These were the statements regarding the question of documentation from today’s session:
- performance’s life is in the present. Its ontology (nature) – and perhaps strength – is expressed through disappearance (Phelan 1993).
- ways of knowing and experiences are deeply embodied in the liveness of the performance events themselves
- we are responsible for communication and preservation (Rye, 2003)
- the unrecorded has no value (objects of knowledge, economies of reproduction) (McQuire, 1998)
- there is no such thing as pure “live” performance, and liveness is only a *thing* because recording technologies came into being (Auslander, 1999)
thinking about the original
- the term documentation can assume simplistic relationship to the original
- that live performance is real, original or true, and documentation is a poor cousin
- what if the temporal relationship between performance and documentation is not as simple or obvious as you might imagine?
- what if documentation’s primary role is no longer preservation?
some key things to consider (or takeaway?)
- if the terms of documenting practice (or performance) are open, then how does writing fit into the picture?
- basic project would have three key surfaces: artwork, traces of this artwork, written component
- this potentially falls into (not the worst) trap of everything serving the artwork
- single project with many surfaces
- the nature of the relationship(s) between these surfaces to reveal your understanding in relation to the work of others
- juggling the poetic with the discursive
- skeptical attitude towards reflection (it’s critical)
- consider our practices as comprising materials and traces (and indeed how these overlap or may even be synonymous)
- what is the nature of our materials-traces?
questions for personal reflection
- what are the materials-traces of your practice(s)?
- what kinds of relationships exist between them?
- what ideas might they be serving other than your practice?
- what kinds of writing might make sense with these materials-traces?
- how might they change or help evolve your practice?
- what is missing?
- what are others doing that you might steal?
- what is un/necessary?
- what is most/least clear?
- who else has handled or developed similar materials-traces?
- what becomes available to you?
- how do these *other* materials-traces function? What if they are not other? How is a singular proposition, work or iteration emerging from my practice?
- how might we understand *loss* and *gain* in relation to traces, documentation, liveness and originality?