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Escribir extrañas atracciones: conversación sostenida con Adrian Heathfield
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Adrian Heathfield es escritor, curador y creador de/sobre performance; dedicado a repensar por qué el performance importa a partir de la materia del performance. Heathfield ha trabajado con numerosos artistas y pensadores en colaboraciones críticas y creativas que incluyen diálogos fílmicos, conferencias performáticas, dramaturgias, proyectos de escritura y talleres. Es profesor de Performance y Cultura visual en la Universidad de Roehampton, en Londres. Es autor de Out of Now, a monograph on the artist Tehching Hsieh, editor de Ally y Live: Art and Performance, así como coeditor de Perform, Repeat, Record. Sus numerosos ensayos han sido traducidos a 10 idiomas
Performing the archive: following in the footsteps
Full text linkUsing documentation of Mike Pearson's performance 'Bubbling Tom', Deirdre Heddon attempts to step into his shoes and re-perform it
Escribir extrañas atracciones: conversación sostenida con Adrian Heathfield
No full text
Adrian Heathfield es escritor, curador y creador de/sobre performance; dedicado a repensar por qué el performance importa a partir de la materia del performance. Heathfield ha trabajado con numerosos artistas y pensadores en colaboraciones críticas y creativas que incluyen diálogos fílmicos, conferencias performáticas, dramaturgias, proyectos de escritura y talleres. Es profesor de Performance y Cultura visual en la Universidad de Roehampton, en Londres. Es autor de Out of Now, a monograph on the artist Tehching Hsieh, editor de Ally y Live: Art and Performance, así como coeditor de Perform, Repeat, Record. Sus numerosos ensayos han sido traducidos a 10 idiomas
Performance matters: Gavin Butt, Lois Keidan and Adrian Heathfield in conversation
No full textA conversation between the directors of Performance Matters, a creative research project based in London which explored the cultural values of contemporary performance and Live Art in the UK and internationally. This extended exchange addresses the changing status of performance in early twenty-first century institutions, and reflects on the questions, challenges, forms and processes of Performance Matters research. The conversation offers a way of contextualising the project’s activities and of understanding its contributions to contemporary performance practice and research
Dragging Affordances
Full text linkPanel discussion with Elly Clarke, Ofri Cnaani, Adrian Heathfield, and Emily Rosamon
Bergen Assembly (curatore)
No full textdal 2014 al 2016 sono stato undo dei curatori della Bergen Assembly con il Collettivo Freethought (Irit Rogoff, Nora Sternfeld, Adrian Heathfield, Louis Moreno and Stefano Harney)
Performance Matters: Gavin Butt, Lois Keidan and Adrian Heathfield in Conversation
No full textA conversation between the directors of Performance Matters, a creative research project based in London which explored the cultural values of contemporary performance and Live Art in the UK and internationally. This extended exchange addresses the changing status of performance in early twenty-first century institutions, and reflects on the questions, challenges, forms and processes of Performance Matters research. The conversation offers a way of contextualising the project’s activities and of understanding its contributions to contemporary performance practice and research
Assign and Arrange:Methodologies of Presentation in Visual Art and Dance
No full textIn recent transdisciplinary discourses, contributors from visual art and dance have used terms like mise-en-scène, situation, setting, parcours and choreography in order to define artistic forms of presentation, as well as to specify the aesthetic experience made by the spectators. What these terms have in common is that they point to particular methodologies of assigning and arranging – to different ways by which spaces, objects, meanings and people are activated and related to each other. Therefore, to ask who or what assigns or is assigned in what way, who or what arranges or is arranged, is of critical importance in order to understand the interrelations and transgressions that have developed between the two fields since the 1960s. Taking into account historical and current examples, and involving perspectives from art history, dance studies and architecture, this conference discusses methodologies of assigning and arranging in visual art and dance. Focussing on moments of transgression, it aims to explore similarities and differences in the respective practices, as well as in the theoretical concepts they correspond with. No registration required. Programme Friday, 7 December 2012 14:30 Welcome and Introduction: Gabriele Brandstetter and Gregor Stemmrich 14:45 Liz Kotz (Riverside, California) Convergence of Music, Dance and Sculpture 1961 15:45-16:15 Coffee break 16:15 Nina Gülicher (Ludwigshafen) Movements and Energy: Modular Principles in Modern Exhibition Spaces 17:15 Ramsay Burt (Leicester) Geometric Order and Corporeal Imprecision: Trisha Brown’s Group Primary Accumulation (1973) Different Venue: 19.30 Evening Performance: Andrea Bozic (NL) After Trio A Venue: HAU2 at Hebbel am Ufer: Hallesches Ufer 32 in 10963 Berlin Followed by a discussion. Saturday, 8 December 2012 10.30 Adrian Heathfield (London): The Ghost Time of Transformation 11.30 Franziska Bork Petersen/Minnie Scott (Stockholm) The Unruly Spectator Lunch break: 12:30-14:00 14.00 Christian Teckert (Vienna) The Mobilized Spectator: On the Architectural History of Museum Scripting and Staging. 15:00 Ina Blom (Oslo) The Autobiography of Video: Technical Arrangements Coffee break: 16:00 -16:30 16:30 Dorothea von Hantelmann (Berlin) Economies of Attention: Regimes of Time in Contemporary Art Exhibitions 17:30 Ursula Frohne (Cologne) The Anamorphic Subject: Scenes and Situations of Mobile Spectatorship 19:00 Receptio
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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