In performance, duration can mean a specific quantity of time as in a musical rhythm or even a quality of time, like Bergson\u2019s \u2018real duration\u2019, characterised as the absolute time of the lived body, multiple and heterogeneous. This issue explores the aesthetics of duration in performances which foreground the passage of time in the work and the experience of time for the spectator. \u2018On Duration\u2019 develops ways of re-thinking the perceived space\/time templates of performance, its modes of presencing, and to suggest different models for its interpretation.<\/p>\n
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Introduction: the End of Spatiality or the Meaning of Duration
\nEdward Scheer
\npp. 1 – 3
\nSleeping Drivers [Artist’s Pages]
\nNick Kline
\npp. 4 – 4
\nForever Ephemeral: John Cage’s ASLSP
\nJeffery Byrd, John Fritch
\npp. 5 – 8
\nBlurred Architecture: Duration and Performance in the Work of Diller Scofidio + Renfro
\nRachel Hann
\npp. 9 – 18
\nThe Lovers’: on the Great Wall and Beyond
\nChloe Johnston
\npp. 19 – 23
\nRemembering, Repeating and Working Through in \u2018Anniversary – an Act of Memory’ by Monica Ross and Co-Recitors (2008\u201a\u00c4\u00ec)
\nAlexandra M Kokoli
\npp. 24 – 30
\nStrange Attractors: Barbara Campbell’s 1001 Nights Cast
\nBranislava Kuburovi\u0107
\npp. 31 – 33
\nEinstein on the Beach: a Study in Temporality
\nSusan Broadhurst
\npp. 34 – 40
\nArchaeological Explorations of Duration in the Contemporary City
\nJames Dixon
\npp. 41 – 46
\nSigns of the Times: Structures and Signatures
\nTony Gardner
\npp. 47 – 53
\nLine Dialogues: Marking Time and Process [Artists’ Pages]
\nJane Grisewood, Carali McCall
\npp. 54 – 55
\nOpen Your Eyes\/Shut Your Eyes: Staging Kandinsky’s the Yellow Sound at Tate Modern
\nGeraint D’Arcy, Richard J. Hand
\npp. 56 – 60
\nMedia Dramaturgies of the Mind: Ivana M\u221a\u00baller’s Cinematic Choreographies
\nMaaike Bleeker
\npp. 61 – 70
\nThis Progressive Production: Agency, Durability and Keeping It Contemporary
\nMary Richards
\npp. 71 – 77
\nThe Conversion of Essence Into Series: a Dance of Repetition from Vermeer to Leibniz [Artists’ Pages]
\nPaul Jeff, Laura Jenkins
\npp. 78 – 81
\nThe Speed of Broken Light: a Meditation on Duration and Performance
\nTed Hiebert
\npp. 82 – 91
\nOn Consuming Encounters: Short Duration and the Material Conditions of Performance
\nSaini Manninen
\npp. 92 – 97
\nOn Duration and Multiplicity
\nLara Shalson
\npp. 98 – 106
\nLife [in Progress]
\nJanez Jan\u0161a
\npp. 107 – 109
\nWhen Is a Performance?: Temporality in the Social Turn
\nJames Andrew Wilson
\npp. 110 – 118
\n\u2018Perform-Box’: Towards an Architecture-Of-Time
\nV. \u015eafak Uysal, Levent Ar\u0131ga\u011f
\npp. 119 – 129
\nMeal Time As Medium: Duration and the Work of Ao&
\nWood Roberdeau
\npp. 130 – 134
\n\u2018Notes on a Return’ to a Not-Forgotten: Durations of the Missed and the Previously Unvisited
\nGeorgina Guy
\npp. 135 – 139
\nRunning Time [Artists’ Pages]
\nChris Speed, Angelina Karpovich
\npp. 140 – 141
\nReview: Olympian Shakespeare: A Midsummer Night\u2019s Dream or nightmare?
\nChristie Carson
\npp. 142 – 144
\nReview: Matter and Memory and Performance: Towards an encounter with relationality
\nPatrick Robinson
\npp. 145 – 147
\nNotes on Contributors
\npp. 148 – 150<\/p>\n\n\n