Enfatizando o processo
documentação e presença na performance audiovisual
DOI:
https://doi.org/10.11606/issn.2316-7114.sig.2019.148819Keywords:
live, presence, document, technology, processAbstract
In response to the concept of an artistic project, technology has a double role: it hides the performer behind the computer and extends the possibilities by representing him/her. This article analyzes the presence and process in live audiovisual performances, from the perspective of an artistresearcher. Based on my experience, I play with possibilities related to presence, process and documentation. The understanding of audiovisual performance as a processual practice expands documentation beyond the promotional videos and their dissemination via social networks to comprehend other documents, other forms of reaching interested audiences. Different forms of experiencing a performance coexist: the fruition of an event or document includes the study of a performance focused on how it is created and how it is presented. Furthermore, digital platforms play an important role on these practices, gathering and archiving documents related to performing-artists, making them accessible to a multitude of points of view.
Downloads
References
AMERIKA, M. META/DATA – a digital poetics. Massachusetts: The MIT Press, 2009.
ARMSTRONG, E.; ROTHFUSS, J. (org.). In the spirit of fluxus. Minneapolis: Walker Art Center, 1993.
AUSLANDER, P. Liveness: performance in a mediatized culture. New York: Routledge, 2008.
BÉNICHOU, A. (ed.). Ouvrir le document : enjeux et pratiques de la documentation dans les arts visuels contemporains. Dijon: Les Presses du Réel, 2010.
CARVALHO, A. “Live audiovisual performance”. In: CARVALHO, A.; LUND, C. (ed.). The audiovisual breakthrough. Berlin: Fluctuating Images, 2015. p. 129-141.
DAVIES, D. Philosophy of the Performing Arts. London: Wiley-Blackwell, 2011.
DIETER, D.; NAUMANN, S. (ed.). See this sound: audiovisuology compendium 2 – essays. Cologne: Waltther Konig, 2011.
GOLDENBERG, R. Performance Art: do futurismo ao presente. Lisboa: Orfeu Negro, 2007.
LEIGHTON, T. (ed.). Art and the moving image: a critical reader. London: Tate Publishing, 2008.
LUND, C.; LUND, H. (ed.). Audio.Visual: on visual music and related media. Stuttgart: Arnoldsche Art Publishers, 2009.
MAKELA, M. The practice of live cinema. Master Thesis ¬– Helsinki University of Art and Design, Helsinki, 2006. Disponível em: http://www.miamakela.net/TEXT/text_PracticeOfLiveCinema.pdf. Acesso em: 06 jun. 2019.
PHELAN, P. Unmarked: the politics of performance. London; New York: Routledge, 1996.
SALTER, C. Entangled: technology and the transformation of performance. Massachusetts: MIT Press, 2010.
VJ THEORY (ed.). VJam Theory: collective writings on realtime visual performance. Falmouth: Realtime Books, 2008.
WHITE, D. Expanded cinema: art, performance, film. London: Tate Publishing, 2011.
Downloads
Published
Issue
Section
License
Copyright (c) 2019 Ana Carvalho
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Authors who publish in this journal must agree with the following terms:
- Authors keep their copyrights and grant the journal first time publication rights, having their articles simultaneously licensed under the Creative Commons Attribution License, which allows sharing texts with authorship recognition and first publication on this journal for non-commercial purposes.
- Authors are allowed to make additional contracts, for a non-exclusive distribution of the article’s version published on this journal (e.g.: publishing in institutional repositories of articles or as a book chapter), with authorship recognition and first publication on this journal.
