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(2015) Performance and temporalisation, Dordrecht, Springer.
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.
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Full citation:
Sone, Y. (2015)., Cyclic repetition and transferred temporalities, in S. Grant, J. Mcneilly-Renaudie & M. Veerapen (eds.), Performance and temporalisation, Dordrecht, Springer, pp. 190-202.
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