Environmental Performance

Framing Time

Research output: Contribution to conferenceConference abstract for conferenceResearchpeer-review

Abstract

Presence, attention and awareness are challenged in a cultural landscape with an overflow of media and information (big data, mediatization processes), an overflow of time scheduling (rationalization, effectuation), and an overflow of marketing for example of ‘live performance’ as a promotional slogan. This paper focuses on a selection of art projects that give access to the experience of time passing, by aesthetically framing unforeseen, unplanned and uncontrollable temporal processes unfolding. These projects may be seen as counterweight to contemporary overflow. The paper addresses overflow from the perspective of time and liveness as experienced in art on environmental performance discussing how environmental performances frame the temporality of the world. The paper engages with contemporary examples of environmental performances from various disciplines (sound, video, television, performance art), and seeks to contribute to the ongoing debate on the quality and status of live performance (Reason & Lindelof 2016). As a critical response to the above mentioned overflows these performances make their own overflow through their characteristically non-representational, unpredictable and durational character. The non-deterministic nature of these performances – from the slow rotting of a compost heap in Pierre Huyghes Untilled (Dokumenta 2012), to the changing of a skyscape in James Turrells Skyspaces (1974- ) – has an irreducible duration. Through framing this duration – quasi-theatrically – spectators enter into a relationship of liveness in which their attention, awareness and presence at once alters nothing, but yet is experientially vital. Emphasizing the flux of temporal experience, these performances seek to overflow their spectator with a specific quality of time experienced.
Original languageEnglish
Publication date2017
Publication statusPublished - 2017
EventPSi: OverFlow - Kulturfabrik Kampnagel, Hamburg, Germany
Duration: 8 Jun 201711 Jun 2017
Conference number: #23
http://www.psi-web.org/past-events/psi23-overflow-hamburg/

Conference

ConferencePSi
Number#23
LocationKulturfabrik Kampnagel
CountryGermany
CityHamburg
Period08/06/201711/06/2017
Internet address

Bibliographical note

Based on: Lindelof, Schmidt & Svabo (2017): “Environmental Performance. Framing Time” In Matthew Reason & Anja Mølle Lindelof (Eds.): Experiencing liveness in Contemporary Performance. Interdisci-plinary Perspectives. Routledge Advances in theatre and Performance Studies

Keywords

  • environment
  • performance
  • nature
  • temporality

Cite this

Svabo, C., & Lindelof, A. M. (2017). Environmental Performance: Framing Time. Abstract from PSi, Hamburg, Germany.
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abstract = "Presence, attention and awareness are challenged in a cultural landscape with an overflow of media and information (big data, mediatization processes), an overflow of time scheduling (rationalization, effectuation), and an overflow of marketing for example of ‘live performance’ as a promotional slogan. This paper focuses on a selection of art projects that give access to the experience of time passing, by aesthetically framing unforeseen, unplanned and uncontrollable temporal processes unfolding. These projects may be seen as counterweight to contemporary overflow. The paper addresses overflow from the perspective of time and liveness as experienced in art on environmental performance discussing how environmental performances frame the temporality of the world. The paper engages with contemporary examples of environmental performances from various disciplines (sound, video, television, performance art), and seeks to contribute to the ongoing debate on the quality and status of live performance (Reason & Lindelof 2016). As a critical response to the above mentioned overflows these performances make their own overflow through their characteristically non-representational, unpredictable and durational character. The non-deterministic nature of these performances – from the slow rotting of a compost heap in Pierre Huyghes Untilled (Dokumenta 2012), to the changing of a skyscape in James Turrells Skyspaces (1974- ) – has an irreducible duration. Through framing this duration – quasi-theatrically – spectators enter into a relationship of liveness in which their attention, awareness and presence at once alters nothing, but yet is experientially vital. Emphasizing the flux of temporal experience, these performances seek to overflow their spectator with a specific quality of time experienced.",
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author = "Connie Svabo and Lindelof, {Anja M{\o}lle}",
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Svabo, C & Lindelof, AM 2017, 'Environmental Performance: Framing Time' PSi, Hamburg, Germany, 08/06/2017 - 11/06/2017, .

Environmental Performance : Framing Time. / Svabo, Connie; Lindelof, Anja Mølle.

2017. Abstract from PSi, Hamburg, Germany.

Research output: Contribution to conferenceConference abstract for conferenceResearchpeer-review

TY - ABST

T1 - Environmental Performance

T2 - Framing Time

AU - Svabo, Connie

AU - Lindelof, Anja Mølle

N1 - Based on: Lindelof, Schmidt & Svabo (2017): “Environmental Performance. Framing Time” In Matthew Reason & Anja Mølle Lindelof (Eds.): Experiencing liveness in Contemporary Performance. Interdisci-plinary Perspectives. Routledge Advances in theatre and Performance Studies

PY - 2017

Y1 - 2017

N2 - Presence, attention and awareness are challenged in a cultural landscape with an overflow of media and information (big data, mediatization processes), an overflow of time scheduling (rationalization, effectuation), and an overflow of marketing for example of ‘live performance’ as a promotional slogan. This paper focuses on a selection of art projects that give access to the experience of time passing, by aesthetically framing unforeseen, unplanned and uncontrollable temporal processes unfolding. These projects may be seen as counterweight to contemporary overflow. The paper addresses overflow from the perspective of time and liveness as experienced in art on environmental performance discussing how environmental performances frame the temporality of the world. The paper engages with contemporary examples of environmental performances from various disciplines (sound, video, television, performance art), and seeks to contribute to the ongoing debate on the quality and status of live performance (Reason & Lindelof 2016). As a critical response to the above mentioned overflows these performances make their own overflow through their characteristically non-representational, unpredictable and durational character. The non-deterministic nature of these performances – from the slow rotting of a compost heap in Pierre Huyghes Untilled (Dokumenta 2012), to the changing of a skyscape in James Turrells Skyspaces (1974- ) – has an irreducible duration. Through framing this duration – quasi-theatrically – spectators enter into a relationship of liveness in which their attention, awareness and presence at once alters nothing, but yet is experientially vital. Emphasizing the flux of temporal experience, these performances seek to overflow their spectator with a specific quality of time experienced.

AB - Presence, attention and awareness are challenged in a cultural landscape with an overflow of media and information (big data, mediatization processes), an overflow of time scheduling (rationalization, effectuation), and an overflow of marketing for example of ‘live performance’ as a promotional slogan. This paper focuses on a selection of art projects that give access to the experience of time passing, by aesthetically framing unforeseen, unplanned and uncontrollable temporal processes unfolding. These projects may be seen as counterweight to contemporary overflow. The paper addresses overflow from the perspective of time and liveness as experienced in art on environmental performance discussing how environmental performances frame the temporality of the world. The paper engages with contemporary examples of environmental performances from various disciplines (sound, video, television, performance art), and seeks to contribute to the ongoing debate on the quality and status of live performance (Reason & Lindelof 2016). As a critical response to the above mentioned overflows these performances make their own overflow through their characteristically non-representational, unpredictable and durational character. The non-deterministic nature of these performances – from the slow rotting of a compost heap in Pierre Huyghes Untilled (Dokumenta 2012), to the changing of a skyscape in James Turrells Skyspaces (1974- ) – has an irreducible duration. Through framing this duration – quasi-theatrically – spectators enter into a relationship of liveness in which their attention, awareness and presence at once alters nothing, but yet is experientially vital. Emphasizing the flux of temporal experience, these performances seek to overflow their spectator with a specific quality of time experienced.

KW - environment

KW - performance

KW - nature

KW - temporality

M3 - Conference abstract for conference

ER -

Svabo C, Lindelof AM. Environmental Performance: Framing Time. 2017. Abstract from PSi, Hamburg, Germany.