On the Page considers the future of the printed paper page in its relation to and with performance including work on the material qualities of the page that have endured \u2013 pulp, glue, stitching, inking, wood \u2013 and those aspects of the page that may bear witness to the ‘performance’ of the book: page turning, marking, dog-earing, marginalia. It also contains contributions from artists and writers who consider the page as a site of performance and\/or its traces, as well as those who consider their work to depend on the page as the key to, or foundry of performance. The issue also contains material from, and reflection on, newer performance media that live at a comfortable distance from print publishing \u2013 hypermedia, cybertexts, multimedia, web-based media. The Editors (in collaboration with the Institute for Digital Arts and Technology at the University of Plymouth, UK) have commissioned new work from six UK-based artists and\/or groups: Eve Dent, Foreign Investment, Misha Myers, Read\/ Write\/ Fold Architecture, Victoria de Rijke, and Phillip Warnell & Stephanie Nava. The work is inscribed through varied linked digital media \u2013 sonic, video, graphic, page- and screen-based \u2013 and forms the DVD supplement that accompanies the issue.<\/p>\n
<\/p>\n
Preface
\nRic Allsopp, Kevin Mount
\npp. 2 – 3
\nFrontispiece: \u2018He continued blinking his eyes and trying to smile\u2026\u2019
\nDeborah Price
\npp. 4
\nPolished Pages [insert]
\nTanja Dabo
\nItinerant Pages: The Page as performance pace
\nRic Allsopp
\npp. 2 – 6
\nWoman in White Meets Man in Black
\nKevin Mount
\npp. 7 – 14
\nReading (il)legible pages
\nJohn Hall
\npp. 15 – 23
\nDrawing a Blank: Picturing nothing on the page
\nHoward Hollands
\npp. 24 – 32
\nFrontispiece: Supermen
\nForeign Investment
\npp. 34 – 34
\nRepulsive Margins
\nDeborah Price
\npp. 36 – 37
\nElbowroom + read\/ write\/ fold architecture
\nEve Dent, Arch-Os
\npp. 38 – 43
\nThe Light Emitting Organ
\nPhillip Warnell, St\u00e9phanie Nava
\npp. 44 – 51
\nForged Inscriptions
\nRosy Greaves
\npp. 52 – 54
\nWord for Word
\nNick Thurston, Pavel B\u00fcchler
\npp. 55 – 62
\nError Engine
\nJudd Morrissey, Lori Talley, Lutz Hamel
\npp. 63 – 66
\nTransactables
\nScott deLahunta, Wayne McGregor, Alan Blackwell
\npp. 67 – 72
\nSupermen: A silent play in 12 scenes
\nForeign Investment
\npp. 73 – 78
\nInstallation for an unsuspecting home
\nJordan Harrison
\npp. 79 – 82
\nProperty
\nJordan Harrison
\npp. 83 – 87
\nVINST
\nEmmanuelle Waeckerle
\npp. 88 – 89
\nWay from Home [with insert]
\nMisha Myers, Dan Harris
\npp. 90 – 91
\nFrontispiece: ‘Reading a Polished Page’
\nJohn Hall
\npp. 92 – 92
\nWriting to Vanish: Etienne Decroux’s eclipse of corporeality
\nFranz Anton Cramer
\npp. 94 – 98
\nVisual Poetry as Performance
\nIan Davidson
\npp. 99 – 107
\nTorah Pages
\nRobyn Sassen
\npp. 108 – 117
\nThe Crystal Ball
\nJoshua Sofaer
\npp. 118 – 131
\nThe Grain of Duck’s Voice
\nDr Quack
\npp. 132 – 141
\nBeyond the Genius of the Sea: The theatre of the natural unconscious
\nAnthony Kubiak
\npp. 142 – 150
\nBook Review: Turning over an Old Leaf
\nWilliam H. Sherman
\npp. 151 – 154
\nIndex
\nSimon Zimmerman
\npp. 155 – 160
\nNotes on Contributors
\npp. 161 – 163
\nDVD Contents
\npp. 164<\/p>\n\n\n