Abstract
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.KeywordsLive PerformanceOriginal EmphasisCyclic RepetitionDigital PerformanceInstallation WorkThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.
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