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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Tomasz Umerle;

    Controlled vocabularies prove useful for improving the quality of topical keywords describing SSH publications. This presentation deals with the challenge of improving the quality of keywords which are expressed in the form of strings (keywords-strings). Experiences from Dariah.lab project (lab.dariah.pl) and TRIPLE project show that these keywords-strings on many occasions originate from controlled vocabularies if they were applied by institutional actors (e.g. data officers in digital libraries) and hence can be easily enriched with references to controlled vocabularies. On the other hand, keywords-strings from authors are less frequently originating from these kinds of resources. This presentation outlines automated and semi-automated methods for enriching both types of keywords-strings with references to controlled vocabularies.

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    ZENODO
    Other literature type . 2023
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    Presentation . 2023
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ ZENODOarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      ZENODO
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Presentation . 2023
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Daems, Joke; Chambers, Sally; Verbruggen, Christophe; Zere, Tecle;

    International audience; The digital text platform is part of the Flemish contribution to DARIAH Belgium (DARIAH = Digital Research Infrastructure for the Arts and Humanities). The goal is to create a platform for the collaborative management and discovery of digitised textual collections that allows digital humanities researchers to prepare their corpora (consisting of, for example, digitised newspapers and books) for textual analysis. The platform will enable researchers to browse and search the digitised collections compiled, cleaned, enriched and managed by the researchers themselves. Once the relevant research sub-corpus has been compiled, data export tools, using standardised open formats (such as XML, JSON, .csv, .txt, etc.) will enable researchers to export sub-corpus for analysis with existing digital text analysis tools such as MALLET, (http://mallet.cs.umass.edu/topics.php) for topic modelling, VOYANT (http://voyant-tools.org) for data visualisation or AntConC (http://www.laurenceanthony.net/software/antconc/) for concordance and textual analysis.The platform has been conceived as part of a larger and modular virtual research environment service infrastructure (http://www.ghentcdh.ugent.be/projects/dariah-vl_vre.si). In a previous phase, possible frameworks and content management systems were tested, notably Islandora (a digital asset management system based on Fedora Commons and Drupal), but also Mediawiki and Omeka.One of the main challenges of the envisaged new platform is the possibility to integrate a wider variety of possible textual data streams (including a scan workflow). In addition, user-friendliness, scalability, adherence to standards and facilitating the interoperability of data are key issues to be addressed. The platform will build on the existing IIIF format, the International Image Interoperability Framework. This format is used by some of the most important libraries and cultural heritage institutions in the world, therefore providing access to enormous collections of digital objects. As the name suggests, IIIF is mainly focused on displaying and annotating images. However, we fully endorse the IIIF-community’s vision to develop an overarching interoperability framework for other data types, including all kinds of textual data. Benefits of the format include the interoperability, the ease of sharing images and annotations without the need to exchange files, and its support for multilingual data. In the months leading up to the conference, we will evaluate the existing IIIFpowered digital libraries and research projects and how they deal with practices of co-creation, data cleaning and enrichment of (structural) metadata. OCR improvement will become vital, as digital textual analysis can only be performed well on high-quality textual data. A related challenge will be combining the various input formats and converting them to different output formats required for analysis. In our poster, we will present a summary of our experiences with and technical assessment of our previous Islandora installation, in addition to our survey of the existing corpus management solutions. As a way of conclusion, we will introduce the envisioned new version of the platform.

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    Hyper Article en Ligne
    Other literature type . 2017
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  • Authors: Gius, Evelyn;

    International audience; CLARIN and DARIAH sustainability from the point of view of the DHd (Association Digital Humanities in the German speaking area)

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  • Authors: Hartmann, Gerd; Hummel, Nicole;

    Theater Thikwa is "Germany's most well-known theater where artists with and without disabilities unite to make a theater" (rbb Kulturradio). Thikwa presents performances, dance, text-based, and music theater in its own performance venues in Berlin and guest performances worldwide with no fear of experimentation. The foundation of Theater Thikwa is the Thikwa Werkstatt für Theater und Kunst, the Thikwa Workshop for Theater and Art. This is where the 44 members of the ensemble work. Theater Thikwa works predominantly with the personal characteristics of its performers and seeks out new forms of expression beyond the fixed definitions of genres. In doing so, it continuously works with external artists from the independent performing arts community. The story of Thikwa begins with the founding of the association Thikwa e.V. to support collaborative artistic work between people with disabilities and non-disabled artists. Initiated by Christine Vogt, critical founding members included Hanna Näter, Gerlinde Altenmüller, Matthias Maedebach, and friends and staff members of Werkheim Zehlendorf. Christine Vogt received the Förderpreis, or incentive award, of the Karl Hofer Gesellschaft for the Thikwa initiative. The first production by Theater Thikwa, Im Stehen sitzt es sich besser, unleashed an enormous public echo and spurred the current discussion about the "artistic abilities" of people with mental disabilities. Invitations for guest performances soon followed from all over the German-speaking world. The first four productions, created in 1993, were produced as recreational projects. Nearly all so-called disabled ensemble members worked full-time in traditional workshops for the differently abled. This circumstance soon caused the project to reach its limits due to factors of content and the doubled workload due to rehearsals, performances, and tours. This is why efforts toward professionalization began in 1994. Theaterwerkstatt Thikwa was founded in 1995 and has been operated ever since in cooperation with Nordberliner Werkgemeinschaft (NBW gGmbH), one of Berlin's most extensive workshops for the differently abled. From 1995 to 1997, Theaterwerkstatt Thikwa functioned as a temporary trial program. Financed by the German Federal Ministry of Health, it was the first pilot project in Germany that tried out the combination of the rehabilitation and education of people with so-called mental disabilities with forms of artistic expression. In the workshop, art was and continues to be produced all day, every day, 35 hours per week. As such, it distinguished itself from using artistic work as a supplementary offer to provide a respite from primarily repetitive tasks. Theaterwerkstatt Thikwa initially offered 12 workplaces for people with so-called disabilities. It has been operated as a cooperation between NBW and Theater Thikwa e.V. since 1997. To demonstrate the role of the artistic fields, it was renamed Thikwa Werkstatt für Theater und Kunst (Thikwa Workshop for Theater and Art) in 2010. Now employing 44 people with disabilities, Thikwa-Werkstatt is a shining example of a competence center for diverse art. The employees make up the ensemble of Theater Thikwa. The professionalization brought about by the comprehensive training provided by the theater workshop and the resulting research into the unique aesthetic and content-based possibilities of inclusive theatrical work soon bore fruit. The first production under these new conditions, Ein anderer Teil des Waldes (directed by Peter Baer), was invited to the 1996 Impulse Festival, Germany's most important forum for independent theater. Thikwa quickly established itself as a somewhat different but universally accepted player in Berlin's cultural community. As was the case since the beginning, all of the productions in the years that followed were performed in renowned venues, including Theater am Halleschen Ufer (today HAU 2), Sophiensaele, Podewil, and Akademie der Künste. Performing inclusive theater at established venues was innovative in the 1990s, and Thikwa thus functioned as a trailblazer for diversity. In 2005, the foundation board of Deutschen Klassenlotterie Berlin approved the application by English Theatre Berlin (ETB) and Thikwa e.V. to create a shared performance venue that was barrier-free for both artists and audience. Today's performance venue opened in 2008 in the Mühlenhaupthöfen and was Germany's first utterly barrier-free theater. Each year, Thikwa offers between 10 and 12 different productions, with 70 and 90 performances. The shared management of the venue with what is today the English Theatre Berlin | International Performing Arts Center (ETB | IPAC) emphasizes our commitment to diversity in all directions. Theater Thikwa has been an exceptional cultural ambassador for Germany for many years. This is seen not only by the foreign guest performances throughout the entire world and international workshops. From 2002 to 2004, Thikwa initiated, in cooperation with the Goethe-Institut, the establishment of an inclusive theater workshop in Tashkent, Uzbekistan. This project, realized by Christine Vogt and Gerd Hartmann, received the incentive award for cultural encounters from the Stiftung West-östliche Begegnungen, the Foundation for Encounters Between the West and East, in 2004. There is also a long-standing cooperation with Theaterstudio Kroog II in Moscow. The performance Entfernte Nähe (directed by Gerd Hartmann and Andrej Afonin) arose from this cooperation in 2012 and featured an utterly Russian ensemble. For the very first time in Russia, an inclusive ensemble consisting of professional, non-disabled actors and dancers, and artists with so-called disabilities performed together on the stage of a state-funded theater. The production received the Golden Mask, the most important Russian theater prize, 2014 as "best experimental production of the year." Theater Thikwa also has a particularly vibrant connection with Japan. A co-production with Taihen Performance Troupe for the Osaka Theater Festival was created in 2001. The four-part work-in-progress Thikwa plus Junkan Project was created and performed between 2009 and 2012 in Berlin and Japan. It was invited to the 2012 Kyoto Experimental Festival, amongst other invitations. The interest in the special abilities, ways of thinking, and forms of expression of the Thikwa performers has continued to increase in recent years. Correspondingly, there are now many cooperations with other independent groups such as, for example, Monster Truck (Dschingis Khan – 2012; 2014, Zugabe – 2019). Thikwa performers work as guests at major theaters such as Deutsches Theater Berlin, Grips-Theater, and Theater an der Parkaue. Directors invite them within the independent performing arts community to be part of their productions. In 2018, Thikwa received the renowned Martin-Linzer-Theatepreis for "outstanding performance by an ensemble in the German-speaking world" from the theater magazine Theater der Zeit, followed in 2019 by the Theaterpreis des Bundes, the German Federal Theater Prize, for "the outstanding evocation of societal diversity in the theater community with a simultaneous desire for artistic radicality." From 1993 to 2003, Christine Vogt, Gerlinde Altenmüller, and Matthias Maedebach were the co-artistic directors of Theater Thikwa. Gerlinde Altenmüller was the sole artistic director from 2004 until her death in May 2012. Since then, Gerd Hartmann and Nicole Hummel have shared the leadership of Theater Thikwa.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Van Der Eycken, Johan; Styven, Dorien; Gheldof, Tom; Depoortere, Rolande;

    This article shows that metadata plays a central role in our society and concludes that through collaborative work, it is possible to pool solutions and to establish relationships of cooperation, both at the level of practical tool development and with regard to sharing and creating knowledge and know-how. ispartof: ABB: Archives et Bibliothèques de Belgique - Archief- en Bibliotheekwezen in België vol:106 pages:135-144 status: published

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    Article . 2019
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    Other literature type . 2019
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      Article . 2019
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      Other literature type . 2019
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Illmayer, Klaus;

    SSH Open Marketplace (https://marketplace.sshopencloud.eu) acts as a place to get information on tools, services, training materials, publications, datasets, and workflows from the Social Sciences and Humanities domain. Users can propose to add new items or to extend the information about existing items. SSH Open Marketplace data model operates with dynamic fields that can be connected to vocabularies. The presentation gives information about the technical background of the integration of vocabularies and shares experiences with this approach. On the “SSH vocabs commons” project the used vocabularies of the SSH Open Marketplace are represented. Ideas on how to further develop the “SSH vocabs commons” project are discussed from the perspective of the SSH Open Marketplace.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ ZENODOarrow_drop_down
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    Presentation . 2023
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    Other literature type . 2023
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    This deliverable will list all commercial services available in any procurement frameworks tendered by GANT

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    Authors: Giraldo, Olga; Dessi, Danilo; Dietze, Stefan; Rebholz-Schuhmann, Dietrich; +1 Authors

    Research data is on its way to be recognized as a first-class citizen in research; however, and despite its importance for science, software still has a long way to go. Recent initiatives are paving the way, including FAIR for Research Software and Software Management Plans. A step further towards machine-actionability is adding a structured metadata layer. Here we discuss some metadata elements useful to represent software and integrate it into management plans, and how it could be of benefit for NFDI. These slides were presented at CoRDI Conference 2023 and the corresponding paper is available at https://doi.org/10.52825/cordi.v1i.279. The machine-actional SMP project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 101017536 and is part of the Research Data Alliance and European Open Science Cloud Future call 2022. NFDI4DataScience consortium is funded by the Deutsche Forschungsgemeinschaft DFG, project no.460234259.

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    ZENODO
    Presentation . 2023
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    Authors: Gürdal, Gültekin;

    17-18 Temmuz 2023 tarihlerinde EOSC Future projesi kapsmında İzmir Yüksek Teknoloji Enstitüsü Kütüphanesi ev sahipliğinde gerçekleştirilen Avrupa Açık Bilim Bulutu Eğitmen Eğitim Çalıştayı açılış konuşması.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Błaszczyńska, Marta; Melinščak Zlodi, Iva; Morka, Agata; Proudman, Vanessa; +1 Authors

    Given the dynamic rate of change in the OA books business models landscape, the OPERAS Open Access Business Models Special Interest Group launched a survey in 2021 to 1) improve our understanding of the scholarly publishing landscape and of the challenges that publishers face in the context of publishing OA monographs; and 2) to identify main trends (including opportunities and challenges) and the knowledge of collaborative funding and infrastructure models in OA publishing in Social Science and the Humanities. This white paper updates and expands an earlier version published in 2021, which presented the preliminary analysis of the findings. Despite a small sample of presses meaning that no strong trends ought to be discussed, several insights were drawn and should be considered important directions for the future. Key findings in the report have been grouped into three main areas: collaboration, funding, and support. The report found that, although not opposed to the idea, a majority of presses do not engage in collaboration, specifically collaborative models for shared infrastructure, mainly due to the lack of knowledge and information, or perceived lack of need. This indicates that, for OA books, we are still at the early stage of the adoption curve for collaborative shared infrastructure. In terms of funding, most publishers perceive themselves to be somewhat sustainable. For institutional publishers, parent organisations are crucial as providers of financial or non-monetary support of OA. In addition, most publishers stress the need to have more resources and rely on more than one funding source, including grants and subsidies. The report found that awareness-raising and targeted support and training could be used to engage the presses but further incentivisation may be required to encourage publishers to collaborate more widely. We believe that the insights from this white paper may be interesting to a number of projects, such as DIAMAS, OPERAS-PLUS, and Palomera and have presented areas for further research and more specific actionable points for these projects.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Tomasz Umerle;

    Controlled vocabularies prove useful for improving the quality of topical keywords describing SSH publications. This presentation deals with the challenge of improving the quality of keywords which are expressed in the form of strings (keywords-strings). Experiences from Dariah.lab project (lab.dariah.pl) and TRIPLE project show that these keywords-strings on many occasions originate from controlled vocabularies if they were applied by institutional actors (e.g. data officers in digital libraries) and hence can be easily enriched with references to controlled vocabularies. On the other hand, keywords-strings from authors are less frequently originating from these kinds of resources. This presentation outlines automated and semi-automated methods for enriching both types of keywords-strings with references to controlled vocabularies.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Daems, Joke; Chambers, Sally; Verbruggen, Christophe; Zere, Tecle;

    International audience; The digital text platform is part of the Flemish contribution to DARIAH Belgium (DARIAH = Digital Research Infrastructure for the Arts and Humanities). The goal is to create a platform for the collaborative management and discovery of digitised textual collections that allows digital humanities researchers to prepare their corpora (consisting of, for example, digitised newspapers and books) for textual analysis. The platform will enable researchers to browse and search the digitised collections compiled, cleaned, enriched and managed by the researchers themselves. Once the relevant research sub-corpus has been compiled, data export tools, using standardised open formats (such as XML, JSON, .csv, .txt, etc.) will enable researchers to export sub-corpus for analysis with existing digital text analysis tools such as MALLET, (http://mallet.cs.umass.edu/topics.php) for topic modelling, VOYANT (http://voyant-tools.org) for data visualisation or AntConC (http://www.laurenceanthony.net/software/antconc/) for concordance and textual analysis.The platform has been conceived as part of a larger and modular virtual research environment service infrastructure (http://www.ghentcdh.ugent.be/projects/dariah-vl_vre.si). In a previous phase, possible frameworks and content management systems were tested, notably Islandora (a digital asset management system based on Fedora Commons and Drupal), but also Mediawiki and Omeka.One of the main challenges of the envisaged new platform is the possibility to integrate a wider variety of possible textual data streams (including a scan workflow). In addition, user-friendliness, scalability, adherence to standards and facilitating the interoperability of data are key issues to be addressed. The platform will build on the existing IIIF format, the International Image Interoperability Framework. This format is used by some of the most important libraries and cultural heritage institutions in the world, therefore providing access to enormous collections of digital objects. As the name suggests, IIIF is mainly focused on displaying and annotating images. However, we fully endorse the IIIF-community’s vision to develop an overarching interoperability framework for other data types, including all kinds of textual data. Benefits of the format include the interoperability, the ease of sharing images and annotations without the need to exchange files, and its support for multilingual data. In the months leading up to the conference, we will evaluate the existing IIIFpowered digital libraries and research projects and how they deal with practices of co-creation, data cleaning and enrichment of (structural) metadata. OCR improvement will become vital, as digital textual analysis can only be performed well on high-quality textual data. A related challenge will be combining the various input formats and converting them to different output formats required for analysis. In our poster, we will present a summary of our experiences with and technical assessment of our previous Islandora installation, in addition to our survey of the existing corpus management solutions. As a way of conclusion, we will introduce the envisioned new version of the platform.

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    Other literature type . 2017
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  • Authors: Gius, Evelyn;

    International audience; CLARIN and DARIAH sustainability from the point of view of the DHd (Association Digital Humanities in the German speaking area)

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  • Authors: Hartmann, Gerd; Hummel, Nicole;

    Theater Thikwa is "Germany's most well-known theater where artists with and without disabilities unite to make a theater" (rbb Kulturradio). Thikwa presents performances, dance, text-based, and music theater in its own performance venues in Berlin and guest performances worldwide with no fear of experimentation. The foundation of Theater Thikwa is the Thikwa Werkstatt für Theater und Kunst, the Thikwa Workshop for Theater and Art. This is where the 44 members of the ensemble work. Theater Thikwa works predominantly with the personal characteristics of its performers and seeks out new forms of expression beyond the fixed definitions of genres. In doing so, it continuously works with external artists from the independent performing arts community. The story of Thikwa begins with the founding of the association Thikwa e.V. to support collaborative artistic work between people with disabilities and non-disabled artists. Initiated by Christine Vogt, critical founding members included Hanna Näter, Gerlinde Altenmüller, Matthias Maedebach, and friends and staff members of Werkheim Zehlendorf. Christine Vogt received the Förderpreis, or incentive award, of the Karl Hofer Gesellschaft for the Thikwa initiative. The first production by Theater Thikwa, Im Stehen sitzt es sich besser, unleashed an enormous public echo and spurred the current discussion about the "artistic abilities" of people with mental disabilities. Invitations for guest performances soon followed from all over the German-speaking world. The first four productions, created in 1993, were produced as recreational projects. Nearly all so-called disabled ensemble members worked full-time in traditional workshops for the differently abled. This circumstance soon caused the project to reach its limits due to factors of content and the doubled workload due to rehearsals, performances, and tours. This is why efforts toward professionalization began in 1994. Theaterwerkstatt Thikwa was founded in 1995 and has been operated ever since in cooperation with Nordberliner Werkgemeinschaft (NBW gGmbH), one of Berlin's most extensive workshops for the differently abled. From 1995 to 1997, Theaterwerkstatt Thikwa functioned as a temporary trial program. Financed by the German Federal Ministry of Health, it was the first pilot project in Germany that tried out the combination of the rehabilitation and education of people with so-called mental disabilities with forms of artistic expression. In the workshop, art was and continues to be produced all day, every day, 35 hours per week. As such, it distinguished itself from using artistic work as a supplementary offer to provide a respite from primarily repetitive tasks. Theaterwerkstatt Thikwa initially offered 12 workplaces for people with so-called disabilities. It has been operated as a cooperation between NBW and Theater Thikwa e.V. since 1997. To demonstrate the role of the artistic fields, it was renamed Thikwa Werkstatt für Theater und Kunst (Thikwa Workshop for Theater and Art) in 2010. Now employing 44 people with disabilities, Thikwa-Werkstatt is a shining example of a competence center for diverse art. The employees make up the ensemble of Theater Thikwa. The professionalization brought about by the comprehensive training provided by the theater workshop and the resulting research into the unique aesthetic and content-based possibilities of inclusive theatrical work soon bore fruit. The first production under these new conditions, Ein anderer Teil des Waldes (directed by Peter Baer), was invited to the 1996 Impulse Festival, Germany's most important forum for independent theater. Thikwa quickly established itself as a somewhat different but universally accepted player in Berlin's cultural community. As was the case since the beginning, all of the productions in the years that followed were performed in renowned venues, including Theater am Halleschen Ufer (today HAU 2), Sophiensaele, Podewil, and Akademie der Künste. Performing inclusive theater at established venues was innovative in the 1990s, and Thikwa thus functioned as a trailblazer for diversity. In 2005, the foundation board of Deutschen Klassenlotterie Berlin approved the application by English Theatre Berlin (ETB) and Thikwa e.V. to create a shared performance venue that was barrier-free for both artists and audience. Today's performance venue opened in 2008 in the Mühlenhaupthöfen and was Germany's first utterly barrier-free theater. Each year, Thikwa offers between 10 and 12 different productions, with 70 and 90 performances. The shared management of the venue with what is today the English Theatre Berlin | International Performing Arts Center (ETB | IPAC) emphasizes our commitment to diversity in all directions. Theater Thikwa has been an exceptional cultural ambassador for Germany for many years. This is seen not only by the foreign guest performances throughout the entire world and international workshops. From 2002 to 2004, Thikwa initiated, in cooperation with the Goethe-Institut, the establishment of an inclusive theater workshop in Tashkent, Uzbekistan. This project, realized by Christine Vogt and Gerd Hartmann, received the incentive award for cultural encounters from the Stiftung West-östliche Begegnungen, the Foundation for Encounters Between the West and East, in 2004. There is also a long-standing cooperation with Theaterstudio Kroog II in Moscow. The performance Entfernte Nähe (directed by Gerd Hartmann and Andrej Afonin) arose from this cooperation in 2012 and featured an utterly Russian ensemble. For the very first time in Russia, an inclusive ensemble consisting of professional, non-disabled actors and dancers, and artists with so-called disabilities performed together on the stage of a state-funded theater. The production received the Golden Mask, the most important Russian theater prize, 2014 as "best experimental production of the year." Theater Thikwa also has a particularly vibrant connection with Japan. A co-production with Taihen Performance Troupe for the Osaka Theater Festival was created in 2001. The four-part work-in-progress Thikwa plus Junkan Project was created and performed between 2009 and 2012 in Berlin and Japan. It was invited to the 2012 Kyoto Experimental Festival, amongst other invitations. The interest in the special abilities, ways of thinking, and forms of expression of the Thikwa performers has continued to increase in recent years. Correspondingly, there are now many cooperations with other independent groups such as, for example, Monster Truck (Dschingis Khan – 2012; 2014, Zugabe – 2019). Thikwa performers work as guests at major theaters such as Deutsches Theater Berlin, Grips-Theater, and Theater an der Parkaue. Directors invite them within the independent performing arts community to be part of their productions. In 2018, Thikwa received the renowned Martin-Linzer-Theatepreis for "outstanding performance by an ensemble in the German-speaking world" from the theater magazine Theater der Zeit, followed in 2019 by the Theaterpreis des Bundes, the German Federal Theater Prize, for "the outstanding evocation of societal diversity in the theater community with a simultaneous desire for artistic radicality." From 1993 to 2003, Christine Vogt, Gerlinde Altenmüller, and Matthias Maedebach were the co-artistic directors of Theater Thikwa. Gerlinde Altenmüller was the sole artistic director from 2004 until her death in May 2012. Since then, Gerd Hartmann and Nicole Hummel have shared the leadership of Theater Thikwa.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Van Der Eycken, Johan; Styven, Dorien; Gheldof, Tom; Depoortere, Rolande;

    This article shows that metadata plays a central role in our society and concludes that through collaborative work, it is possible to pool solutions and to establish relationships of cooperation, both at the level of practical tool development and with regard to sharing and creating knowledge and know-how. ispartof: ABB: Archives et Bibliothèques de Belgique - Archief- en Bibliotheekwezen in België vol:106 pages:135-144 status: published

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    Other literature type . 2019
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    Other literature type . 2019
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