Audience-generated traces: audience experience in performance documentation

This thesis explores whether and how audience-generated content produced from and about audiences’ experience and during and as part of a live performance might become part of a theatre and performance work’s archive. It sets out to examine both the challenges as well as the documentational opportunities that this material might afford. The thesis is influenced by Gabriella Giannachi’s articulation of digital technologies as archival interfaces and Sarah Bay-Cheng’s convergence of live performance and documentation. It examines the function of audience-generated content during three case studies and postulates that audiences can be regarded as co-producers of performance documents. To do so, it analyses how Speak Bitterness by Forced Entertainment, Karen by Blast Theory, and Flatland by Extant request that their audiences activate the live performance or augment its experience by using a digital technology, and how by doing so they leave digital traces behind. Building upon this condition the thesis interrogates how the three company casestudies archive these works’ audience-generated traces. In addition, it investigates how digital traces are perceived by institutional theatre and performance collections. Through interviews with the case-study practitioners, the curator of the British Library Sound Archive and the archivists of the National Theatre and Victoria and Albert Museum the thesis reveals a set of technical and organisational challenges involved in this process. Although audience-generated traces are considered valuable marketing and research material they also unsettle established notions and structures of performance documentation and its archive. Rethinking the established notion of the performance document and the form of files through which it conveys knowledge, the thesis returns to Ricoeur’s theory of the trace so as to expand ideas of how performance documentation enables ways of knowing a past performance. It argues that, as direct remnants of the live performance moment originating in the participant, audiencegenerated content offers solutions to ‘presencing’ the audience in documentation and novel ways for revisiting a past performance work from within its unfolding

Unruly Records: Personal Archives, Sociotechnical Infrastructure, and Archival Practice

Personal records have long occupied a complicated space within archival theory and practice. The archival profession, as it is practiced in the United States today, developed with organizational records, such as those created by governments and businesses, in mind. Personal records were considered to fall beyond the bounds of archival work and were primarily cared for by libraries and other cultural heritage institutions. Since the mid-20th century, this divide has become less pronounced, and it has become common to find personal records within archival institutions. As a result of these conditions in the development of the profession, the archivists who work with personal records have had to reconcile the specific characteristics of personal materials with theoretical and practical approaches that were designed not only to accommodate organizational records but to explicitly exclude personal records. These conditions have been further complicated by the continually changing technological landscape in which personal records are now created. As ownership of personal computers, access to the World Wide Web, and the use of networked social platforms have grown, personal records have increasingly come to be created, stored, and accessed within complex socio-technical systems. The infrastructures that support personal digital record creation today precipitate new methods and strategies, and an abundance of new questions, for the archivists who are responsible for collecting and preserving digital cultural heritage. This dissertation considers how both the history of excluding personal records in the archival profession and the socio-technical systems that support contemporary personal record creation impact archival practice today. This research considers archival approaches to working with personal records created within three environments: personal computers, the open web, and networked social platforms. Ultimately, this dissertation seeks to reevaluate the role that personal records have previously occupied, and to center the personal in archival practice today

Twitter as a first draft of the present - and the challenges of preserving it for the future

"This paper provides a framework for understanding Twitter as a historical source. We address digital humanities scholars to enable the transfer of concepts from traditional source criticism to new media formats, and to encourage the preservation of Twitter as a cultural artifact. Twitter has established itself as a key social media platform which plays an important role in public, real-time conversation. Twitter is also unique as its content is being archived by a public institution (the Library of Congress). In this paper we will show that we still have to assume that much of the contextual information beyond the pure tweet texts is already lost, and propose additional objectives for preservation." (author's abstract

Practices of using Rapid Response Collecting by Ukrainian museums in wartime

Social activity and public involvement in participatory practices, and the creation of civic spaces on the basis of the museum have become relevant for the formation of the concept of a modern museum. Such practices are especially important in times of crisis when history is being documented online and the Rapid Response Collecting (RRC) method is becoming widespread. Modern war discourse requires the newest forms of archiving and description because the recording of history is complicated by the volatility of the military situation, the movement of large flows of displaced persons, and the departure of citizens abroad. The Ukrainian experience of documenting the war is examined in the article taking the example of the ATO Museum (an acronym for anti-terrorist operation) in Dnipro and the online Museum of Civilian Voices. It is important for us to pay attention to the national peculiarities of the codification of collective memory through individual experience and life stories during the full-scale military aggression against Ukraine, and to show the newest forms of presenting the evidence of war

Toward Digital, Critical, Participatory Action Research: Lessons From The #BarrioEdProj

The Education in our Barrios project, or #BarrioEdProj, is a digital critical participatory action research (D+CPAR) project that examines the interconnected remaking of public education and a New York City Latino core community in an era of racial capitalism. This article is a meditation on the ongoing development of #BarrioEdProj as an example of strategically coupling digital media with the theories and practices of critical participatory action research (CPAR). The author describes the project and the theoretical and political commitments that frame this project as a form of public and participatory science. The author then discusses some of the lessons that have been learned as the research group implemented the project and decided to move to a digital archiving model when our digital media design was initially ineffective. The author argues that rather than dropping digital media, engaged scholars must continue to explore the potentially transformative work that can come from carefully devised D+CPAR

A cultural justice approach to popular music heritage in deindustrialising cities

Deindustrialisation contributes to significant transformations for local communities, including rising unemployment, poverty and urban decay. Following the ‘creative city’ phenomenon in cultural policy, deindustrialising cities across the globe have increasingly turned to arts, culture and heritage as strategies for economic diversification and urban renewal. This article considers the potential role that popular music heritage might play in revitalising cities grappling with industrial decline. Specifically, we outline how a ‘cultural justice approach’ can be used within critical heritage studies to assess the benefits and drawbacks of such heritage initiatives. Reflecting on examples from three deindustrialising cities – Wollongong, Australia; Detroit, USA; and Birmingham, UK – we analyse how popular music heritage can produce cultural justice outcomes in three key ways: practices of collection, preservation and archiving; curation, storytelling and heritage interpretation; and mobilising communities for collective action

The Image Bank: Reflections on an Incomplete Archive

This thesis examines the development of a digital archive for The Image Bank at GSU as a process of excavation and reconstruction. It defines the digital archive as a medium for the institutionalization of knowledge, its reproduction, and preservation. In addition, this thesis examines the digital archive as it operates on a continuum of materiality and immateriality, encompassing fractured distinctions between its possibilities and impossibilities in an increasingly dematerialized digitized landscape

Performing Joseph Cornell\u27s chronotopes of assemblage

In this project I study Joseph Cornell’s practices of art-making through a performative lens. Rather than focusing on his finished products, I am interested in his embodied processes of assemblage. I call on Mikhail Bakhtin’s theory of the chronotope to articulate how time and space operate within Cornell’s finished works and his processes of assemblage art. In so doing, I conceptualize Cornell’s textual chronotope, métaphysique d’éphemera or “everyday magic,” as well as his chronotopes of assemblage: wandering, archiving, collaging, and assembling. I move from the finished work to the contingencies and strategies of the performance of assemblage. This project is unique because I extend my research into the creative realm, developing multi-media artworks through my embodiment of Cornell’s chronotopes of assemblage. My performance of Cornell’s chronotopes engenders projects that provide discoveries and expand my understanding of each chronotope, Cornell’s practices, and my own creative and scholarly work. The projects include: wandering New Orleans collecting memories that I then use to create an interactive website, creating a video of one of Cornell’s film scripts that was never realized by combining digital and analog technologies, creating a collage film composed of found footage, and directing a theatrical performance, Métaphysique d’Éphemera, that was restaged three years later. I conclude by arguing that Cornell’s textual chronotope, métaphysique d’éphemera, offers an aesthetic to work within, while his chronotopes of assemblage provide a model for both creative and scholarly work. I conclude by questioning whether the textual and process chronotopes are inextricably connected or if they can be practiced independently by artists/scholars

{D1G1TAL HER1TAGE}. From cultural to digital heritage

The introduction outlines the guiding idea of this issue. The digitization of text, images, and other cultural materials has become a common practice in European Galleries, Libraries, Archives and Museums (GLAMs); in consequence cultural heritage is labelled and perceived as »digital heritage«. The contributions critically research and reflect the metacultural production and emerging changes of professional heritage work

{D1G1TAL HER1TAGE}. From cultural to digital heritage

The introduction outlines the guiding idea of this issue. The digitization of text, images, and other cultural materials has become a common practice in European Galleries, Libraries, Archives and Museums (GLAMs); in consequence cultural heritage is labelled and perceived as »digital heritage«. The contributions critically research and reflect the metacultural production and emerging changes of professional heritage work