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Documentation is just the beginning 
– digital curation practice in the UK 
performing arts community 
Laura Molloy 
University of Glasgow / Digital Curation Centre 
E: laura.molloy AT glasgow.ac.uk 
@LM_HATII 
TaPRA Documenting Performance working group, Royal Holloway, London, 
5 September 2014
Definitions. Yay. 
• The performing arts 
• Practitioner 
• Digital object 
• Digital curation
Definitions. Yay. 
• The performing arts 
• Practitioner 
• Digital object 
• Digital curation
digital objects 
in the 
performing 
arts 
objects created 
in order to serve 
as 
documentation 
of performance 
What I’m on about today. (P.S. Not to scale.)
“In the performing arts context, ‘documentation’ 
is a term that requires unpacking.” (PARIP, n.d.).
“Each technology has different capabilities, 
different constraints. If we sustain the functional 
view of what constitutes a document, we should 
expect documents to take different forms in the 
contexts of different technologies and so we 
should expect the range of what could be 
considered a document to be different in digital 
and paper environments.” (Buckland, 1998 )
A performing arts definition of 
documentation: 
“Documentation of performance art can 
include photography, video, sound 
recording, and creative collection and 
display of “remnants” of performed 
actions left behind when the piece is 
complete. Documentation is often 
considered to be indexical; i.e. it provides 
proof for viewers who did not witness the 
live event that a particular event really 
occurred. 
Amelia Jones says: “… the role of 
documentation [is to] secur[e] the 
position of the artist as beloved object of 
the art world’s desires.” So, does the 
artist document live performance 
because documentation is really integral 
to the meaning and impact of the piece, 
or only in order to retain an “object” that 
the contemporary art world will recognize 
as an artistic creation?” 
Kotin (2009) 
A digital curation definition of 
documentation: 
“The information provided by a creator and 
the repository which provides enough 
information to establish provenance, 
history and context and to enable its use by 
others. See also ‘Metadata’. … At a 
minimum, documentation should provide 
information about a data collection's 
contents, provenance and structure, and 
the terms and conditions that apply to its 
use. It needs to be sufficiently detailed to 
allow the data creator to use the material 
in the future, when the data creation 
process has started to fade from memory. It 
also needs to be comprehensive enough to 
enable others to explore the resource fully, 
and detailed enough to allow someone 
who has not been involved in the data 
creation process to understand the data 
collection and the process by which it was 
created.” 
(definition from the History Data Service, 
quoted by DPC, 2008)
Image: Ed Fay: @digitalfay
Thanks for your attention! 
Laura Molloy 
University of Glasgow / Digital Curation Centre 
E: laura.molloy AT glasgow.ac.uk 
@LM_HATII

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Digital curation practice in the UK performing arts community: Laura Molloy, TaPRA 2014

  • 1. Documentation is just the beginning – digital curation practice in the UK performing arts community Laura Molloy University of Glasgow / Digital Curation Centre E: laura.molloy AT glasgow.ac.uk @LM_HATII TaPRA Documenting Performance working group, Royal Holloway, London, 5 September 2014
  • 2. Definitions. Yay. • The performing arts • Practitioner • Digital object • Digital curation
  • 3.
  • 4. Definitions. Yay. • The performing arts • Practitioner • Digital object • Digital curation
  • 5. digital objects in the performing arts objects created in order to serve as documentation of performance What I’m on about today. (P.S. Not to scale.)
  • 6. “In the performing arts context, ‘documentation’ is a term that requires unpacking.” (PARIP, n.d.).
  • 7. “Each technology has different capabilities, different constraints. If we sustain the functional view of what constitutes a document, we should expect documents to take different forms in the contexts of different technologies and so we should expect the range of what could be considered a document to be different in digital and paper environments.” (Buckland, 1998 )
  • 8. A performing arts definition of documentation: “Documentation of performance art can include photography, video, sound recording, and creative collection and display of “remnants” of performed actions left behind when the piece is complete. Documentation is often considered to be indexical; i.e. it provides proof for viewers who did not witness the live event that a particular event really occurred. Amelia Jones says: “… the role of documentation [is to] secur[e] the position of the artist as beloved object of the art world’s desires.” So, does the artist document live performance because documentation is really integral to the meaning and impact of the piece, or only in order to retain an “object” that the contemporary art world will recognize as an artistic creation?” Kotin (2009) A digital curation definition of documentation: “The information provided by a creator and the repository which provides enough information to establish provenance, history and context and to enable its use by others. See also ‘Metadata’. … At a minimum, documentation should provide information about a data collection's contents, provenance and structure, and the terms and conditions that apply to its use. It needs to be sufficiently detailed to allow the data creator to use the material in the future, when the data creation process has started to fade from memory. It also needs to be comprehensive enough to enable others to explore the resource fully, and detailed enough to allow someone who has not been involved in the data creation process to understand the data collection and the process by which it was created.” (definition from the History Data Service, quoted by DPC, 2008)
  • 9. Image: Ed Fay: @digitalfay
  • 10. Thanks for your attention! Laura Molloy University of Glasgow / Digital Curation Centre E: laura.molloy AT glasgow.ac.uk @LM_HATII