Humanist Discussion Group, Vol. 14, No. 512.
Centre for Computing in the Humanities, King's College London
<http://www.princeton.edu/~mccarty/humanist/>
<http://www.kcl.ac.uk/humanities/cch/humanist/>
Date: Wed, 22 Nov 2000 11:02:47 +0000
From: Willard McCarty <willard.mccarty@kcl.ac.uk>
Subject: digitisation course; workshop, symposium reports [14.0501
reposted]
[reposting]
> Humanist Discussion Group, Vol. 14, No. 501.
> Centre for Computing in the Humanities, King's College London
> <http://www.princeton.edu/~mccarty/humanist/>
> <http://www.kcl.ac.uk/humanities/cch/humanist/>
>
> [1] From: "Lisa M. Spiro" <lspiro@rice.edu> (16)
> Houston
>
> [2] From: NINCH-ANNOUNCE <david@ninch.org> (1540)
> Subject: Report on EU Digitization Workshop
>
> [3] From: lachance@chass.utoronto.ca (Francois Lachance) (76)
> Subject: Theatre & Multimedia Symposium
>
>
>--[1]------------------------------------------------------------------
> Date: Mon, 20 Nov 2000 07:17:41 +0000
> From: "Lisa M. Spiro" <lspiro@rice.edu>
> Subject: Digitization for Cultural Heritage Professionals, Houston
>
>[This announcement is being cross-posted.]
>
> Digitization for Cultural Heritage Professionals
> HATII, University of Glasgow
> Fondren Library, Rice University
> Houston, Texas, March 4 - 9, 2001
> http://www.rice.edu/Fondren/DCHP01/
>
>Following the great success of the first Digitization for Cultural Heritage
>Professionals course at Rice and the 1998, 1999, and 2000 Glasgow
>Digitisation Summer Schools, the Humanities Advanced Technology and
>Information Institute (HATII) and the Fondren Library at Rice University
>are pleased to announce the second offering of this course in North America.
>
>Full details of the course and preliminary registration materials can be
>found at:
>
> http://www.rice.edu/Fondren/DCHP01/
>
>[material deleted]
>
>
>--[2]------------------------------------------------------------------
> Date: Mon, 20 Nov 2000 07:18:43 +0000
> From: NINCH-ANNOUNCE <david@ninch.org>
> Subject: Report on EU Digitization Workshop
>
>NINCH ANNOUNCEMENT
>News on Networking Cultural Heritage Resources
>from across the Community
>November 17, 2000
>
>
> "Digital Culture & the Information Society"
> Report on EU Digitization Workshop, Jan. 2000
>
>I have taken the unusual step of appending an attachment of a report,
>unavailable on the web, on an interesting report on a workshop on
>digitization, organized by the Cultural Heritage Applications unit of the
>European Union's Information Society Directorate-General.
>
>The brief report brings no real surprises but it underlines the need for:
>
>* sustainable technical solutions;
>* new business models and examples of success in various sizes and types of
>collections;
>* a clear, broadly accepted array of best practices in the creation and
>management of digital resources
>* "collaborative platforms" that can focus on interoperability issues,
>dissemination of information on new technologies and techniques, and
>advances in preservation policy and practice.
>
>David Green
>
>
>==============================================================
>NINCH-Announce is an announcement listserv, produced by the National
>Initiative for a Networked Cultural Heritage (NINCH). The subjects of
>announcements are not the projects of NINCH, unless otherwise noted;
>neither does NINCH necessarily endorse the subjects of announcements. We
>attempt to credit all re-distributed news and announcements and appreciate
>reciprocal credit.
>
>For questions, comments or requests to un-subscribe, contact the editor:
><mailto:david@ninch.org>
>==============================================================
>See and search back issues of NINCH-ANNOUNCE at
><http://www.cni.org/Hforums/ninch-announce/>.
>
>[encrypted portion deleted]
>
>--[3]------------------------------------------------------------------
> Date: Mon, 20 Nov 2000 07:19:05 +0000
> From: lachance@chass.utoronto.ca (Francois Lachance)
> Subject: Theatre & Multimedia Symposium
>
>Willard,
>
>I have not been in person to a scholarly gathering since Computing the
>Edition (1997) and have grown to depend upon reports supplied by
>colleagues. I hope to return the favour with a summary, albeit
>impressionistic, of Theatre and New Media: the meeting of two communicatin
>worlds, a symposium held November 17, 2000, at McMaster University.
>
>The afternoon was split into two complementary sessions. The first dealt
>with new media as agents of preservation and as research tools. The second
>was devoted to the place of new media in performance and in theatrical
>production.
>
>Christie Carson, Royal Holloway University of London, currently on leave at
>McMaster University, introduced the days proceedings and was pleased to
>announce that the symposium coincided with the British release of the King
>Lear CD-ROM (Cambrigde University Press). She provided an insightful tour
>of the product which is a gem with its navigational and search features. In
>a subsequent presentation on the Shakespearean Design Archive, she mused
>upon the differences between the preparation and publication of scholarly
>works for the CD-ROM format and for the World Wide Web. In both
>presentations, it was interesting to hear a consistent concern with scope
>and managibility of projects. One very interesting observation: the
>Shakespearan Design Archive approached the difficulty in clearing copyright
>for the incorporation of recorded performance (it is a akin to
>broadcasting) as an opportunity and has turned to oral history (interviews
>with the performers) to enhance the other records it holds.
>
>Geoffrey Rockwell gave an account of the design and conception of the
>Hamilton Performance Archive which he and Fred Hall of McMaster University
>have made freely available at
>http://cheiron.humanities.mcmaster.ca/~hamperf Very much in the vein of
>sharing best practices, the researchers have made available the source code
>and the markup of the items in the collection of 19th century notices of
>public performances that continues to grow. From the outset they have
>planned for growth. As with the Shakespearan, databases, there is a vision
>here that anticipates future scholars building chronological and temporal
>extensions to the collections.
>
>Chris Dyer of Royal Holloway presented exciting work-in-progress. He is
>currently developing a software package, Open Stages, that allows users to
>model different performance spaces and the design effects possible in those
>spaces. One of the great strengths of this type of tool is to recreate the
>sight lines of actual theatres -- useful for historical reconstruction and
>for current practice.
>
>Later in the day, he demonstrated some student work and invited
>consideration as to why students might be attracted to flat pictorial
>rather than sculptural approaches to stage design. Pop culture was deemed a
>possible influence upon this possible preference. Learning curves in
>conjunction with access to the relevant software might be a factor.
>Likewise, Robert Hamilton, presenting student film work from Sweden,
>stressed the length structure of the school year which allowed for complex
>projects to be undertaken and completed. He also noted the strong influence
>of popular culture on the genres that students choosed to emmulate.
>
>Catherine Graham and Paul Rivers shared their thinking on the place of
>multimedia within the context of live theatrical performance and asked
>participants to reflect once again on questions of scale and timing. They
>stressed the problematic of authority granted to moving images when
>displayed alongside live actors on stage. Symposium attendees were able to
>observe some of this thinking in action at an evening performance of
>Pericles of Tyre.
>
>The symposium proper ended with a selection from the holdings of the UK
>Digital Performance Archive. It was amusing to contrast the catalogue
>entries as read aloud with the video clips of highlights from the
>performances. -- the polyphony characteristic of the descriptions just
>didn't quite jive with the screen versions. There was a rather uniform
>videographic signature to the visuals despite their being a record of
>distinct performances separated in time and space. This may be a mere
>institutional effect and have nothing to do with the nature of verbal and
>visual constructions -- a tour of the Hamilton Performance Archive would no
>doubt offer up similar examples of stylistic inflections, all within the
>verbal realm. If scholars are able to describe the hand at work in a
>manuscript, will they be able to describe the editor at work in a
>multimedia work? One wonders if the director in theatre might become a
>metaphor for the hand in a manuscript....
>
>--
>Francois Lachance,
>Scholar-at-large
> http://www.chass.utoronto.ca/~lachance
>Member of the Evelyn Letters Project
> http://www.chass.utoronto.ca/~dchamber/evelyn/evtoc.htm
>
>
>-----
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