Differentiating (an)notation practices: an artist-scholar’s observation

Abstract

ABSTRACT Video annotation is an emergent practice and not (yet) a common method in dance studies or research. Subsequently, there are limited accounts that detail the practice of using annotation in dance but those that are available point to how annotation serves diverse and particular purposes. However, a common understanding of what annotation is does not theoretically cohere. Furthermore, the tendency to use the terms annotation and notation synonymously conflates these practices and risks overlooking the significant contributions of each. In discussing my experience, reflections, and observations of working with four different approaches to annotation I offer an understanding of what it offers in analysing and transmitting ideas about dance from an artist-scholar's perspective. Crucially, drawing from Bernard Stiegler's philosophy of technology, I position annotations as technical memories created in dialogue with existing mnemotechnical forms, or technical objects. Such characterisation illuminates how annotation helps to overcome limitations of documentary forms and highlight information otherwise missing or previously unnoticed. To further emphasise annotation as a method of amplification I compare my experience of annotation and of Labanotation to highlight the similarities and differences between these distinctive methodological tools. While the examples primarily focus on dance the insight developed in this article is valuable for other fields working with time-based media.