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OUTLINE
PROPOSALS - FIRST DRAFTS
1. Performance Modeling 1. Performance Modeling (See Second Draft)Submitted by the Performing Arts Committee Objective:
Technical necessities: 3-D architectural environments and character animation and motion capture technology, audio technology Research necessities: to research time period, recover text, performance practices, rights research, design elements Creative necessities: artists to design elements and direct, computer design, computer scientists to solve problems Three-year Plan Year 1. Research
Year 2. Design
Year 3. Performance and Media Integration
At this point we will have created an example of a virtual performance event (in our proposal this first performance is the historical recreation of a vaudeville performance from the 1880s), accessible over the internet, and manipulable by the end user. We will also have created a general tool set, not exclusive to this specific performative event, that can be used by other scholars, educators and artists to create their own virtual performance events. Investigators and consultants: theatre scholars and artists; professional animators (as consultants); computer scientists with specializations in visualization and auralization and distributed multimedia; character animation Interested investigators: Dr. David Saltz, Dr. Susan Kattwinkel, Dr. Frank Mohler, Professor Gary Maciag, Jeff Burke, Dr. Mark Pizzato, Dan Zellner, Dr. Larry Worster, Dr. Frank Hildy, Dr. Melanie Blood 2. Institute for Digital Scholarship in the Performing ArtsObjective: To facilitate the creation of digital scholarship that integrates theatre, music, and dance. Means to the end: Create a board of directors as outlined below, formed of members of existing scholarly societies in theatre, music, and dance. This board will develop guidelines for digital projects, promote the projects, adjudicate among applicants, and administer grants to individual scholars and humanities computing centers. In addition, the involvement of scholarly societies should help devise standards for scholarly recognition of digital projects. See preliminary details below. Needed expertise: On the Board: 9 representatives of scholarly and library societies representing music, theatre, and dance. The following societies are recommended for potential inclusion on the board: Association for Theatre in Higher Education, American Society for Theatre Research, Theatre Library Association, United States Institute for Theatre Technology, Congress on Research in Dance, Dance Library Committee, American Musicological Society, Society for American Music, Music Library Association, Society for Ethnomusicology, and Society for Music Theory. One computer scientist should also be on the board. Hardware and software specific to projects selected is included in the proposal below. Server space and maintenance of project on a the Internet will be the responsibility of both the computing center and the individual societies selected by the board, as outlined below. Investigators and consultants: Frank Hildy, Bruce McConachie, Mary Strow, Bob Keller, Kate Keller, Melanie Blood, Susan Kattwinkel, David Saltz, Frank Mohler, Mark Pizzato, Jeff Burke. Four international consultants from international scholarly societies i performing arts will serve as consultants to the board. Detailed proposal for the Institute for Digital Scholarship in the Performing Arts: The Insitute for Digital Scholarship in the Performing Arts will seek a three year grant of $750,000. per year for three years. The Institute will oversee up to 18 digital scholarly projects that use digital technology to enhance our understanding of the relationship between music, theatre, and dance. Near the end of three years, the Institute will evaluate its successes and failures and redesign the Institute accordingly. A board of directors will solicit projects, adjudicate among them, and administer the grants. The board of directors will consist of a Primary Investigator/Executive Director who is directly responsible for grant moneys and overseeing the progress of the participating scholars, nine representatives of scholarly and library organizations representing theatre, music, and dance, and one computer scientist. The duties of the board include: 1) The board will serve as grant administrator 2) The board will conduct a competition among scholar/artists and computer scientists to identify up to six projects per year. Collaboration among scholars will be encouraged. In most cases the scholar will work at a selected center (see #3) for the term of the grant. Scholars from smaller institutions, minority scholars, and scholars working in areas that engage issues of diversity will be particularly encouraged. Final delivery of projects must be clearly defined and preference will be given to projects that can remain widely , to other scholars and artists. Winning scholar/artists/computer scientists will be appointed for one year terms. They will be awarded one half their annual salaries, a living stipend, and $20,000 in hardware and software to support the project. Regardless of collaborations, a total of six individuals will be supported each year. Scholars may reapply for continuation of their projects. 3.The board will conduct a competition among centers for computing in the humanities. Centers will apply for the full three years of the grant. The centers selected will receive up to $300,000 per year to support the scholars selected in #2. If more than one site is selected, centers will receive $50,000. per scholar they support. Proposed timeline:
Assuming that, in order to receive grants as an organization, incorporation and 501c3 status will be required for the proposed Institute. There are three possible solutions: 1) NINCH assumes this function not only for this Institute but for a larger Institute representing the needs of all the humanities 2) The Institute for Digital Scholarship in the Performing Arts 3) Performance in History Associates, an organization already incorporated and not-for-profit, incorporates this organization under PIHA, with PIHA functioning as an umbrella and the Institute functioning as outlined here. 3. International Dissertations in Music Online
Objective: To expand the existing Doctoral Dissertations in Musicology--Online (which includes records of dissertations in progress and completed) into a full digital archive of dissertations in all aspects of music. The current database is updated regularly, and this project would commit to maintaining updates on a regular basis. Expanding the database will involve significant computer challenges: indexing, cross-linguistic searching, and creating digital media for dissertations. The problems include handwritten dissertations (mostly European) and index and display of non-Roman type and languages that read from right to left and top to bottom (e.g., Cyrillic, Greek, Japanese, Hebrew, Arabic). The American Musicological Society, the International Musicological Society, and the Center for the History of Music Theory and Literature at Indiana University (CHMTL) have supported this project to date. At Indiana University, this project currently benefits from an institution-wide commitment to digital and multimedia projects. UMI currently does not and historically did not collect all dissertations. Coverage is needed for older dissertations and beyond North American universities. The project supports both research and teaching on an international scale and could also expand collection and payment of royalties to the authors. Means to the End: Currently in existence (since 1996) is the basic database of 10,706 bibliographic records going back to the 1940s, fully browsable and searchable on the CHMTL's web site, DDM-Online (). The CHMTL employs a fully developed database thesaurus, an established financial system for managing income and expenses, personnel, and space, but will need an expanded server for database storage as the project expands. Suggested partners/personnel: Current partners: American Musicological Society, International Musicological Society, the Royal Musical Association, the Dissertationsmeldestellung (M¸nster), and the CHMTL. Suggested new partners: UMI, Center for Research Libraries, Moscow Conservatory, and comparable groups in other countries. Negotiations are currently underway to expand collaboration with organizations in other parts of the world. Principal investigator would be Prof. Thomas Mathiesen. Needed expertise: Computer scientists to be involved with multilingual searching, full-text indexing, indexing of non-text objects (e.g. musical notation, graphics, sound files), OCR and indexing of manuscript text, and index and display of non-Roman type and languages that read from right to left and top to bottom (e.g., Cyrillic, Japanese, Hebrew, Arabic, Greek). Investigators and consultants: Need to expand cooperation with Music Educators National Conference, Society for Ethnomusicology, Society for American Music, Society for Music Theory, American Studies Association, etc. Formal application will be submitted jointly by the American Musicological Society and Indiana University. 4. Online Access to 19th Century Music
Introduction: Response to the questionnaires overwhelmingly identified the lack of access to primary documents as the highest priority in the Performing Arts. For music, we do not even know what has been published. This issue has been on the agenda of the Music Library Association, Society of American Music, OCLC, and many libraries for decades. Guidelines have now been approved and a feasibility study sponsored by the NEH has been completed in 1986. OCLC has conducted a successful experiment in post-entry authority control for name headings. Objective: For the first time to provide bibliographic access to, and ultimately preservation of, music published in America from 1826-1898 (gap between existing bibliographies and federal copyright exemplars); develop thesaurus for conceptual access to both music and illustrations. Means to the End: National board for project to design a coordinated approach and avoid excessive redundancy; distributed cataloging, using guidelines recently developed by the Music Library Association, and widely available standards and bibliographic utilities (e.g., OCLC and RLIN). Funds will be distributed directly to institutions where cataloging is currently being accomplished. Suggested partners/personnel: Music Library Association, Society for American Music, American Musicological Society, American Print Association, libraries with major collections of American music (directory already made during NEH project ca. 1985); OCLC and RLIN. Needed expertise: Catalogers, those experienced in thesaurus construction in arts and social history. Investigators and consultants: Mary Wallace Davidson, Kate Van Winkle Keller, and Laura Gayle Green; designates of the Music Library Association and others. 5. Digital Dance DatabaseMary Strow /Robert M. Keller The Digital Dance Database will be a searchable archive of primary resource dance materials, freely accessible for research and pedagogical purposes. It will provide meaningful searching across various media, that is, moving and static images, sound, text, and notation scores in many different languages. 6. Digital Brief Case
A hardware device and/or software package that allows a teacher to simultaneously present one resource stream while previewing others across various media types. Objectives: 1. to experiment with and develop interfaces that allow flexible and continuous presentation of a large variety of resource types 2. to explore pedagogical applications of rich resource delivery systems 3. to investigate the impact of these technologies on the learning process 7. American Variety Theatre ProjectSubmitted by the Performing Arts Committee Objective: To provide digital content and tools for the use of scholars, educators and students in American Variety Theatre Means:
Partners/Personnel: University of Pittsburgh, College of Charleston, relevant archives (perhaps 10 major libraries), NYPL Elements of the project:
Needed expertise:
Original Investigators/Consultants: Bruce McConachie, Susan Kattwinkel 8. Performance in History AssociatesPerformance in History Associates (PIHA) is an organization of scholars in theatre, music, and dance which is already incorporated, has achieved not-for-profit status, and functions through officers, committees, a board of directors, and an annual, virtual meeting. This organization is meant to be democratic and flexible to accommodate the needs of scholars, teachers, and students working with digital media. Objective 1: this group can serve as an umbrella organization to support, promote, and make accessible to scholars, teachers, and students other projects of interest to individual scholars or groups of scholars. Many other suggestions from NINCH's performing arts group may benefit from association, due to not-for-profit status or the combined expertise of individuals involved. Objective 2: (This objective has been defined and over two years a model is currently linked from the web site.) To create a searchable database of moving images, still images, text, sound, 3D animation, virtual reality, and notation systems. To find a way to make meaningful searches among these diverse media. To display multiple media side by side for comparison and to facilitate new understandings of performing arts. To organize this material in the smallest meaningful units for maximum flexibility of retrieval and recombination by scholars, teachers, and students. To make this material as widely available as possible, linking to and searching other relevant databases. Means to the end: 1) Fund individual scholars' digital projects with the understanding that the final product will be published in whatever form chosen by the scholar and regrouped in “modules” for distribution via the PIHA database and search tools. 2) Fund a collaboration among performing arts scholars and computer scientist(s) to develop search and display tools appropriate to the widest possible variety of media. Needed expertise: 1) A search tool, preferably automated, that can make meaningful comparison among media then display them simultaneously for pedagogical and scholarly purposes. This is best addressed in collaboration between scholars and computer scientists. 2) The amount of material freely available, or digitized at all, is very small. This second need is best addressed by individual scholars working in their own fields of expertise. Investigators:
9. Center for Distributed Scholarly Resources in the Humanities (see Second Draft)Robert M. Keller ObjectivesEstablish a gateway for networked scholarly resources in the Humanities. Means to the End
Problems Solved
Suggested partners
Suggested participants
Expertise needed
Timeline and milestones Year 1: Establish organizational structure, Board, database, initial staff Year 2: Establish partnerships with scholarly societies Year 3: Partnerships with E-publishers 10. Humanities Search Engine
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