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008 190904s2018 xxua|||| |||||0|| 0 eng|c
020 _a9781138184145
035 _a(ES-BaCBU).b73284476
040 _aES-BaMCB
_bcat
_erda
_cES-BaMCB
080 _a06
080 _a930.25:7.038(Per)
245 0 0 _aHistories of performance documentation :
_bmuseum, artistic, and scholarly practices /
_cedited by Gabriella Giannachi and Jonah Westerman
246 3 _aMuseum, artistic, and scholarly practices
250 _aFirst edition
264 1 _aNew Yok :
_bRoutledge,
_c[2018]
300 _a207 pàgines :
_bil·lustracions en blanc i negre ;
_c24 cm
336 _atext
_btxt
_2rdacontent
337 _asense mediació
_bn
_2rdamedia
338 _avolum
_bnc
_2rdacarrier
500 _aÍndex
504 _aInclou referències bibliogràfiques
505 8 _aConté: Introduction: practical histories: how we do things with performance. PART I: Interviews : Chapter 1: Museum of Modern Art, New York -- Chapter 2: Whitney Museum of American Art, New York -- Chapter 3: Tate, London / Catherine Wood and Pip Laurenson, in conversation with Jonah Westerman, June 2016 -- Chapter 4: San Francisco Museum of Modern Art -- Chapter 5: Van Abbemuseum, Eindhoven -- Chapter 6: The Kitchen, New York -- Chapter 7: Walker Art Center, Minneapolis -- Chapter 8: Performa, New York -- Chapter 9: LIMA, Amsterdam -- Chapter 10: Pics or it didn't happenInterview. PART II: Essays -- Chapter 11: Performing the archive and exhibiting the ephemeral -- Chapter 12: At the edge of the 'living present': re-enactments and re-interpretations as strategies for the preservation of performance and new media art -- Chapter 13: Documenting interaction Challenges of documenting interaction From video recordings to documentary collections Rokeby's Very Nervous SystemT mema's Manual Input Workstation --Chapter 14: Screen capture and replay: documenting gameplay as performance Perfect capture Replay history A performance capture tool -- Chapter 15: Mixed reality performance through ethnography [includes: If Tate Modern was Musée de la Danse?] Ethnography and systems design Design ethnography in the context of artistic engagements – Conclusion -- Afterword: the intention of the artist and the point of view of the audience: performance documentation revisited -- Index
520 _a"How might we document, curate, collect, and exhibit performance?Histories of Performance Documentation traces the many ways in which museums have approached performance works from the 1960s onwards. Considering the unique challenges of documenting live events including hybrid and interactive arts, games, virtual and mixed reality performance, this collection investigates the burgeoning role of the performative in museum displays, and examines a number of interdisciplinary documentation practices which have influenced the field of performance documentation. Gabriella Giannachi and Jonah Westerman bring together interviews and essays by leading curators, conservators, artists and scholars from institutions including MoMA, Tate, SFMOMA and the Whitney. Developing from recent approaches which argue that discussions of performance should not focus purely on the live event, and that documentation should not be read solely as a process of retrospection, these chapters build a radical new framework for thinking about the relationship between performance and its documentation - and how documentation might shape ideas of what constitutes performance in the first place."-- Contracoberta
650 7 _aPerformance (Art)
_2
_957517
650 7 _aMuseologia
_2lemac
_957331
650 0 _aMuseus
_xArxius
_2lemac
_9160091
650 0 _aArxius
_2lemac
_9160092
700 _aGiannachi, Gabriella
_eeditor literari
_9112633
700 1 _aWesterman, Jonah
_eeditor literari
_9160093
907 _a.b73284476
_b18-12-20
_c04-09-19
_d04-09-19
_em
_fa
_g-
_heng
_ixxu
_j0
_k1
908 _aMACBA
_aCDMAE
940 _aMACBA
942 _2udc
_c1
999 _c133456
_d133456