Cyclic repetition and transferred temporalities
pp. 190-202
in: Stuart Grant, Jodie McNeilly-Renaudie, Maeva Veerapen (eds), Performance and temporalisation, Berlin, Springer, 2015Abstract
This chapter raises questions about mediated presence within performance studies, based on a research project's nexus of theoretical investigations and practical exploration. I will elucidate the theoretical underpinnings for my video installation project, Cadences.1 The exhibition project recomposed separate art components — video footage of two different dancers (Ros Crisp and Dean Walsh, performing for a video camera), recorded vocal performance (Ruark Lewis's reading of a poem by Nathaniel Tarn), and digital images of an installation work (Ruark Lewis's public art work) — in a new context, a video installation. The installation aimed to suggest a new way of conceiving artistic interdisciplinarity, focusing on the transference of live performance to mediated forms and the particular temporal and textural repetitiveness of video installation. It aimed to generate a tension between video and dance, between sound art and oral poetry, and between animation and digital photography.