works -- 2.1.4. The performing arts, between allography and autography -- 2.2. Diachronic documentation: reconnecting with the process -- 2.2.1. Making digital traces last -- 2.2.2. Taking the creation processes into account -- 2.3. Annotating: redocumentarizing traces -- 2.3.1. Digital as an annotation practice -- 2.3.2. The special case of video recording -- 2.3.3. Intraand inter-documentary approaches -- 2.3.4. MemoRekall, a video annotation tool for redocumentarizing traces -- 2.4. Denote/connote: artistic intent and datatraces -- 2.4.1. Articulating close and distant reading -- 2.4.2. Rekall -- 2.5. Conclusion -- Chapter 3. Writing the History of the Performing Arts -- 3.1. Sources and resources -- 3.1.1. Theater studies and digital humanities -- 3.1.2. Scrutinizing -- 3.1.3. Going back to the source -- 3.2. Exposing traces -- 3.2.1. Linking -- 3.2.2. Structuring -- 3.2.3. Reconstructing |
| Beschreibung: | 1 online resource (256 pages) |
| ISBN: | 9781119855552 |
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| spelling | Performing arts and digital humanities from traces to data Clarisse Bardiot London Hoboken, N John Wiley & Sons, Incorporated 2021 ©2021 1 online resource (256 pages) txt rdacontent c rdamedia cr rdacarrier Cover -- Half-Title Page -- Title Page -- Copyright Page -- Contents -- Foreword -- Preface: "Measuring" Merce Cunningham -- Introduction -- Chapter 1. The Digital Trace: From Data to Metatrace -- 1.1. Tracing the ephemeral -- 1.1.1. An impossible history? -- 1.1.2. Relying on traces -- 1.2. The digital trace -- 1.2.1. Digitized traces -- 1.2.2. Born digital traces -- 1.2.3. Heterogeneous, numerous and fragile traces -- 1.3. Transforming traces into data -- 1.3.1. Analog trace and digital trace -- 1.3.2. From trace to data: the datatrace -- 1.3.3. Metatrace -- 1.4. Performing arts data -- 1.4.1. Performing arts data landscapes -- 1.4.2. The Semantic Web paradigm -- 1.4.3. Transforming the living archive into data -- 1.5. Conclusion -- Chapter 2. Preserving the Impermanent -- 2.1. Note: scoring the representation -- 2.1.1. Notation of the performing arts -- 2.1.2. Scoring -- 2.1.3. From autography to allography: scoring digital works -- 2.1.4. The performing arts, between allography and autography -- 2.2. Diachronic documentation: reconnecting with the process -- 2.2.1. Making digital traces last -- 2.2.2. Taking the creation processes into account -- 2.3. Annotating: redocumentarizing traces -- 2.3.1. Digital as an annotation practice -- 2.3.2. The special case of video recording -- 2.3.3. Intraand inter-documentary approaches -- 2.3.4. MemoRekall, a video annotation tool for redocumentarizing traces -- 2.4. Denote/connote: artistic intent and datatraces -- 2.4.1. Articulating close and distant reading -- 2.4.2. Rekall -- 2.5. Conclusion -- Chapter 3. Writing the History of the Performing Arts -- 3.1. Sources and resources -- 3.1.1. Theater studies and digital humanities -- 3.1.2. Scrutinizing -- 3.1.3. Going back to the source -- 3.2. Exposing traces -- 3.2.1. Linking -- 3.2.2. Structuring -- 3.2.3. Reconstructing Bardiot, Clarisse edt Erscheint auch als Druck-Ausgabe, Hardcover 9781786307057 |
| spellingShingle | Performing arts and digital humanities from traces to data |
| title | Performing arts and digital humanities from traces to data |
| title_auth | Performing arts and digital humanities from traces to data |
| title_exact_search | Performing arts and digital humanities from traces to data |
| title_exact_search_txtP | Performing arts and digital humanities from traces to data |
| title_full | Performing arts and digital humanities from traces to data Clarisse Bardiot |
| title_fullStr | Performing arts and digital humanities from traces to data Clarisse Bardiot |
| title_full_unstemmed | Performing arts and digital humanities from traces to data Clarisse Bardiot |
| title_short | Performing arts and digital humanities |
| title_sort | performing arts and digital humanities from traces to data |
| title_sub | from traces to data |
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