Pub Date : 2021-04-02DOI: 10.1080/14794713.2021.1874162
James Little
ABSTRACT Samuel Beckett’s 1976 play Footfalls is built around elements which are invisible, or not quite there, in performance. This article uses the concept of ‘dark matter’ to analyse the play’s theatrical absences and their construction in the creative process. An analysis of the play’s manuscripts, digitized and transcribed as part of the Beckett Digital Manuscript Project, reveals that such ‘dark matter’ is not just a feature of the published text or performance, but is constitutive of Beckett’s creative process, particularly with regard to how he stages the mind. This article studies the models of mind staged in Footfalls in order to argue that Beckett uses the play’s ‘dark matter’ to enact the breakdown of subject and object in the play.
{"title":"‘Not there’: ‘dark matter’ in Samuel Beckett’s Footfalls","authors":"James Little","doi":"10.1080/14794713.2021.1874162","DOIUrl":"https://doi.org/10.1080/14794713.2021.1874162","url":null,"abstract":"ABSTRACT Samuel Beckett’s 1976 play Footfalls is built around elements which are invisible, or not quite there, in performance. This article uses the concept of ‘dark matter’ to analyse the play’s theatrical absences and their construction in the creative process. An analysis of the play’s manuscripts, digitized and transcribed as part of the Beckett Digital Manuscript Project, reveals that such ‘dark matter’ is not just a feature of the published text or performance, but is constitutive of Beckett’s creative process, particularly with regard to how he stages the mind. This article studies the models of mind staged in Footfalls in order to argue that Beckett uses the play’s ‘dark matter’ to enact the breakdown of subject and object in the play.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"373 - 386"},"PeriodicalIF":0.0,"publicationDate":"2021-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1874162","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46919499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-15DOI: 10.1080/14794713.2021.1905264
Ezgi Tuncer, B. Diken
ABSTRACT İnci Eviner's installation We, Elsewhere for the Turkey Pavilion at the 58th Venice Art Biennial offers a spectacle of the incomplete, in which the objects, videos and their characters, and sounds in the piece, along with the exhibition space itself, consist all of halves, missing something. It is designed as a non-place in the midst of nowhere, which appears as a liminal space of exception, in which the inside and outside become indistinct. In this respect, the role of the large ramp, which transgresses the public-private divide, is particularly remarkable for it both connects and disconnects the place in relation to the outside, incarnating a paradoxical form of inclusionary exclusion. One cannot avoid noticing the ramp on entering the pavilion: cut horizontally and vertically, the spaces between left void, it is a cross-sectional space experienced through its corridors, area closed off by metal bars, a semi-closed room and viewing area arranged on stairs. However, its interior is rendered visible through the cross-sections of buildings and the subterranean. We bear witness to the events inside it, and, ceasing to be spectators, participate in the installation. Through this displacement, we also move from a representational space to a lived space.
{"title":"Representations of everyday life in İnci Eviner’s We, Elsewhere: comedy, use and free will","authors":"Ezgi Tuncer, B. Diken","doi":"10.1080/14794713.2021.1905264","DOIUrl":"https://doi.org/10.1080/14794713.2021.1905264","url":null,"abstract":"ABSTRACT İnci Eviner's installation We, Elsewhere for the Turkey Pavilion at the 58th Venice Art Biennial offers a spectacle of the incomplete, in which the objects, videos and their characters, and sounds in the piece, along with the exhibition space itself, consist all of halves, missing something. It is designed as a non-place in the midst of nowhere, which appears as a liminal space of exception, in which the inside and outside become indistinct. In this respect, the role of the large ramp, which transgresses the public-private divide, is particularly remarkable for it both connects and disconnects the place in relation to the outside, incarnating a paradoxical form of inclusionary exclusion. One cannot avoid noticing the ramp on entering the pavilion: cut horizontally and vertically, the spaces between left void, it is a cross-sectional space experienced through its corridors, area closed off by metal bars, a semi-closed room and viewing area arranged on stairs. However, its interior is rendered visible through the cross-sections of buildings and the subterranean. We bear witness to the events inside it, and, ceasing to be spectators, participate in the installation. Through this displacement, we also move from a representational space to a lived space.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"387 - 404"},"PeriodicalIF":0.0,"publicationDate":"2021-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1905264","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41588830","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/14794713.2021.1875938
D. Kleida
{"title":"Between Us","authors":"D. Kleida","doi":"10.1080/14794713.2021.1875938","DOIUrl":"https://doi.org/10.1080/14794713.2021.1875938","url":null,"abstract":"","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"184 - 185"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1875938","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41967037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/14794713.2021.1885190
R. Stancliffe
ABSTRACT Video annotation is an emergent practice and not (yet) a common method in dance studies or research. Subsequently, there are limited accounts that detail the practice of using annotation in dance but those that are available point to how annotation serves diverse and particular purposes. However, a common understanding of what annotation is does not theoretically cohere. Furthermore, the tendency to use the terms annotation and notation synonymously conflates these practices and risks overlooking the significant contributions of each. In discussing my experience, reflections, and observations of working with four different approaches to annotation I offer an understanding of what it offers in analysing and transmitting ideas about dance from an artist-scholar's perspective. Crucially, drawing from Bernard Stiegler's philosophy of technology, I position annotations as technical memories created in dialogue with existing mnemotechnical forms, or technical objects. Such characterisation illuminates how annotation helps to overcome limitations of documentary forms and highlight information otherwise missing or previously unnoticed. To further emphasise annotation as a method of amplification I compare my experience of annotation and of Labanotation to highlight the similarities and differences between these distinctive methodological tools. While the examples primarily focus on dance the insight developed in this article is valuable for other fields working with time-based media.
{"title":"Differentiating (an)notation practices: an artist-scholar’s observation","authors":"R. Stancliffe","doi":"10.1080/14794713.2021.1885190","DOIUrl":"https://doi.org/10.1080/14794713.2021.1885190","url":null,"abstract":"ABSTRACT Video annotation is an emergent practice and not (yet) a common method in dance studies or research. Subsequently, there are limited accounts that detail the practice of using annotation in dance but those that are available point to how annotation serves diverse and particular purposes. However, a common understanding of what annotation is does not theoretically cohere. Furthermore, the tendency to use the terms annotation and notation synonymously conflates these practices and risks overlooking the significant contributions of each. In discussing my experience, reflections, and observations of working with four different approaches to annotation I offer an understanding of what it offers in analysing and transmitting ideas about dance from an artist-scholar's perspective. Crucially, drawing from Bernard Stiegler's philosophy of technology, I position annotations as technical memories created in dialogue with existing mnemotechnical forms, or technical objects. Such characterisation illuminates how annotation helps to overcome limitations of documentary forms and highlight information otherwise missing or previously unnoticed. To further emphasise annotation as a method of amplification I compare my experience of annotation and of Labanotation to highlight the similarities and differences between these distinctive methodological tools. While the examples primarily focus on dance the insight developed in this article is valuable for other fields working with time-based media.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"69 - 85"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1885190","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43618095","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/14794713.2021.1880724
Amelia Fernanda Uzategui Bonilla
ABSTRACT Using Motion Bank’s web-based annotation and publication tools, dance educator Amelia Uzategui Bonilla engages in remote collaboration with international colleagues in times of Corona. They share a praxis in vernacular dance languages, in this case those with African and Indigenous influences from Latin American. This document details a decolonial dance documentation approach featuring recorded classes and interviews with Alberto Barrios, based in Bogota, Colombia and Carmen Román from Oakland, California. Román dances Festejo, a dance cultivated by Peru’s African descendants. Barrios dances Champeta, a genre developed in the 1980s in Cartagena. Their analysis and discussion gain insights on these complex movement forms and the knowledges they contain. A supplementary webpage includes annotated videos of their online classes and conversations on the basis of these. Practice-specific verbalization identifies a lexicon constructed from imagery related to social, political and natural environments. The combination of audiovisual and written material in this document and its corresponding website demonstrates their approach to teaching dances rooted in Black and Indigenous cultures. It also speaks to the potential of documenting dance collaborations during the COVID-19 Quarantine.
{"title":"Somatic Sauce 2020 – annotating Love Therapy and celebration","authors":"Amelia Fernanda Uzategui Bonilla","doi":"10.1080/14794713.2021.1880724","DOIUrl":"https://doi.org/10.1080/14794713.2021.1880724","url":null,"abstract":"ABSTRACT Using Motion Bank’s web-based annotation and publication tools, dance educator Amelia Uzategui Bonilla engages in remote collaboration with international colleagues in times of Corona. They share a praxis in vernacular dance languages, in this case those with African and Indigenous influences from Latin American. This document details a decolonial dance documentation approach featuring recorded classes and interviews with Alberto Barrios, based in Bogota, Colombia and Carmen Román from Oakland, California. Román dances Festejo, a dance cultivated by Peru’s African descendants. Barrios dances Champeta, a genre developed in the 1980s in Cartagena. Their analysis and discussion gain insights on these complex movement forms and the knowledges they contain. A supplementary webpage includes annotated videos of their online classes and conversations on the basis of these. Practice-specific verbalization identifies a lexicon constructed from imagery related to social, political and natural environments. The combination of audiovisual and written material in this document and its corresponding website demonstrates their approach to teaching dances rooted in Black and Indigenous cultures. It also speaks to the potential of documenting dance collaborations during the COVID-19 Quarantine.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"7 - 18"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1880724","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49598272","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/14794713.2021.1884805
L. G. Monda
ABSTRACT The document reports on the use of digital dance annotation in teaching students who come from different disciplines how to apply their own forms of dance-writing to support reading and making choreography. During classes, the Motion Bank System PieceMaker was used to support processes of investigation including the movement analysis of different dance techniques and the reenacting of body traces inscribed in choreographic paper scores. This report will describe three experiments conducted by students of the interdisciplinary classes in Digital Choreography at the Sapienza University of Rome. It will conclude with some speculation on the role digital dance annotation can play in the creation of new teaching methods in performing arts.
{"title":"Digital dance writing. A teaching tool to support the understanding of Digital Choreography","authors":"L. G. Monda","doi":"10.1080/14794713.2021.1884805","DOIUrl":"https://doi.org/10.1080/14794713.2021.1884805","url":null,"abstract":"ABSTRACT The document reports on the use of digital dance annotation in teaching students who come from different disciplines how to apply their own forms of dance-writing to support reading and making choreography. During classes, the Motion Bank System PieceMaker was used to support processes of investigation including the movement analysis of different dance techniques and the reenacting of body traces inscribed in choreographic paper scores. This report will describe three experiments conducted by students of the interdisciplinary classes in Digital Choreography at the Sapienza University of Rome. It will conclude with some speculation on the role digital dance annotation can play in the creation of new teaching methods in performing arts.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"102 - 110"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1884805","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44905941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/14794713.2021.1880172
Lucía Piquero-Alvarez
ABSTRACT Through my doctoral research I developed a form of annotation and analysis of works to explore experiences of emotion in contemporary theatre dance. This approach helped me analyse works by different choreographers and share my spectatorial experience of them. To explore whether the work had emotional information embodied in its perceptual properties, I analysed movement qualities, movement-music, and spatial-rhythm. Through these analysis I was able to understand aspects of my process which were not obvious before. The analysis seemed to improve my choreographic self- awareness. Scholars such as Sarah Whatley have pointed at the potential of documenting, sharing, and curating information about choreographic practices, and its use as feedback tool for the choreographers [Whatley, Sarah. 2018. “Enhancing Choreographic Objects; Traces, Texts and Tales of a Journey Through Dance.” In Performing Process Sharing Dance and Choreographic Practice, edited by Hetty Blades and Emma Meehan, 67–80. Bristol: Intellect]. But what happens when the analyst and the choreographer are the same person? For me, the process became a form of self-discovery. This article is a reflection on the difficulties, implications, and repercussions of undertaking a systematic analysis/annotation of my work, especially in relation to emotion.
{"title":"‘Annotation and choreographic self-awareness’","authors":"Lucía Piquero-Alvarez","doi":"10.1080/14794713.2021.1880172","DOIUrl":"https://doi.org/10.1080/14794713.2021.1880172","url":null,"abstract":"ABSTRACT Through my doctoral research I developed a form of annotation and analysis of works to explore experiences of emotion in contemporary theatre dance. This approach helped me analyse works by different choreographers and share my spectatorial experience of them. To explore whether the work had emotional information embodied in its perceptual properties, I analysed movement qualities, movement-music, and spatial-rhythm. Through these analysis I was able to understand aspects of my process which were not obvious before. The analysis seemed to improve my choreographic self- awareness. Scholars such as Sarah Whatley have pointed at the potential of documenting, sharing, and curating information about choreographic practices, and its use as feedback tool for the choreographers [Whatley, Sarah. 2018. “Enhancing Choreographic Objects; Traces, Texts and Tales of a Journey Through Dance.” In Performing Process Sharing Dance and Choreographic Practice, edited by Hetty Blades and Emma Meehan, 67–80. Bristol: Intellect]. But what happens when the analyst and the choreographer are the same person? For me, the process became a form of self-discovery. This article is a reflection on the difficulties, implications, and repercussions of undertaking a systematic analysis/annotation of my work, especially in relation to emotion.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"111 - 117"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1880172","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42268373","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/14794713.2021.1880182
D. Kleida
ABSTRACT In this short report, I share my experience of getting to know the choreographic practice of choreographer Jonathan Burrows and composer Matteo Fargion using the Motion Bank digital annotation tool Piecemaker. My report narrates the process of coming from a place of not knowing their practice at all to a deeper understanding through listening to interviews and deciphering their scorebooks. I present some of the thought processes and steps I took using Piecemaker, and how this led me to explore different references (e.g. other composers, historical performance forms, etc.) they draw upon to create their choreographies. I then share the results of my study using the Motion Bank publishing tool MoSys.
{"title":"Entering a dance performance through multimodal annotation: annotating with scores","authors":"D. Kleida","doi":"10.1080/14794713.2021.1880182","DOIUrl":"https://doi.org/10.1080/14794713.2021.1880182","url":null,"abstract":"ABSTRACT In this short report, I share my experience of getting to know the choreographic practice of choreographer Jonathan Burrows and composer Matteo Fargion using the Motion Bank digital annotation tool Piecemaker. My report narrates the process of coming from a place of not knowing their practice at all to a deeper understanding through listening to interviews and deciphering their scorebooks. I present some of the thought processes and steps I took using Piecemaker, and how this led me to explore different references (e.g. other composers, historical performance forms, etc.) they draw upon to create their choreographies. I then share the results of my study using the Motion Bank publishing tool MoSys.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"19 - 30"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1880182","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48765271","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/14794713.2021.1880140
Ben Spatz, N. E. Erçin, Agnieszka Mendel
ABSTRACT This video article consists of three repetitions or cycles of a single audiovisual fragment. The underpinning fragment is just longer than three minutes. In the first cycle, the video fragment is presented with only subtitles added to clarify the recorded dialog. The second cycle augments the first by adding a set of textual ‘illuminations’ that provide the basic details of what is happening and begin to reveal the interactive dynamics at play in this recorded moment. In the third cycle, yet another layer of textual illumination is added, this time bringing to bear a range of critical scholarly sources that link the dynamics of the moment to larger contexts of history, memory, and nation. An accompanying research statement defines the form of illuminated video and imagines its possible futures. Together, the video and the statement are conceived as a teaching tool, introducing some of the potential that video editing brings to the analysis and publication of embodied research.
{"title":"ancestors: an illuminated video","authors":"Ben Spatz, N. E. Erçin, Agnieszka Mendel","doi":"10.1080/14794713.2021.1880140","DOIUrl":"https://doi.org/10.1080/14794713.2021.1880140","url":null,"abstract":"ABSTRACT This video article consists of three repetitions or cycles of a single audiovisual fragment. The underpinning fragment is just longer than three minutes. In the first cycle, the video fragment is presented with only subtitles added to clarify the recorded dialog. The second cycle augments the first by adding a set of textual ‘illuminations’ that provide the basic details of what is happening and begin to reveal the interactive dynamics at play in this recorded moment. In the third cycle, yet another layer of textual illumination is added, this time bringing to bear a range of critical scholarly sources that link the dynamics of the moment to larger contexts of history, memory, and nation. An accompanying research statement defines the form of illuminated video and imagines its possible futures. Together, the video and the statement are conceived as a teaching tool, introducing some of the potential that video editing brings to the analysis and publication of embodied research.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"46 - 55"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2021.1880140","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44237160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/14794713.2020.1866357
Gunter Lösel
ABSTRACT The last 20 years have seen numerous claims and suggestions to overcome purely text-based research. In this article I will describe the RESEARCH VIDEO project, that dedicated itself to the exploration of annotated videos as a new form of publication in artistic research. (1) Software development: One part of our team developed a software tool that was optimized for artistic research and allows for a publication as an annotated video. I will describe the features of the software and explain the design decisions that were made throughout the project. I will also point out future demands for this tool. (2) Research standards: Our team continually reflected on the questions of how to meet both academic and artistic needs, trying to shape the research process accordingly. We decided to minimize academic claims to two basic claims – “sharability” and “challengeability” and explored how the research process changes, when these claims are informing each step of the research process. Finally I will discuss suggestions to make a publication as a Research Video comparable to a research paper.
{"title":"Tags and tracks and annotations – research video as a new form of publication of embodied knowledge","authors":"Gunter Lösel","doi":"10.1080/14794713.2020.1866357","DOIUrl":"https://doi.org/10.1080/14794713.2020.1866357","url":null,"abstract":"ABSTRACT The last 20 years have seen numerous claims and suggestions to overcome purely text-based research. In this article I will describe the RESEARCH VIDEO project, that dedicated itself to the exploration of annotated videos as a new form of publication in artistic research. (1) Software development: One part of our team developed a software tool that was optimized for artistic research and allows for a publication as an annotated video. I will describe the features of the software and explain the design decisions that were made throughout the project. I will also point out future demands for this tool. (2) Research standards: Our team continually reflected on the questions of how to meet both academic and artistic needs, trying to shape the research process accordingly. We decided to minimize academic claims to two basic claims – “sharability” and “challengeability” and explored how the research process changes, when these claims are informing each step of the research process. Finally I will discuss suggestions to make a publication as a Research Video comparable to a research paper.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":"17 1","pages":"31 - 45"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14794713.2020.1866357","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46646116","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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