Performance can\u2019t escape time-keeping, whether it is a split-second performance, or a durational piece that takes days, weeks, months or even years to complete. At the same time, performance defies limitations by evading the present, documenting the past while leaping into the future, and devising strategies of multiple time tracks. It is both firmly rooted in a conventional idea of the passage of moments from past, to present, to future, and in experience that originates from an anticipated future and slips directly into the time of memory. On Time engages with multiple understandings of the time in performance. From the argument that audiences and performers experience time differently in a given event, to questions about re-presenting and adapting previous performances, this issue offers broad conceptual investigations and artistic approaches to temporality. The essays and artists pages assembled for this issue are re-articulations of work presented at PSi 19: Performance and Temporality (June 25-30, 2013).<\/p>\n
Now Then \u2013 Performance and Temporality : Not once, not twice \u2026
\nBranislav Jakovljevi\u0107
\npp. 1 – 8<\/p>\n
Record of the Time : A Spatula&Barcode project
\nMichael Peterson, Laurie Beth Clark
\npp. 10 – 13<\/p>\n
Blog response \u2013 The Symphonic Body by Ann Carlson
\nRebecca Chaleff
\npp. 14 – 14<\/p>\n
Performing the Ethico-aesthetic Paradigm
\nEric Alliez, Brian Massumi
\npp. 15 – 26<\/p>\n
Performing Landscape for Years
\nAnnette Arlander
\npp. 27 – 31<\/p>\n
Keeping Time
\nAlice Rayner
\npp. 32 – 36<\/p>\n
Spiral Time : Re-imaging Pacific history in Michel Tuffery’s First Contact multimedia projection artwork
\nDiana Looser
\npp. 37 – 42<\/p>\n
No Reason to Jump, No Reason Not to Jump : Song Dong and the proc ess called \u2018time\u2019
\nNatasha Lushetich
\npp. 43 – 47<\/p>\n
\u2018When This You See\u2019 : The (anti) radical time of mobile self-surveillance
\nSarah Bay-Cheng
\npp. 48 – 55<\/p>\n
Chronopolitics with Dogs and Trees in Stanford
\nTuija Kokkonen, Alan Read
\npp. 56 – 57<\/p>\n
Blog response\u2013 Tiresias by Heather Cassils
\nMegan Hoetger
\npp. 58 – 59<\/p>\n
Blog response \u2013 Incorruptible Flesh: Messianic Remains by Ron Athey
\nMegan Hoetger
\npp. 60 – 61<\/p>\n
Open Channels : Some Thoughts on Blackness, the Body, and Sound(ing) Women in the (Summer) Time of Trayvon
\nDaphne A. Brooks
\npp. 62 – 68<\/p>\n
Estragement : Towards an \u2018age theory\u2019 theatre criticism
\nElinor Fuchs
\npp. 69 – 77<\/p>\n
Dyssynchrony : Time, spaces and \u2018manners\u2019 of performance practice in Bogot\u00e1, Colombia
\nJuliana Escobar Cu\u00e9llar, David Ayala Alfonso
\npp. 78 – 82<\/p>\n
Crabface, Wounded Woman and Buttman : Refiguring moving, infecting temporalities
\nAnnalaura Alifuoco
\npp. 83 – 87<\/p>\n
Don\u2019t Blink : Performing experimental time in the brain laborat ory
\nSarah Klein
\npp. 88 – 92<\/p>\n
Art History\u2019s Dilemma : Theories for time in contemporary performance\/media exhibitions
\nCatherine M. Soussloff
\npp. 93 – 100<\/p>\n
Autosuggestion : Between performance and design
\nPearson|Shanks
\npp. 101 – 110<\/p>\n
Blog response \u2013 Art\/Life Counseling with Linda Mary Montano
\nMel Day
\npp. 111 – 111<\/p>\n
Blog response \u2013 Distronautics: How to do Things with Worlds by Jon McKenzie & Ralo Mayer
\nKellen Hoxworth
\npp. 112 – 113<\/p>\n
On the Difference between Time and History
\nPeggy Phelan
\npp. 114 – 119<\/p>\n
Performing the Sacred in Byzantium : Image, breath and sound
\nBissera V. Pentcheva
\npp. 120 – 128<\/p>\n
Slow Work : Dance\u2019s temporal effort in the visual sphere
\nBiba Bell
\npp. 129 – 134<\/p>\n
\u2018We\u2019re Standing in\/the Nick of Time\u2019 : The temporality of translation in Anne Carson\u2019s Antigonick
\nBen Hjorth
\npp. 135 – 139<\/p>\n
The Voice of Death, Rupturing the Habitus
\nAmelia Jones, Marin Bla\u017eevi\u0107
\npp. 140 – 143<\/p>\n
Microtimes : Towards a politics o f indeterminacy
\nJaime del Val
\npp. 144 – 149<\/p>\n
Blog response \u2013 \u2018What a Body Can do\u2019: A praxis session by Ben Spatz, Zihan Loo, Christine Germain, Donia Mounsef, Ira Murfin, Justin Zullo & Krista DeNio
\nJasmine Mahmoud
\npp. 150 – 151<\/p>\n
Blog response \u2013 Out of Water by Helen Paris & Caroline Wright
\nRebecca Chaleff
\npp. 152 – 153<\/p>\n
Blog response \u2013 \u2018Too Many Conference Papers Make the Baby Go Blind: When is Neo-Futurism?\u2019 by Jon Foley Sherman, Lindsay Brandon Hunter & Chloe Johnston
\nKatherine Zien
\npp. 154 – 154<\/p>\n
Blog response \u2013 \u2018Performance Gallery\u2019 by L. M. Bogad, Jenni Kokkom\u00e4ki, Linda Mary Montano, Agatha (Balek) Morrell, Miranda Olzman & Ryan Tacata
\nMegan Hoetger
\npp. 155 – 156<\/p>\n
Taste Economies : Alison Knowles, Gordon Matta-Clark and the intersection of food, time and performance
\nNicole L. Woods
\npp. 157 – 161<\/p>\n
Timeless Cruelty : Performing the Stanford Prison Experiment
\nStephen Bottoms
\npp. 162 – 175<\/p>\n
Market Fitness Lecture 7 : Commodities futures
\nChristian Nagler
\npp. 176 – 178<\/p>\n
Afterword
\nLindsey Mantoan
\npp. 179 – 180<\/p>\n
Triangulating Ivekovi\u0107 (review)
\nMechtild Widrich
\npp. 181 – 183<\/p>\n
Performing the New Europe (review)
\nSteve Wilmer
\npp. 184 – 185<\/p>\n
Performance, Space, Utopia (review)
\nYana Meerzon
\npp. 186 – 187<\/p>\n
Notes on Contributors
\npp. 188 – 190<\/p>\n\n\n