– One of the most challenging parts of this project for me, as the curator, was the presence of a filmmaker. It meant that the performances were framed within a definite start and finish and were constructed in such a way that the camera would pick up certain elements and almost get in the way of a “purer” spectator-performance relation. However, as the project progressed, the camera set up began to become an integral part of the piece and the process and this served as a reminder of the documentary nature of the project and also interjected with the performance, providing additional parameters to what was going on (along with the electricity issues, the space, the situation and conditions under which this project was taking place).
– I caught myself panicking on a few occasions that the project would have no footage at all which is ironic considering my standpoint on filming performance art. I almost felt as if I had a responsibility to finally show people who had been following the written evidence, what we had been doing visually, like a final revelation for the project, which is something I never thought I would consider. This is probably because I myself am so accustomed to the vision is knowledge mantra even though I try to challenge it.
– Would the project have changed drastically if there was a larger audience outside of myself as the curator/witness and the filmmaker? I’m not sure this is so relevant to be asking myself this question because it wasn’t about taking away an audience altogether, even if it was just the artist and the camera there is an implied audience through this, it’s all about how people respond to secondary evidence.
– Its interesting how the video documentation interjects with the performance- it gives it a start and a finish within an undefined start and finish of the performance which adds to it and disrupts it at the same time, but not necessarily negatively.
– Does it matter if I don’t know enough about sound and sonic environments to report back all of the details, should I not strive to know and just respond aesthetically instead- if this can ever purely be done.
– I could let people walk around the detritus of the performance week and let people contemplate the objects of the performance but this is really a step too far for my viewpoints about performance, it’s a step further than visual evidence because objects to me are a connotation of material exchange. You need to relate to a body not an object- a photograph is a visual object but is always attached to its referent so there is a difference. Although, one to be debated further.