Barthes,
Roland. (1977). Image Music Text. New York: Hill and Wang.
Birringer,
Johannes. (2000). Performance On The Edge: Transformations
of Culture. London: The Athlone Press.
+ documentation
of collective memory and physical interaction in book format.
as he initially states, his book could have easily become
a multimedia work. while the works themselves may be of
interest, in the context of my research they serve as case
studies of documented performances and installations
Booth,
Wayne C., Gregory G. Colomb & Joseph M. Williams (2003).
The Craft of Research. Chicago: The University of Chicago
Press.
Debord, Guy (1995). The Society of the Spectacle. New York:
Zone Books.
Depocas, Alain (2003).”Goals of the Variable Media
Network.” Permanence Through Change: The Variable
Media Approach. New York: Guggenheim Museum Publications.
+PDF document, downloadable from <http://variablemedia.net/e/introduction/>
Organization whose goals are to “develop and refine
the variable media paradigm's methodology, standards, tools,
and output for the preservation of artwork of an ephemeral
nature.”
describes the database used by the network, which can be
utilized and tested by affiliated member organizations.
(perhaps AVT could become a member and contribute to this
research)
Dixon, Steve. "Digits, Discourse, and Documentation:
Performance Research and Hypermedia". TDR: The Drama
Review, Vol 43, Number 1 (T161), Spring1999, pp 152 - 175.
<http://mitpress.mit.edu/catalog/item/default.asp?sid=5174011F-1128-4722-BCDF-A4905A977AAE&ttype=6&tid=2673>
+article available via MIT Press site for $20 fee.
Goldberg, RoseLee. (2001). Performance Art: From Futurism
to the Present. London: Thames & Hudson.
Goldberg,
RoseLee. (1998). Performance: Live Art Since 1960. New York:
Harry N. Abrams.
+ foreword
by Laurie Anderson. Refers to the myth and ephemerality
of live art. Initially, she believed that, as the work was
about time and memory, it should only live on in the memory
of the viewers. But to prevent its disappearance, live art
must be documented through film or audio recording, thus
becoming a new work, a new art form.
Hanhardt,
John G. (2003).”The Challenge of Variable Media.”
Permanence Through Change: The Variable Media Approach.
New York: Guggenheim Museum Publications.
+ considers the history of film and media arts as a critical
element to understanding modern visual culture. The museum
as critical and intellectual space is charged with the responsibility
of preservation and development of continued artistic practice.
Kaye, Nick. (2002). Site-specific Art: Performance, Place
and Documentation. London: Routledge.
McCarthy,
Kevin F., Elizabeth Heneghan Ondaatje. (2002). From Celluloid
to Cyberspace: The Media Arts and the Changing Arts World.
Santa Monica, CA: RAND.
+ regarding
the topic of "Emulation," McCarthy addresses the
difficulty posed by the impending obsolescence of formats,
equipment and software. Of particular concern is the equipment
used by the artist. Beyond preserving the material (film,
video, audio recording) how do we guarantee the future ability
to replay that media. (p.59)
Mirzoeff, Nicholas, ed (2002). The Visual Culture Reader.
London: Routledge.
Phelan, Peggy (1993). “The Ontology of Performance,”
Unmarked: The Politics of Performance. New York: Routledge.
Richter, Hans (1997). Dada: Art and Anti-art. New York:
Thames and Hudson.
Stooss, Toni and Thomas Kellein, eds (1993). Nam June Paik:
Video Time - Video Space. New York: Harry N. Abrams.
+ mostly dedicated to Paik's numerous video installations.
includes several interviews regarding his work.
Stringari, Carol (2003).”Beyond 'Conservative': The
Conservator's Role in Variable Media Preservation.”
Permanence Through Change: The Variable Media Approach.
New York: Guggenheim Museum Publications.
+ as the title suggest, the role of the conservator is described.
The role of the artist is also stressed as an integral part
of documentation. As an active participant, the artist can
minimize any significant alteration or misinterpretation
of the original intent.
Tarkovsky,
Andrey (1997). “Imprinted Time.” Sculpting in
Time: Reflections on the Cinema. New York: Alfred A. Knopf.
+ considers “time” as a cultural medium and
a necessary element for defining events, actions and human
memory. As “the present slips and vanishes like sand
between the fingers,” the past becomes more permanent,
a chronological and categorical reference to our experience.
Wallis, Brian, ed (1984). Art After Modernism: Rethinking
Representation. New York : New Museum of Contemporary Art.