Publication about the project which brought questions of archiving performance art to a broader public. In German and English.
The curator who founded MoMA’s video program recounts the artists and events that defined the medium.
An interview with women at the forefront of art and technology.
Liquid damage on publication.
On Harbourfront Centre 2014 World Stage Festival, Toronto.
Develops a three–part definition of xenofeminism grounded in the ideas of technomaterialism, anti–naturalism, and gender abolitionism.
The latest collaboration between Glenn Kaino and Derek DelGaudio, who work together as the conceptual performance art duo A.Bandit to make magical art.
Contributes to the ongoing critical discussions of performance and its disappearance, of the ephemeral and its reproduction, of archives and mediatised recordings of liveness.
Draws upon cognitive and affect theory to examine applications of contemporary performance practices in educational, social and community contexts. The writing is situated in the spaces between making and performance, exploring the processes of creating work defined variously as collaborative, participatory and socially engaged.
Authors offer ways to fight today’s pervasive digital surveillance — the collection of our data by governments, corporations, advertisers, and hackers. To the toolkit of privacy protecting techniques and projects, they propose adding obfuscation: the deliberate use of ambiguous, confusing, or misleading information to interfere with surveillance and data collection projects.
The first book to provide a collection of key writings about the process of documenting performance, focused not on questions of liveness or the artistic qualities of documents, but rather on the professional approaches to recovering, preserving and disseminating knowledge of live performance.
On the process and politics of live critical responses to a live stream of Forced Entertainment’s And on a Thousandth Night.
A live documentary made in collaboration with a group of young people, set on the streets of Manchester. To take part you go online and choose from 3 people's streams.
Examining the opportunities presented by the real-time generation of new, relatively unregulated content online, this publication evaluates the prominent role that new media has come to play in artistic practices – and social movements – in the Arab world today.
Part of the Study Room Guide on Live Art and Displacement (P3107).
This provocative event slips between testimony and reflection, emotion and medicine, flesh and technology to contemplate our abiding fascination with what lies under our skin.
The most provocative voices of the Digital Age grapple with the direction of digital technology and its concomitant issues, including virtual identities and their relationship to the physical self, the collision of commercial and community interests on the Net, the Net threat to intellectual property, and the merger of art, popular culture, and commerce in interactive media.
This publication draws together documentation of the event in the form of photographs, creative responses, first-hand accounts from performers and a feature length edit of the performance on accompanying DVD. Also included are critical and reflective essays on Katherine’s work to date by contributors Lois Keidan, Marcia Farquhar and Aaron Williamson. Publication with DVD (Audio Description option and subtitles).
The author reflects on the “Monica Ross: A Symposium” that took place at the British Library, London, on Friday 28 November 2014, in celebration of the institution’s acquisition of Ross’s digital archive.
Unlimited Theatre, Storythings and the Product Design Research Studio, University of Dundee – the team behind UNeditions – share their experiences of what makes co-design work.
Three parts documentation of performance questioning some of the tropes associated with contemporary women and the internet. Presented in the context of “Fem Fresh” (Sunday 8 June 2014), a collaboration between Queen Mary, University of London and the Live Art Development Agency, featuring presentations and dialogues on, about, and around feminism and age in Live Art.
A critical exploration of both the effects and affects that the Internet has had on contemporary artistic practices. Contributors: Ed Halter, Basel Abbas, Ruanne Abou-Rhame, Sophia Al-Maria, Sam Ashby, Jeremy Bailey, Stephanie Bailey, Erika Balsom, Zach Blas, James Bridle, Jennifer Chan, Tyler Coburn, Michael Connor, Model Court, Jesse Darling, Brian Droitcour, Constant Dullaart, Gene McHugh, Omar Kholeif, Lucia Pietroiusti, Jon Rafman, James Richards, Basak Senova, Jamin Shovlim, Brad Troemel.
Programme of the Wellcome Trust exhibition at the TwoTen Gallery and the Wellcome Building, London NW1, until 29 August 2003, celebrating the 50th anniversary of the discovery of the structure of DNA. Ten artists use visual, literary, and digital media to present fresh perspectives on the discovery and to show science as social history, science as passion.
This publication articulates the theoretical context for a ‘cyborg theatre,’ metaphorically integrating on-stage bodies with the technologized, digitized, or mediatized, to re-imagine subjectivity for a post-human age.
Examination of the artistic enterprises of the past decade that reclaim the use of lived time as a material in the creation of visual art.
Exploration of art from the position of the producer, who does not ask what it looks like or where it comes from, but why it exists in the first place.
‘Talking Heads’ are short presentations by artists to camera about their practice and approaches to making. The ‘Talking Heads’ films are part of the Agency’s ‘Documentation Bank’ Collection, which consists of an extensive range of artists’ ‘Talking Heads’ films, documentation of artists’ works and a selection of Agency projects: http://www.thisisliveart.co.uk/resources/collections/documentation-bank.
A comprehensive history of this remarkable organisation from its conception to the present.
Contributions from Gabriella Giannachi, Duncan Rowland, Steve Benford, Jonathan Foster, Matt Adams & Alan Chamberain
INTIMACY was a three-day digital and live art programme (7-9 December 2007, London) made to induce interaction and provoke debate, and enable the interrogation and creative exploration of formal, aesthetic and affective modes of performing intimacy. Workshop documentation (CD) of the performance-experiment devised and directed by Lauren Goode (see REF. D1160) including: a transcript of the of the workshop, still images, the discussion, and moving image documentation. This item is part of the Study Room Guide on One to One Performance by Rachel Zerihan (P1320)
A three-day digital and live art programme (7-9 December 2007, London) made to induce interaction and provoke debate, and enable the interrogation and creative exploration of formal, aesthetic and affective modes of performing intimacy. Workshop documentation of the performance-experiment devised and directed by Lauren Goode aimed to explore: visibility and invisibility of intimacy, possibility and impossibility of intimacy, conscious and non-conscious intimacy; public intimacy. This item is part of the Study Room Guide on One to One Performance by Rachel Zerihan (P1320)
INTIMACY was a three-day digital and live art programme (7-9 December 2007, London) made to induce interaction and provoke debate, and enable the interrogation and creative exploration of formal, aesthetic and affective modes of performing intimacy. Performances: 13 Volts and 1 Carrot by Eva Sjuve; Belonging by Avatar Body Collision; Concrete Corps by Atau Tanaka. This item is part of the Study Room Guide on One to One Performance by Rachel Zerihan (P1320)