This is an essay about the connections between the passage of time and the condition of archaeological knowledge. It revisits Tim Ingold’s 1993 paper The Temporality of the Landscape, considering its relationship with the phenomenological and interpretive archaeologies of the 1990s and what we learn from it today. Engaged not so much in an ‘ontological turn’ as in a kind of archival return, the essay compares Ingold’s discussion of Breugel’s painting The Harvesters (1565) with an archaeological photograph from 1993. A discussion of the after-effects of performance follows, and four theses about temporality, landscape, modernity and revisiting are put forward: i) The passage of time transforms archaeological knowledge; ii) Archaeological knowledge transforms the passage of time; iii) An archaeological landscape is an object that is known through remapping; iv) Archaeological knowledge is what we leave behind. The essay concludes that that archaeology is not the study of the temporality of the landscape, as Ingold had argued, but the study of the temporality of the landscape revisited

https://www.tandfonline.com/doi/pdf/10.1080/00293652.2016.1151458

The Temporality of the Landscape Revisited

SATURN’S ARK: THE IMPROVISED ARCHIVES, POLITICS, AND PERFORMANCES OF SUN RA Brian J. Lefresne Advisor: University of Guelph, 2018 Professor Ajay Heble This dissertation examines the relationship between Black experimental performer Sun Ra (and his ensemble known as the Arkestra) and the archives of Black expressive culture. The archive, both conceptually and physically, provides a theoretical approach to understanding the cultural and social influences present in the musical performances, social practices, and politics of Ra and the Arkestra. In Chapter One, I detail how Ra’s elaborate concert spectacles known as “myth-rituals” should be understood as an act of archival preservation and intervention. Within these concerts Ra was able to maintain traditions of Black sacred and secular performance cultures that provided a performative grammar to ward off the commodification of jazz and other improvised musics within formal settings. In the second chapter, I shift my attention towards Ra and the Arkestra’s clothing and fashion. I argue that these sartorial choices may be seen as an “alternative archive.” The materiality and style of Ra and the Arkestra’s clothing function as an archival repository that captures the heterogeneity of, and often competing, discourses around Black visual and embodied identity politics of early 1970s America. Moreover, I suggest that Ra and the Arkestra’s dress is in dialogue with Black diasporic traditions of dandyism and tricksterism. The final chapter shifts towards the historical moment of the Space Race. In this chapter I suggest that Ra’s sounds, words, and visual identity from the years 1969-1972 must be seen as part of a wider movement of Black diasporic cultural actors whose works form what I call the Black counter-archive of the Space Race. I contend that Ra and his contemporaries produced cultural artefacts that can be positioned as part of an archival repository that critiques the mainly American and wholly white archive of humanpowered space travel and exploration. In my conclusion, I examine how Ra’s persona and his performance practices (in tandem with the Arkestra) confound conventional approaches to archives and archiving. This discussion is followed by a brief coda where I explore the ways in which the practice of engaging in archival research might itself be seen as an improvisatory act.

Saturn's Ark: The Improvised Archives, Politics, and Performances of Sun Ra

Regulations in urban governance stipulate that large amounts of urban data be made available to the public with the intention of informing and enhancing decision making by businesses and citizens. Yet, the Planning and Building Permit Archive for the City of Oslo as one such source of data, only enables pinhole access by the public, denying public dissemination of planning and urban development issues beyond individual building and planning cases. Based on a set of experiments by the designer Even Westvang in a project called SeePlan, the article discusses how visualizing data from the Planning and Building Permit Archive may extend the available repertoire for the public to participate in urban planning.

/pdf/exploring-urban-data-visualization-and-public-participation-yl5bk47v0s.pdf

Exploring urban data visualization and public participation in planning

From the combination of knowledge and actions, someone can improve their skill and ability. It will lead them to live and work much better. This is why, the students, workers, or even employers should have reading habit for books. Any book will give certain knowledge to take all benefits. This is what this the beat goes on tells you. It will add more knowledge of you to life and work better. Try it and prove it.

The beat goes on.

Disruption is a phenomenon that has gained the attention of a broad and diverse range of academic disciplines. Building on this work we propose that disruptions are by no means solely destructive but rather have productive consequences. We aim to establish disruption as a starting point for the analysis of formulas of societal self-description. In this, epistemological and aesthetic aspects of disturbances will be focused since these moments of interruption or loss of order evoke efforts of theoretical or practical consolidation of the social sphere. After discussing the history of ex-perimentalization of the life sciences, we point out how art can be understood as an experimental system that integrates and explores the function of disruption. Second, the relationship between factual and fictional knowledge and how both impact on society through the fabrication of different worlds are to be questioned. Finally, we will argue that art such as literature, film, modern theatre, or performances use disruptions as a tool, with which the perception of the past, present and future and of the society itself can be shaped. They achieve this by employing powerfully repercussive narratives that construct political and socio-cultural coherence through the symbolic re-integration of imaginary or real disruptive incidents.

/pdf/asthetische-experimente-zur-ereignishaf-igkeit-und-funktion-4tbr5dbi7l.pdf

Ästhetische Experimente. Zur Ereignishaf igkeit und Funktion von Störungen in den Künsten

"Performing Archives/Archives of Performance contributes to the ongoing critical discussions of performance and its disappearance, of the ephemeral and its reproduction, of archives and mediatized recordings of liveness. The many contributions by excellent scholars and artists from a broad range of interdisciplinary fields as well as from various locations in research geographies demonstrate that despite the extensive discourse on the relationship between performance and the archive, inquiry into the productive tensions between ephemerality and permanence is by no means outdated or exhausted. New ways of understanding archives, history, and memory emerge and address theories of enactment and intervention, while concepts of performance constantly proliferate and enable a critical focus on archival residue. Covering philosophical inquiries as well as discussions of specific artworks, performances, and archives, the contributions to the field of performance studies and one of its central concern: performance and its disappearance and reproduction" -- p. [4] of cover.

Performing Archives/Archives of Performance

Archiving legacies: Who cares for performance remains?

Roms, H., Edwards, R. (2012). Towards a Prehistory of Live Art in the UK. Contemporary Theatre Review, 22 (1), 17-31. Special Issue: Live Art in the UK (issue editor: Dominic Johnson)

Towards a Prehistory of Live Art in the UK

Oral history’s multifaceted connection with place, this chapter proposes, comes into sharper view when we look at it through the optic of performance. Oral history, place, and performance maintain a dynamic connection with each other that is mutually illuminating. This essay considers some implications of this connection by drawing on the example of our current research project, funded by the United Kingdom’s Arts and Humanities Research Council, which has made extensive use of oral history in an attempt to engage with the history of performance practice in a particular local context. Under the title “‘It Was Forty Years Ago Today… ’: Locating the Early History of Performance Art in Wales 1965–1979”1 the project—for which, as the title implies, questions of place are of major significance-has employed different approaches to the placing of its oral history conversations: these include conversations staged in public, in-situ interviews, and installations that aim to locate audiences’ memories. Underlying all three approaches is the proposition that oral history interviews can be regarded as instances of located performance, or even site-specific performance. We will argue that to foreground the performative dimension of an oral history conversation in this manner directs our attention more closely to the influence that its location exerts on the construction of its narrative. The ways in which artists have made use of performance’s material bond with its setting can hereby serve as models for developing new ways of locating oral history conversations. And these new ways may help to create an oral history that, by being responsive to the sites where it takes place, offers in turn new insights into the contextual nature of performance.

Oral History as Site-Specific Practice: Locating the History of Performance Art in Wales

A major European exhibition in celebration of the fiftieth anniversary of Fluxus. Akademie der Kunste, Hanseatenweg, Berlin, 13 July - 12 August 2012 University of Arts in Poznan, 9 - 28 October 2012 MOCAK museum of contemporary art, Krakow , 19 October - 28 January 2013 Nikolaj Kunsthal, Copenhagen, 2 November - 22 December 2012 CAC Contemporary Art Centre, Vilnius, 23 November 2012 - 13 January 2013 Goethe-Institut Paris, 5 December 2012 - 10 January 2013 [Heike Roms: Co-curator. Member of Board of Art Historians]

The lunatics are on the loose... European Fluxus Festivals 1962-1977 (Exhibitions, Conferences, Actions, Publications)

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