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  • Authors: Ramírez, Verónica; Corral, Emili; Gajardo, Francia;

    The Alquimistes Association is a non-profit organization that works for the development of people with intellectual disabilities. Alquimistes Teatro was created in 1998 in Barcelona during a collaboration between Albandis, an association of individuals with mental disabilities, and the theatre company Carro de Baco. The group, composed of individuals with disabilities as well as their parents, has worked in various scenic dimensions, ranging from classical theatre to corporal expression, dance, and musical comedy. They have also ventured into cinematography. The company also promotes and is actively involved in organizing the Fira Internacional de Teatre Integratiu (FITI) de Santa Coloma de Gramenet (Barcelona), a festival that is one of Spain’s most important events for inclusive theatre. In 2011, a new stage of Alquimistes began under the direction of Verónica Ramírez and Francia Gajardo of the Els 4 Vents theatre company, with the challenge and conviction that the group and the theatrical show continue to be a benchmark in the theatrical and social panorama. The success of the premiere of Ni Bella ni Bèstia in that same year and Farandulers in 2013— which reached the Teatre Nacional de Catalunya— are examples of the professional aspirations of the female directors. They work in a personalized way with each member of the team of actors and actresses. For instance, the piece The Imaginary Patient by Molière, which premiered in the 9th FITI, was a new challenge for the members, as it was the first time they worked with the requirement of an established script. In the following production, playwright and director Emili Corral joined the management team and created the work Donde manda el amor no manda capitán, a story inspired by Shakespeare and Federico García Lorca. It was presented in the framework of the tenth edition of FITI, which in 2017 transitioned from a Fair to a Festival. After the premiere at FITI 2019 of the adaptation of Orson Welles' Rebellion on the Farm, in which they innovated in staging with audiovisual media and live music, the COVID-19 pandemic hit, and the company had to close for almost two years. In the third quarter of 2021, actors, actresses, and directors reunited and created the documentary Alquimistes OFF to bear witness to everything they had lived through: the experiences of their members during the pandemic quarantine, a look back at the company’s history and processes. In the twelfth edition of the FITI Festival, Alquimistes Teatre will premiere a new piece, Lorca in Women. Productions: FITI. Fira Internacional de Teatre Integratiu (2015) Romeo and Juliet Hamlet King Lear Ni Bella ni Bestia (“Nor Beauty, nor Beast”) 2 + 2 = 5 (cinematography)

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  • Authors: Ellis Wrightbrook (Prodr.); Ben Pettitt-Wade (Dir.);

    Abstract: Metamorphosis, a production by Hijinx Theatre, is loosely based on the novel Metamorphosis by Franz Kafka. Released during the Covid-19 pandemic, the play integrates virtual networking technology (Zoom) in its performance and audience participation. The play is a commentary on society’s insistence on normalcy in the face of an unprecedented public health crisis. It is also a play within a play and shows how everyone had to adapt themselves overnight to virtual meetings, which excluded many people. Details: The play opens at the Kaf Bar with the bartender (against a Zoom background of a bar) welcoming everyone to the Kaf Bar at the Green Man Festival 2020. He is delighted to see many participants and lays down a few housekeeping rules. He invites people to have a drink and a quick natter (conversation) with him. As he waits for new participants to join, there is a technical glitch noise in the background, and he tries to understand what is happening. He asks if it is Gareth, and Gareth responds that he is lost, and the barman replies he (Gareth) should wait to arrive. Gareth repeats that he cannot get in, and the barman responds that he is not meant to be in the bar. Gareth asks him if the bar is real, and the barman replies that it is not real, revealing that he is in his living room and the bar is a virtual background on Zoom. Gareth mentions that it is confusing him, and the barman responds that he cannot help him, but he will fetch Morgan, who can help him. Morgan appears on the screen. He is outdoors, indulging in his socially distanced exercise (running). He is the director of the ‘On the Fly’ theatre group and shares the exciting news that they got funding to put on a play. He announces that they will be working on the production of Metamorphosis. He adds that he will be working with an inclusive cast, which will happen over Zoom. His segment is interspersed with shots (in the style of security camera footage with a red tint) of Morgan working on the laptop, shaking as he sits and lies on the floor. In the next act, Auditions, Morgan pumps himself up for the auditions. The auditions happen over Zoom. He calls the first person as Lindsay, but she is seen to be struggling with technology. As Lindsay tries to figure out how to unmute herself, Morgan seems to interact with someone in his house. As she leaves the screen to get something, Morgan vapes and resumes his conversation with the other person in his living room. Several others audition too. Morgan is interrupted again by the person in his living room. As he stands up, he can be seen in his underwear, arguing over using a swear word in front of a 7-year-old and attempting to dodge apples thrown at him by the other person in his room. Finally, he begins to eat one of the apples. Gareth makes his presence felt by mentioning that he is still there. Morgan tells him to turn on his camera, Gareth responds that he can’t, and Morgan continues with the audition. Morgan seems to have spotted Tori, gets up (revealing himself with no pants), tries convincing her to stay (audiences can hear the door slamming, signalling her departure), and curses. Gareth can be heard again; he asks if Morgan is okay. Morgan (almost sobbing at this point) tilts down his camera to hide his face, inadvertently displaying papers on the table and his crotch to the audience. The barman is back on the screen. He is high on energy and apologises for Gareth, mentioning Gareth gets lost sometimes. He proceeds to conduct a quick poll for the audience. The question for the poll is, ‘If you woke one morning to find changed into a monstrous venomous bug will you a.scream hysterically b. Worry about being late to work c. calmly accept that this is a new normal d. laugh at the irony of life. 36% of the audience responded with ‘scream hysterically,’ making it the winner. Amidst technical glitchy sounds in the background, Mr. Mc Kenzie appears on the screen urging Gregor to come online. There is a lot of disturbance in the background, with sounds mimicking a person in pain. Gregor’s screen appears for a split second, and the frame is empty. Mr. Mc Kenzie tells him he failed to attend the future travelling sales force meeting that morning. Gregor’s screen reappears. In the mirror pane of a photo frame, we see the silhouette of a person’s head, but they seem to be coughing and retching. Gregor replies he is not keeping well. The retching, technical glitchy sounds continue as Gregor’s reflection slowly morphs into an insect-like silhouette. Mc Kenzie questions if Gregor is unstable (referring to the internet connectivity and oblivious to Gregor’s transformation). As Gregor’s condition worsens, Mc Kenzie asks if there is someone who can help him. Gregor’s mother, Mrs. Samsa, joins the call and mentions that Gregor has been up since seven and is very busy. Mr. Samsa then joins the call, enquiring if Gregor is in the frame and reminding him that he must go to work. The photo in the photo frame is that of Gregor and the bug’s silhouette superimposed on it. All three of them talk over each other. Close-up of Gregor’s screen as the silhouette transforms, followed by a shot of six Zoom screen panels showcasing close up of organs that make up the face. The barman is back. This time he introduces a spiritual guru who takes the audience through a quick meditation session from his bathtub. Gareth can be heard again and mentions that he cannot get in. A woman appears on screen, reminiscing the time Gregor and she spent in Paris. She ends her monologue by mentioning that she knows Gregor is there and can hear and remember her. She adds that she loves him. The title ‘Greta’ appears on the screen. The person under the blanket from the previous call appears on full screen, and they are attempting to say something but can’t be heard. A montage of red-tinted security camera footage showing the director working on his laptop, crawling, etc., appears on the screen. Four women from the auditions appear on the screen. They talk amongst themselves that the director needs to figure out what he is doing. FeeFee, one of the members, mentions that the session is being recorded. Morgan checks on their progress. They get a notification on their screen that the breakout room will close in the next 67 minutes, and all of them are seen to be walking into their house to mimic the effect of travelling from the breakout room to the main room. Red-tinted security camera footage of Morgan on his knees on the floor - helpless, angry, etc. superimposed with Mr. Mc Kenzie’s voice asking if he is finished yet, with the response that ‘I do not think so, Mr. Mc Kenzie.’ Mc Kenzie berates Gregor. At McKenzie’s insistence that Gregor should eat cake, Morgan exits and returns (crawling) with a plate of cake and starts eating it undignifiedly. As he eats, Mr. McKenzie expresses his disgust at how Gregor is eating. He comments that ‘it is metamorphosis.’ At this point, Morgan (who has been on the floor, writhing in pain, holding his head between his hands, and eating cake, all this while) looks up at the mention of Metamorphosis and realises that there is a security camera recording and extends his hands, presumably to dislodge it. Mr. McKenzie can be heard panicking as he questions if ‘He (Gregor) can see them, can he?’ His voice has marked urgency as he gushes, “Disable it. Disable it now.” Scene shifts. Barman is shown to be watching the feed from the security camera on multiple screens (tablet, large monitors, laptops, etc.). He faces the audience, tries to mask his emotions, puts on a cheery face, and changes his Zoom background to that of the bar. He is taken aback and in shock, as he tries to engage the audience. He says it is time for another poll, and the question this time is - If your family will leave you to die so that they can get back to the life they had before, would you a. Agree with them dutifully, roll over and die b. Explain to them that a humane society does not abandon their most vulnerable c. Kill them, cocoon them, and live off their corpses d. Leave the house and never come back. The winner with 39% was - to leave the house and never return. In the production, on the call, the actors play Greta, Mr. Samsa, Mrs. Samsa, and Gregor. Greta initiates the conversation by mentioning that they need to talk about Gregor; Mr. Samsa and Mrs. Samsa chime in and say that he repulses them. Gregor pleads. The family keeps talking over him. They all decide to leave and not come back. Mrs. Samsa enthusiastically remarks - ‘Let us go! Let us go now.’ Greta agrees, ‘Let’s fly. Let us go.’ Everyone leaves the call. Gregor is left alone. He is crying, calling after his dad not to leave him. He slowly lays down, and the screen goes dark. Gareth can be heard asking if ‘anyone is there.’ Gareth finally appears and asks, ‘If Gregor is back in there.’ Gregor responds with a hello. Gareth tells Gregor that he needs to turn his camera on. The screen splits into two windows, and in the other one, the red-tinted security camera feed shows a close-up of Gregor with cake crumbs on his face. He looks dejected and sad. Gareth tells him that it will be okay, reassuring him that he (Gareth) is here for him and that he loves him. Gregor responds with, ‘I love you, Gregor.’ The play ends with the title ‘Metamorphosis’ on the screen. The cast appears on the screen in gallery view in their apartments, entering and exiting frames, examining their faces, making gestures with their hands, etc. Morgan observes himself on the laptop wearing a rubber mask, takes off the camera, and takes it outside. The play ends with a shot of shining sun and windmills.

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  • Authors: Petal Pilley (CEO & Creative Director); Sonja Brodie (General Manager);

    Blue Teapot is a renowned Theatre Company and Performing Arts School acclaimed for its inclusive programs tailored to individuals with intellectual disabilities. At the forefront of Arts and Disability initiatives in Ireland, Blue Teapot operates as a registered charity. The company is deeply committed to upholding values associated with exceptional theatre production, training, and fostering creativity. Their primary objective lies in unlocking diverse creative potential, thereby enabling the freedom of artistic expression through inclusive theatrical practices. The organization offers four distinct pathways to empower individuals with intellectual disabilities to lead enriched and creative lives. These avenues include the Theatre Company, functioning as a professional acting ensemble; the Performing Arts School, an accredited provider of performing arts education; Bright Soul, a participatory initiative granting access to quality performing arts experiences; and Sparkle, a participatory acting program tailored for intellectually disabled teenagers. As a result, the company's artistic endeavours extend beyond the theatre realm, encompassing a range of performances, events, and even film productions, as exemplified by their acclaimed romantic comedy Sanctuary (2016). In 2014, Blue Teapot commissioned a comprehensive study conducted by the Dublin-based company Quality Matters. The findings of this study culminated in the “Ability, not Disability: Arts, Bravery and Changing Views in Ireland” report. This report, which underwent independent validation, highlighted the crucial and unique contribution of Blue Teapot Theatre Company to both the local and broader cultural landscape. The findings revealed that the company played a crucial role in shaping the national conversation surrounding disability and the arts. The company has succeeded in reshaping perceptions about the capabilities and professionalism of disabled individuals while simultaneously raising awareness about pertinent human rights issues. One of the company's most ambitious undertakings was 'Crossing The Line Festival', an integral component of Galway's European Capital of Culture 2020 program. This festival was to feature over 100 European artists, encompassing 32 events, collaborations with six European partners, and a series of knowledge talks. The event was projected to attract approximately 4,500 visitors in May. Conceived as a pan-European, multi-venue art project, the festival aimed to showcase not only Irish companies but also European theatre companies that spotlight artists with intellectual disabilities. Some of the participating companies included L’Oiseau Mouche (France), Mind the Gap (England), Moomsteatern (Sweden), Theater Babel (Netherlands), and Teatr 21 (Poland), among others. Unfortunately, due to Covid-19 pandemic, the festival. The cancellation was disheartening since the festival had the potential to mark a significant milestone in the company's journey. It was set to showcase the debut of their ongoing project, Into the Dark Woods, a creation by one of their intellectually disabled actors, which added to the disappointment.

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  • Authors: Sobczyk, Justyna;

    Teatr 21 is a theatre company primarily composed of individuals with Down syndrome and Autism. Throughout its fifteen-year history, the ensemble has showcased theatrical productions in various Polish theatres and institutions, encompassing performances at national festivals. Moreover, the group has extended its reach to international platforms, participating in festivals hosted in Helsinki, Prague, Berlin, and Freiburg. In addition to their acting pursuits, Teatr 21 is actively engaged in theatre pedagogy, education, publishing, organizing conferences, lectures, and participation in international networks. Moreover, Teatr 21 is working towards establishing the Centre for Integrative Art, Warsaw’s inaugural socio-cultural institution solely dedicated to the artistic expression of people with disabilities. This centre’s primary objective will be to integrate disabled individuals into art, culture, and science. Beyond inclusion, the centre will also serve as a permanent venue for the company, which until now lacked a dedicated space. Teatr 21 was established in 2005 as a theatre school by Justyna Sobczyk. She completed her theatre pedagogy studies in Berlin and interned at the RambaZamba Theatre in the same city. The inaugural participants comprised individuals with cognitive disabilities, and the emphasis lay in cultivating a theatrical lexicon and attaining innovative artistic excellence, diverging from therapeutic methodologies. Over time, a fundamental ensemble of actors took shape, and the moniker “Teatr 21” draws connections to trisomy 21, an alternate designation for Down syndrome. The ensemble progressed from practicing within a fitness gym to a dedicated theatre venue. This shift paved the way for collaborations with costume designers, authors, and composers, facilitating the creation of further theatrical productions. In 2011, Teatr 21 ventured into children’s theatre with a play based on the renowned German children’s novel Das kleine Ich-bin-Ich (1972) (“The Little I-am-I”) by Mira Lobe. The genesis of this play stemmed from the observation of preconceived ideas held by adult audiences, frequently shaped by a normative outlook that connected disabilities with shortcomings or inadequacies. In response, the ensemble acknowledged the imperative to alter the perception of disabilities from an early stage, aiming to challenge these entrenched viewpoints. Following this, Teatr 21 engaged in endeavours focused on Jewish holidays and subsequently created a theatre series spanning four episodes. The ensemble’s composition broadened to encompass supplementary artists, including playwrights, set designers, actors, marketing experts, choreographers, and performers. The Centre for Integrative Art was founded in collaboration with Teatr 21 and the Biennale Warsaw. The initiative constitutes an integrative, cross-institutional, and global undertaking with the purpose of advancing social integration within the realms of art, culture, and science. During its inaugural season, the centre delved into social mechanisms linked to disabilities, representations in art, medicine, and science, as well as exclusionary mechanisms and political tactics employed in the management of individuals with disabilities. The program encompassed discussions on disability studies, workshops catering to individuals with and without disabilities, and the publication of “Disability and Society.” In June 2019, Teatr 21 received funding for the “Crossing the Line” project, a collaborative effort involving theatres from the European Union. This marked a significant milestone for the group. Between 2019-20, Teatr 21 collaborated with the Zachęta - National Gallery of Art to display their stage arrangements and props as part of Robert Rumas’ exhibition titled “Change of Setting - Polish Theatre and Social Setting of the 20th and 21st Century,” which explored visuality and visibility themes. During its second season, the centre concentrated on matters of perception, particularly centred around the actions and aesthetics of visual observation. This season also delved into cultural taboos associated with how disabilities are perceived within the cultural context. This approach engaged observers in reflection and action. During the Covid-19 pandemic, Teatr 21 produced two online shows, Survival Strategies and Exit.

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    Authors: Dario Rodighiero; Eveline Wandl-Vogt; Elian Carsenat; Jules Döring; +3 Authors

    Abstract The datafication process transforming society enables us to witness the pandemic from a global perspective. This article provides an example of immersive architecture in which coronavirus-related scientific literature was revealed during Ars Electronica 2021. Like a starry sky, a network visualization representing more than 600,000 articles was showcased in the Deep Space 8K theater, where spectators were accompanied in reading insights. The case study of 3D Cartography of COVID-19 illustrates a novel way to present data in public spaces to foster conversations and reflects on how visual data literacy can be addressed in museums.

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    Information Design Journal
    Article . 2022 . Peer-reviewed
    License: CC BY
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    Authors: Zuanni, Chiara;

    This paper draws on a survey of contemporary collecting projects aiming to document the COVID-19 pandemic in museums and other memory organizations. The survey focused on European memory organizations and investigated the practices they adopted in collecting, accessioning, recording, preserving, and displaying material and immaterial witnesses of the pandemic. This paper presents the results of the survey, with a particular attention on the challenges faced by these projects in relation to born-digital objects. It discusses how organizations were able to quickly launch initiatives aimed at collecting memories of the pandemic, drawing on different collection methods, adapting to the circumstances, and using a proactive attitude to reach out to different communities. The paper highlights the solutions adopted to ensure legal compliance in these projects and discusses the need for ethical considerations in relation to the collection of traumatic memories. It suggests that these collecting projects are likely to face significant challenges in the subsequent processing of this material—due to its volume and the need for new digital curation and preservation workflows. Therefore, the paper argues that these projects could also lead to a renewed attention and collaboration across the heritage sector on issues of digital curation and preservation.

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    ZENODO; Heritage
    Other literature type . Article . 2022 . Peer-reviewed
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    Heritage
    Article . 2022
    Data sources: DOAJ
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      Other literature type . Article . 2022 . Peer-reviewed
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    Authors: Pold, Søren;

    According to the project application, the project plan is to 1) collect, organize and map the material into genres and approaches and 2) supplement with in-depth interviews in order to produce a) a publicly available research collection at the ELMCIP Knowledge Base, b) an online exhibition and c) a critical research study.

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    ZENODO
    Report . 2022
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    Authors: Magdalena Chudy; Ewa Kuśmierek; Tomasz Parkoła; Ewa Łukasik;

    Research report for FolkArtiNet - project supported by the DARIAH ERIC in the framework of the DARIAH Theme 2020 on ‘Arts Exchanges’ and ‘Arts, Humanities and COVID-19’.

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    Authors: Pirrone, M; Centorrino, M; Galletta, A; Sicari, C; +1 Authors

    AbstractIn recent times, Digital Humanities (DH), together with the discoveries of Information and Communications Technology, have enabled the rediscovery and usability of cultural content with the support of various technologies. However, it was found that not everyone is able to access web platforms or visit cultural sites easily. In particular, the epidemiological Covid-19 crisis has highlighted the retrograde state of culture in terms of accessibility and usability, conditioned by the physical and web browsing limitations that for years weighed on people with disabilities. Therefore, it was decided to investigate how DH might support the cultural accessibility of people with disabilities. In particular, it was decided to carry out a systematic review of the cultural innovations of DH together with a survey on disability and supporting technologies in order to present how to improve the quality of the cultural experience of such a target. This study proceeded with the research and selection of literature on the subject of DH and disability, with the selection, analysis, and correlation of the scientific works included. The reference time frame includes the works produced between 2018 and 2022 consulted on main databases such as Scopus and Web of Science (WoS), screened using the Preferred Reporting Items for Systematic reviews and Meta-Analyses Statement.

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    Authors: Chiara Zuanni;

    This paper will present the project “Contemporary collecting and COVID-19: barriers, bottlenecks, and perspectives in digital curation”, funded by a DARIAH Theme grant (2020-2021), and its results. During 2020 and 2021, there has been a notable number of projects aiming to document the COVID-19 pandemic, and consequently an increased attention to the themes and challenges of contemporary collecting and born-digital collections. The project presented in this paper aimed first to survey these projects; secondly, to research practices in relation to the data management and public dissemination of such collections; and thirdly, to foster dialogue across research and memory organisations interested in collecting memories and witnesses of the pandemic. This paper will summarise the main findings, especially in relation to storytelling.

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  • Authors: Ramírez, Verónica; Corral, Emili; Gajardo, Francia;

    The Alquimistes Association is a non-profit organization that works for the development of people with intellectual disabilities. Alquimistes Teatro was created in 1998 in Barcelona during a collaboration between Albandis, an association of individuals with mental disabilities, and the theatre company Carro de Baco. The group, composed of individuals with disabilities as well as their parents, has worked in various scenic dimensions, ranging from classical theatre to corporal expression, dance, and musical comedy. They have also ventured into cinematography. The company also promotes and is actively involved in organizing the Fira Internacional de Teatre Integratiu (FITI) de Santa Coloma de Gramenet (Barcelona), a festival that is one of Spain’s most important events for inclusive theatre. In 2011, a new stage of Alquimistes began under the direction of Verónica Ramírez and Francia Gajardo of the Els 4 Vents theatre company, with the challenge and conviction that the group and the theatrical show continue to be a benchmark in the theatrical and social panorama. The success of the premiere of Ni Bella ni Bèstia in that same year and Farandulers in 2013— which reached the Teatre Nacional de Catalunya— are examples of the professional aspirations of the female directors. They work in a personalized way with each member of the team of actors and actresses. For instance, the piece The Imaginary Patient by Molière, which premiered in the 9th FITI, was a new challenge for the members, as it was the first time they worked with the requirement of an established script. In the following production, playwright and director Emili Corral joined the management team and created the work Donde manda el amor no manda capitán, a story inspired by Shakespeare and Federico García Lorca. It was presented in the framework of the tenth edition of FITI, which in 2017 transitioned from a Fair to a Festival. After the premiere at FITI 2019 of the adaptation of Orson Welles' Rebellion on the Farm, in which they innovated in staging with audiovisual media and live music, the COVID-19 pandemic hit, and the company had to close for almost two years. In the third quarter of 2021, actors, actresses, and directors reunited and created the documentary Alquimistes OFF to bear witness to everything they had lived through: the experiences of their members during the pandemic quarantine, a look back at the company’s history and processes. In the twelfth edition of the FITI Festival, Alquimistes Teatre will premiere a new piece, Lorca in Women. Productions: FITI. Fira Internacional de Teatre Integratiu (2015) Romeo and Juliet Hamlet King Lear Ni Bella ni Bestia (“Nor Beauty, nor Beast”) 2 + 2 = 5 (cinematography)

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  • Authors: Ellis Wrightbrook (Prodr.); Ben Pettitt-Wade (Dir.);

    Abstract: Metamorphosis, a production by Hijinx Theatre, is loosely based on the novel Metamorphosis by Franz Kafka. Released during the Covid-19 pandemic, the play integrates virtual networking technology (Zoom) in its performance and audience participation. The play is a commentary on society’s insistence on normalcy in the face of an unprecedented public health crisis. It is also a play within a play and shows how everyone had to adapt themselves overnight to virtual meetings, which excluded many people. Details: The play opens at the Kaf Bar with the bartender (against a Zoom background of a bar) welcoming everyone to the Kaf Bar at the Green Man Festival 2020. He is delighted to see many participants and lays down a few housekeeping rules. He invites people to have a drink and a quick natter (conversation) with him. As he waits for new participants to join, there is a technical glitch noise in the background, and he tries to understand what is happening. He asks if it is Gareth, and Gareth responds that he is lost, and the barman replies he (Gareth) should wait to arrive. Gareth repeats that he cannot get in, and the barman responds that he is not meant to be in the bar. Gareth asks him if the bar is real, and the barman replies that it is not real, revealing that he is in his living room and the bar is a virtual background on Zoom. Gareth mentions that it is confusing him, and the barman responds that he cannot help him, but he will fetch Morgan, who can help him. Morgan appears on the screen. He is outdoors, indulging in his socially distanced exercise (running). He is the director of the ‘On the Fly’ theatre group and shares the exciting news that they got funding to put on a play. He announces that they will be working on the production of Metamorphosis. He adds that he will be working with an inclusive cast, which will happen over Zoom. His segment is interspersed with shots (in the style of security camera footage with a red tint) of Morgan working on the laptop, shaking as he sits and lies on the floor. In the next act, Auditions, Morgan pumps himself up for the auditions. The auditions happen over Zoom. He calls the first person as Lindsay, but she is seen to be struggling with technology. As Lindsay tries to figure out how to unmute herself, Morgan seems to interact with someone in his house. As she leaves the screen to get something, Morgan vapes and resumes his conversation with the other person in his living room. Several others audition too. Morgan is interrupted again by the person in his living room. As he stands up, he can be seen in his underwear, arguing over using a swear word in front of a 7-year-old and attempting to dodge apples thrown at him by the other person in his room. Finally, he begins to eat one of the apples. Gareth makes his presence felt by mentioning that he is still there. Morgan tells him to turn on his camera, Gareth responds that he can’t, and Morgan continues with the audition. Morgan seems to have spotted Tori, gets up (revealing himself with no pants), tries convincing her to stay (audiences can hear the door slamming, signalling her departure), and curses. Gareth can be heard again; he asks if Morgan is okay. Morgan (almost sobbing at this point) tilts down his camera to hide his face, inadvertently displaying papers on the table and his crotch to the audience. The barman is back on the screen. He is high on energy and apologises for Gareth, mentioning Gareth gets lost sometimes. He proceeds to conduct a quick poll for the audience. The question for the poll is, ‘If you woke one morning to find changed into a monstrous venomous bug will you a.scream hysterically b. Worry about being late to work c. calmly accept that this is a new normal d. laugh at the irony of life. 36% of the audience responded with ‘scream hysterically,’ making it the winner. Amidst technical glitchy sounds in the background, Mr. Mc Kenzie appears on the screen urging Gregor to come online. There is a lot of disturbance in the background, with sounds mimicking a person in pain. Gregor’s screen appears for a split second, and the frame is empty. Mr. Mc Kenzie tells him he failed to attend the future travelling sales force meeting that morning. Gregor’s screen reappears. In the mirror pane of a photo frame, we see the silhouette of a person’s head, but they seem to be coughing and retching. Gregor replies he is not keeping well. The retching, technical glitchy sounds continue as Gregor’s reflection slowly morphs into an insect-like silhouette. Mc Kenzie questions if Gregor is unstable (referring to the internet connectivity and oblivious to Gregor’s transformation). As Gregor’s condition worsens, Mc Kenzie asks if there is someone who can help him. Gregor’s mother, Mrs. Samsa, joins the call and mentions that Gregor has been up since seven and is very busy. Mr. Samsa then joins the call, enquiring if Gregor is in the frame and reminding him that he must go to work. The photo in the photo frame is that of Gregor and the bug’s silhouette superimposed on it. All three of them talk over each other. Close-up of Gregor’s screen as the silhouette transforms, followed by a shot of six Zoom screen panels showcasing close up of organs that make up the face. The barman is back. This time he introduces a spiritual guru who takes the audience through a quick meditation session from his bathtub. Gareth can be heard again and mentions that he cannot get in. A woman appears on screen, reminiscing the time Gregor and she spent in Paris. She ends her monologue by mentioning that she knows Gregor is there and can hear and remember her. She adds that she loves him. The title ‘Greta’ appears on the screen. The person under the blanket from the previous call appears on full screen, and they are attempting to say something but can’t be heard. A montage of red-tinted security camera footage showing the director working on his laptop, crawling, etc., appears on the screen. Four women from the auditions appear on the screen. They talk amongst themselves that the director needs to figure out what he is doing. FeeFee, one of the members, mentions that the session is being recorded. Morgan checks on their progress. They get a notification on their screen that the breakout room will close in the next 67 minutes, and all of them are seen to be walking into their house to mimic the effect of travelling from the breakout room to the main room. Red-tinted security camera footage of Morgan on his knees on the floor - helpless, angry, etc. superimposed with Mr. Mc Kenzie’s voice asking if he is finished yet, with the response that ‘I do not think so, Mr. Mc Kenzie.’ Mc Kenzie berates Gregor. At McKenzie’s insistence that Gregor should eat cake, Morgan exits and returns (crawling) with a plate of cake and starts eating it undignifiedly. As he eats, Mr. McKenzie expresses his disgust at how Gregor is eating. He comments that ‘it is metamorphosis.’ At this point, Morgan (who has been on the floor, writhing in pain, holding his head between his hands, and eating cake, all this while) looks up at the mention of Metamorphosis and realises that there is a security camera recording and extends his hands, presumably to dislodge it. Mr. McKenzie can be heard panicking as he questions if ‘He (Gregor) can see them, can he?’ His voice has marked urgency as he gushes, “Disable it. Disable it now.” Scene shifts. Barman is shown to be watching the feed from the security camera on multiple screens (tablet, large monitors, laptops, etc.). He faces the audience, tries to mask his emotions, puts on a cheery face, and changes his Zoom background to that of the bar. He is taken aback and in shock, as he tries to engage the audience. He says it is time for another poll, and the question this time is - If your family will leave you to die so that they can get back to the life they had before, would you a. Agree with them dutifully, roll over and die b. Explain to them that a humane society does not abandon their most vulnerable c. Kill them, cocoon them, and live off their corpses d. Leave the house and never come back. The winner with 39% was - to leave the house and never return. In the production, on the call, the actors play Greta, Mr. Samsa, Mrs. Samsa, and Gregor. Greta initiates the conversation by mentioning that they need to talk about Gregor; Mr. Samsa and Mrs. Samsa chime in and say that he repulses them. Gregor pleads. The family keeps talking over him. They all decide to leave and not come back. Mrs. Samsa enthusiastically remarks - ‘Let us go! Let us go now.’ Greta agrees, ‘Let’s fly. Let us go.’ Everyone leaves the call. Gregor is left alone. He is crying, calling after his dad not to leave him. He slowly lays down, and the screen goes dark. Gareth can be heard asking if ‘anyone is there.’ Gareth finally appears and asks, ‘If Gregor is back in there.’ Gregor responds with a hello. Gareth tells Gregor that he needs to turn his camera on. The screen splits into two windows, and in the other one, the red-tinted security camera feed shows a close-up of Gregor with cake crumbs on his face. He looks dejected and sad. Gareth tells him that it will be okay, reassuring him that he (Gareth) is here for him and that he loves him. Gregor responds with, ‘I love you, Gregor.’ The play ends with the title ‘Metamorphosis’ on the screen. The cast appears on the screen in gallery view in their apartments, entering and exiting frames, examining their faces, making gestures with their hands, etc. Morgan observes himself on the laptop wearing a rubber mask, takes off the camera, and takes it outside. The play ends with a shot of shining sun and windmills.

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  • Authors: Petal Pilley (CEO & Creative Director); Sonja Brodie (General Manager);

    Blue Teapot is a renowned Theatre Company and Performing Arts School acclaimed for its inclusive programs tailored to individuals with intellectual disabilities. At the forefront of Arts and Disability initiatives in Ireland, Blue Teapot operates as a registered charity. The company is deeply committed to upholding values associated with exceptional theatre production, training, and fostering creativity. Their primary objective lies in unlocking diverse creative potential, thereby enabling the freedom of artistic expression through inclusive theatrical practices. The organization offers four distinct pathways to empower individuals with intellectual disabilities to lead enriched and creative lives. These avenues include the Theatre Company, functioning as a professional acting ensemble; the Performing Arts School, an accredited provider of performing arts education; Bright Soul, a participatory initiative granting access to quality performing arts experiences; and Sparkle, a participatory acting program tailored for intellectually disabled teenagers. As a result, the company's artistic endeavours extend beyond the theatre realm, encompassing a range of performances, events, and even film productions, as exemplified by their acclaimed romantic comedy Sanctuary (2016). In 2014, Blue Teapot commissioned a comprehensive study conducted by the Dublin-based company Quality Matters. The findings of this study culminated in the “Ability, not Disability: Arts, Bravery and Changing Views in Ireland” report. This report, which underwent independent validation, highlighted the crucial and unique contribution of Blue Teapot Theatre Company to both the local and broader cultural landscape. The findings revealed that the company played a crucial role in shaping the national conversation surrounding disability and the arts. The company has succeeded in reshaping perceptions about the capabilities and professionalism of disabled individuals while simultaneously raising awareness about pertinent human rights issues. One of the company's most ambitious undertakings was 'Crossing The Line Festival', an integral component of Galway's European Capital of Culture 2020 program. This festival was to feature over 100 European artists, encompassing 32 events, collaborations with six European partners, and a series of knowledge talks. The event was projected to attract approximately 4,500 visitors in May. Conceived as a pan-European, multi-venue art project, the festival aimed to showcase not only Irish companies but also European theatre companies that spotlight artists with intellectual disabilities. Some of the participating companies included L’Oiseau Mouche (France), Mind the Gap (England), Moomsteatern (Sweden), Theater Babel (Netherlands), and Teatr 21 (Poland), among others. Unfortunately, due to Covid-19 pandemic, the festival. The cancellation was disheartening since the festival had the potential to mark a significant milestone in the company's journey. It was set to showcase the debut of their ongoing project, Into the Dark Woods, a creation by one of their intellectually disabled actors, which added to the disappointment.

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  • Authors: Sobczyk, Justyna;

    Teatr 21 is a theatre company primarily composed of individuals with Down syndrome and Autism. Throughout its fifteen-year history, the ensemble has showcased theatrical productions in various Polish theatres and institutions, encompassing performances at national festivals. Moreover, the group has extended its reach to international platforms, participating in festivals hosted in Helsinki, Prague, Berlin, and Freiburg. In addition to their acting pursuits, Teatr 21 is actively engaged in theatre pedagogy, education, publishing, organizing conferences, lectures, and participation in international networks. Moreover, Teatr 21 is working towards establishing the Centre for Integrative Art, Warsaw’s inaugural socio-cultural institution solely dedicated to the artistic expression of people with disabilities. This centre’s primary objective will be to integrate disabled individuals into art, culture, and science. Beyond inclusion, the centre will also serve as a permanent venue for the company, which until now lacked a dedicated space. Teatr 21 was established in 2005 as a theatre school by Justyna Sobczyk. She completed her theatre pedagogy studies in Berlin and interned at the RambaZamba Theatre in the same city. The inaugural participants comprised individuals with cognitive disabilities, and the emphasis lay in cultivating a theatrical lexicon and attaining innovative artistic excellence, diverging from therapeutic methodologies. Over time, a fundamental ensemble of actors took shape, and the moniker “Teatr 21” draws connections to trisomy 21, an alternate designation for Down syndrome. The ensemble progressed from practicing within a fitness gym to a dedicated theatre venue. This shift paved the way for collaborations with costume designers, authors, and composers, facilitating the creation of further theatrical productions. In 2011, Teatr 21 ventured into children’s theatre with a play based on the renowned German children’s novel Das kleine Ich-bin-Ich (1972) (“The Little I-am-I”) by Mira Lobe. The genesis of this play stemmed from the observation of preconceived ideas held by adult audiences, frequently shaped by a normative outlook that connected disabilities with shortcomings or inadequacies. In response, the ensemble acknowledged the imperative to alter the perception of disabilities from an early stage, aiming to challenge these entrenched viewpoints. Following this, Teatr 21 engaged in endeavours focused on Jewish holidays and subsequently created a theatre series spanning four episodes. The ensemble’s composition broadened to encompass supplementary artists, including playwrights, set designers, actors, marketing experts, choreographers, and performers. The Centre for Integrative Art was founded in collaboration with Teatr 21 and the Biennale Warsaw. The initiative constitutes an integrative, cross-institutional, and global undertaking with the purpose of advancing social integration within the realms of art, culture, and science. During its inaugural season, the centre delved into social mechanisms linked to disabilities, representations in art, medicine, and science, as well as exclusionary mechanisms and political tactics employed in the management of individuals with disabilities. The program encompassed discussions on disability studies, workshops catering to individuals with and without disabilities, and the publication of “Disability and Society.” In June 2019, Teatr 21 received funding for the “Crossing the Line” project, a collaborative effort involving theatres from the European Union. This marked a significant milestone for the group. Between 2019-20, Teatr 21 collaborated with the Zachęta - National Gallery of Art to display their stage arrangements and props as part of Robert Rumas’ exhibition titled “Change of Setting - Polish Theatre and Social Setting of the 20th and 21st Century,” which explored visuality and visibility themes. During its second season, the centre concentrated on matters of perception, particularly centred around the actions and aesthetics of visual observation. This season also delved into cultural taboos associated with how disabilities are perceived within the cultural context. This approach engaged observers in reflection and action. During the Covid-19 pandemic, Teatr 21 produced two online shows, Survival Strategies and Exit.

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    Authors: Dario Rodighiero; Eveline Wandl-Vogt; Elian Carsenat; Jules Döring; +3 Authors

    Abstract The datafication process transforming society enables us to witness the pandemic from a global perspective. This article provides an example of immersive architecture in which coronavirus-related scientific literature was revealed during Ars Electronica 2021. Like a starry sky, a network visualization representing more than 600,000 articles was showcased in the Deep Space 8K theater, where spectators were accompanied in reading insights. The case study of 3D Cartography of COVID-19 illustrates a novel way to present data in public spaces to foster conversations and reflects on how visual data literacy can be addressed in museums.

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    Information Design Journal
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    Authors: Zuanni, Chiara;

    This paper draws on a survey of contemporary collecting projects aiming to document the COVID-19 pandemic in museums and other memory organizations. The survey focused on European memory organizations and investigated the practices they adopted in collecting, accessioning, recording, preserving, and displaying material and immaterial witnesses of the pandemic. This paper presents the results of the survey, with a particular attention on the challenges faced by these projects in relation to born-digital objects. It discusses how organizations were able to quickly launch initiatives aimed at collecting memories of the pandemic, drawing on different collection methods, adapting to the circumstances, and using a proactive attitude to reach out to different communities. The paper highlights the solutions adopted to ensure legal compliance in these projects and discusses the need for ethical considerations in relation to the collection of traumatic memories. It suggests that these collecting projects are likely to face significant challenges in the subsequent processing of this material—due to its volume and the need for new digital curation and preservation workflows. Therefore, the paper argues that these projects could also lead to a renewed attention and collaboration across the heritage sector on issues of digital curation and preservation.

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      Other literature type . Article . 2022 . Peer-reviewed
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    Authors: Pold, Søren;

    According to the project application, the project plan is to 1) collect, organize and map the material into genres and approaches and 2) supplement with in-depth interviews in order to produce a) a publicly available research collection at the ELMCIP Knowledge Base, b) an online exhibition and c) a critical research study.

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    Authors: Magdalena Chudy; Ewa Kuśmierek; Tomasz Parkoła; Ewa Łukasik;

    Research report for FolkArtiNet - project supported by the DARIAH ERIC in the framework of the DARIAH Theme 2020 on ‘Arts Exchanges’ and ‘Arts, Humanities and COVID-19’.

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    Authors: Pirrone, M; Centorrino, M; Galletta, A; Sicari, C; +1 Authors

    AbstractIn recent times, Digital Humanities (DH), together with the discoveries of Information and Communications Technology, have enabled the rediscovery and usability of cultural content with the support of various technologies. However, it was found that not everyone is able to access web platforms or visit cultural sites easily. In particular, the epidemiological Covid-19 crisis has highlighted the retrograde state of culture in terms of accessibility and usability, conditioned by the physical and web browsing limitations that for years weighed on people with disabilities. Therefore, it was decided to investigate how DH might support the cultural accessibility of people with disabilities. In particular, it was decided to carry out a systematic review of the cultural innovations of DH together with a survey on disability and supporting technologies in order to present how to improve the quality of the cultural experience of such a target. This study proceeded with the research and selection of literature on the subject of DH and disability, with the selection, analysis, and correlation of the scientific works included. The reference time frame includes the works produced between 2018 and 2022 consulted on main databases such as Scopus and Web of Science (WoS), screened using the Preferred Reporting Items for Systematic reviews and Meta-Analyses Statement.

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    Authors: Chiara Zuanni;

    This paper will present the project “Contemporary collecting and COVID-19: barriers, bottlenecks, and perspectives in digital curation”, funded by a DARIAH Theme grant (2020-2021), and its results. During 2020 and 2021, there has been a notable number of projects aiming to document the COVID-19 pandemic, and consequently an increased attention to the themes and challenges of contemporary collecting and born-digital collections. The project presented in this paper aimed first to survey these projects; secondly, to research practices in relation to the data management and public dissemination of such collections; and thirdly, to foster dialogue across research and memory organisations interested in collecting memories and witnesses of the pandemic. This paper will summarise the main findings, especially in relation to storytelling.

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