Advertisement

Live Audiovisual Performance and Documentation

Chapter
  • 300 Downloads

Abstract

The document is situated between the ephemerality of the moment and the possibility of its fixity. Ephemerality is key to live audiovisual performance, which we define as ‘art-moment’. The term ‘live audiovisual performance describes an event of sound and image manipulation. Besides being ephemeral, events of live audiovisual performance share other common features, such as the use of technology for production and exhibition and the dynamic participation of performers and audience. Each performance is part of a continuum of time, marked by other performances and encounters, which together form the contemporary artistic context, thus contributing to future possibilities. To further describe the interrelation between the artists performances and other actions, we will look at concepts of time in the philosophy of Alfred North Whitehead. The chapter proposes a theoretical structure to define live audiovisual performance based on a series of relations rather than hierarchies. This structure will provide the basis for the consideration of a number of issues about documentation.

Keywords

Creative Process Community Gathering Performance Moment Artistic Expression Artistic Practice 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Bibliography

  1. Aether9 Collective (2009) Aether9 Communications: Proceedings, 3 (1). TK: Greyscale Editions.Google Scholar
  2. Bénichou, A. (ed.) (2010) Open the Document: Issues and Practices of Documentation in Contemporary Visual Arts. [Ouvrir le Document: Enjeux et Pratiques de la Documentation dans les Arts Visuels Contemporains]. Dijon: Les Presses du Réel.Google Scholar
  3. Borges, M. M. (2002) From Alexandria to Xanadu. [De Alexandria a Xanadu]. Coimbra: Quarteto Editora.Google Scholar
  4. Castells, M. and Cardoso, G. (eds.) (2006) The Network Society: From Knowledge to Policy. [A Sociedade em Rede: Do Conhecimento à Ação Política]. Lisboa: Fundação Calouste Gulbenkian.Google Scholar
  5. Cologni, E. (2005) Present-Memory: Liveness Versus Documentation and the Audience s Memory Archive in Performance Art. International Conference Consciousness, Literature and the Arts. Resolution: Global Cambridge Scholars Press. Available from: http://www.elenacologni.com/memory/CoscPaper.pdf [Accessed: 13 June 2014].Google Scholar
  6. Dieter, D. and Nauman, S. (eds.) (2010) See This Sound — Audiovisuology Compendium. Vienna: Ludwig Boltzmann Institute.Google Scholar
  7. Higgins, Dick and Higgins, Hannah. Intermedia. Leonardo, Vol. 34, 1, 2001, 49–54. MIT Press. Available from: https://muse.jhu.edu/journals/leonardo/v034/34.1higgins.html [Accessed: 25 September 2014].CrossRefGoogle Scholar
  8. Lund, C. and Lund, H. (eds.) (2011) Audio. Visual — On Visual Music and Related Media. Stuttgart: Arnoldshe Art Publishers.Google Scholar
  9. Makela, M. (2009) Live Cinema: Audiovisual Creation in Realtime [Live Cinema: Creación Audiovisual en Tiempo Real]. Aminima Magazine, (22), 4–7.Google Scholar
  10. Rodenbeck, J. (2010) Nearly-painting, Almost-ritual, Place — Alan Kaprow and Photography. [Presque-peinture, Quasi-rituel, Place — Alan Kaprow et la Photographie]. In: Bénichou, A (ed.) Ouvrir le Document: Enjeux et Pratiques de la Documentation dans les Arts Visuels Contemporains. Dijon: Les Presses du Réel.Google Scholar
  11. Smith, O. (1993) Fluxus: A Brief History. In: Armstrong, E. and Rothfuss, J. (eds.) The Spirit of Fluxus. Minneapolis, MN: Walker Art Center.Google Scholar
  12. Whitehead, A. N. [1861] (1994) The Concept of Nature [O Conceito de Natureza]. São Paulo, Martins Fontes.Google Scholar

Copyright information

© Ana Carvalho 2015

Authors and Affiliations

There are no affiliations available

Personalised recommendations