This indeed sounds fascinating; is this the Exposing Performance exhibition I sadly missed (jumped the Channel just a bit too late!)?
Glad to see the links with the Cinematheque and with Lista. Any plans for developing this kind of work would hugely interest me. I think it's really important for this early work to be rescusitated as a conceptual backdrop for current reflection on media and live art. I guess that's why you mentioned Loie Fuller in the first place Adrian...
It's good to hear/ read Michelle Teran referring to Kaprow in current Empyre exchanges (sorry to keep referring to this list but it's interesting reading these posts in parallel, so many crossed threads); many vital historical links seem to be becoming happily evident in some of the livelier contemporary art discussion arenas.
Best
sjn
>-----Original Message-----
>From: Curating digital art -
>www.newmedia.sunderland.ac.uk/crumb/
>[mailto:[log in to unmask]] On Behalf Of GEORGE ADRIAN
>Sent: 20 July 2005 11:00
>To: [log in to unmask]
>Subject: Re: [NEW-MEDIA-CURATING] Live art and new media
>
>Sounds great. Is there a chance it might come to Europe?
>
>My exhibition at Tate Liverpool at the beginning of 2004
>included rare footage of Fuller alongside one of her
>impersonators -- kindly lent by Giovanni Lista -- and several
>vintage promotional) postcards for one of Fuller's
>performances which were originals hand painted with phosphorous.
>
>There is also a Fuller documentary brought together by La
>Cinémathèque de la Danse in Paris in association with Lista
>which has a great deal more rare material including I believe,
>footage showing a rudimentary sort of overlay film (I'm sure
>there is a technical term for this) -- where a character holds
>up what looks like a framed photograph of herself which then
>proceeds to dance and step out of the frame. My memory fails
>me but I have a feeling this was another famous dancer...
>Duncan perhaps (not sure).
>
>Adrian
>
>Adrian George
>Curator: Collections Projects
>
>Government Art Collection
>Department for Culture, Media and Sport
>Queen's Yard
>179a Tottenham Court Road
>London W1T 7PA
>
>T: +44 (0)20 7580 9135
>F: +44 (0)20 7580 9120
>W: www.gac.culture.gov.uk
>
>DCMS aims to improve the quality of life for all through
>cultural and sporting activities, to support the pursuit of
>excellence and to champion the tourism, creative and leisure
>industries.
>
>
>-----Original Message-----
>From: Curating digital art - www.newmedia.sunderland.ac.uk/crumb/
>[mailto:[log in to unmask]]
>Sent: 19 July 2005 21:15
>To: [log in to unmask]
>Subject: Re: [NEW-MEDIA-CURATING] Live art and new media
>
>
>Since people are discussing Loie Fuller and Thomas Edison,
>some might be interested in a new exhibition that just opened
>at the Williams College Museum of Art in Massachusetts, US.
>
>"In "Moving Pictures: American Art and Early Film, 1880-1910"
>paintings are placed alongside early films to show how artists
>and audiences of that period grappled with the new visual
>technology. The moving pictures on view are drawn primarily
>from the Edison, Lumière, and American Mutoscope and Biograph
>companies while the paintings are by such artists as Thomas
>Eakins, George Luks, John Sloan, and George Bellows."
>http://www.wcma.org/modules/movingpictures/index.html
>
>Among many other things, the show includes photographs of Loie
>Fuller and film footage of one of her many impersonators
>performing her trademark dance.
>
>
>Lisa Dorin
>Assistant Curator
>Williams College Museum of Art
>15 Lawrence Hall Drive Ste. 2
>Williamstown, MA 01267
>t. 413.597.4380 f. 413.458.9017
>www.wcma.org
> ----- Original Message -----
> From: GEORGE ADRIAN
> To: [log in to unmask]
> Sent: Monday, July 18, 2005 6:47 AM
> Subject: Re: Live art and new media
>
>
> Loie Fuller at the end of the 1800s was working with
>inventors and scientists such as Marie Curie and Thomas Edison
>to explore how their discoveries could be used to develop her
>stage performances.
>
> A little passion of mine as Fuller is so marginalized by
>both the dance world and the art world.
>
> Adrian
>
> -----Original Message-----
> From: Curating digital art - www.newmedia.sunderland.ac.uk/crumb/
> [mailto:[log in to unmask]]
> Sent: 16 July 2005 13:33
> To: [log in to unmask]
> Subject: Re: [NEW-MEDIA-CURATING] Live art and new media
>
>
> -
> It's intriguing but I suppose logical Tom that the systems
>you're mentioning as having migrated from live arts to new
>media seem to have in common their affordances regarding the
>manipulation of time - synchronisation, playback, etc. Of
>course I realise that they also have strong spatial qualities
>and affordances - expanse, intensity and direction of light,
>sound, etc - but might one imagine that the ephemerality of
>performance has favoured techniques and technologies which
>privilege the control of time?
>
> Just an idle musing, probably a bit of a truism. I've always
>been interested in the way the first major reference arena for
>breakthroughs in performance technologies from the late 19th
>century was the world of scientific journals - Scientific
>American first and foremost. Like the gaming world Lev
>Manovich describes, the world of theatre and performance acted
>as a formidable catalyst and disseminator for many technical/
>industrial innovations. Probably through paying itself off via
>the commercial theatre circuits as much as anything. Some of
>Siggraph's "Electronic Theatre" events - the "fringe" stuff
>that has more to do with live art than with screenings - seem
>to have perpetrated that tradition.
>
> best
> sjn
>
>
>
>
>
> ----Original Message-----
> From: Curating digital art -
>www.newmedia.sunderland.ac.uk/crumb/ on behalf of Tom Cullen
> Sent: Sat 7/16/2005 12:25 PM
> To: [log in to unmask]
> Subject: [NEW-MEDIA-CURATING] Live art and new media
>
> In reply to Beryl's quote "The relationship between Live Art
>and new media has often been one simply
> one of documentation or distribution"
>
> Speaking purely as a technician, and if we are defining New
>media (I know it's a loaded question) as
> it's means of production is also it's means of presentation,
>then the live art area has a long history of
> new media interaction.
>
> The first synchronisation systems for lighting, video, sound
>etc all started with Live arts, DMX control
> used to control countless art works was developed for the
>theatre, Dataton control system used to
> control any playback medium was developed for live use as
>well as exhibition, and recently the new
> digital equalisation systems now being developed for live
>use will find their way in to the gallery.
>
> I think what I'm saying is that there has been a history of
>innovation of technology in live arts that we
> could conclude is new media, and I'm sure that the blurring
>of the edges between the two will
> continue. Looking at the recent Navigate performances and
>talks this issue of new media within live
> arts is becoming more prevalent.
>
> Quickly going back to the definition of new media, a live
>arts performers means of production is also
> their means of presentation are they themselves new media?
>
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