more reading re documentation, performance ontology, liveness, possibilities and responsibilities

  • Reason, Matthew. 2006. Documentation, Disappearance and the Representation of Live Performance. Palgrave Macmillan.
  • Bottoms, Stephen J, and Matthew Goulish. 2007. Small Acts of Repair: Performance, Ecology, and Goat Island. London: Routledge.
  • Etchells, Tim. 1999. Certain Fragments: Contemporary Performance and Forced Entertainment. London: Routledge.
  • Phelan, Peggy. 1993. Unmarked. London: Routledge.
  • Auslander, Philip. 1999. Liveness: Performance in a Mediatized Culture. London: Routledge.
  • Heathfield, Adrian. 2012. “Then Again.” In Perform, Repeat, Record, 27–35. London: Intellect Books.
  • Freeman, John. 2003. Tracing the Footprints. Lanham, MA: University Press of America.
  • Piccini, Angela, and Caroline Rye. 2009. “Of Fevered Archives and the Quest for Total Documentation.” In Practice-as-Research in Performance and Screen, edited by Ludivine Allegue, Simon Jones, Baz Kershaw, and Angela Piccini, 34–49. London: Palgrave MacMillan.
  • Kunst, B. (2012) ‘The Project Horizon: On the Temporality of Making’
  • Rye, C. (2003). Incorporating practice: A multi-viewpoint approach to performance documentation. Journal of Media Practice, 3(2), 115-123.
  • Ingold, T (2013). Making: Anthropology, Archaeology. Art and Architecture. London: Routledge.
  • Heathfield, Adrian, and Tehching Hsieh. 2009. Out of Now. London: Live Art Development Agency.

Husemann, Hay, process and practice

Just thinking a little bit about process and outcomes:

Their aim is not to repeatedly improve a work until it has reached its final state and to defend an unfinished work against possible critique. On the contrary, these projects call for thinking in different categories, which does not focus on the aesthetics of a full-length evening programme, but which considers the working process as an integral part or even as the essence of the performance.

— Pirkko Husemann, The Absent Presence of Artistic Working Processes. The Lecture as Format of Performance. Here it is instead: f14_husemann_engl

And these were Deborah Hay’s precise words:

what I am learning is that my choreography is 90 percent the practice