Concert programmes are an increasingly important source to those studying the history of musical performance and concert life, providing rich sociological and musicological context. Though there are currently projects in place to improve access to these vital documents, the arrangement of programmes has so far escaped in-depth study. Therefore…[Read more]

Concert programmes are an increasingly important source to those studying the history of musical performance and concert life, providing rich sociological and musicological context. Though there are currently projects in place to improve access to these vital documents, the arrangement of programmes has so far escaped in-depth study. Therefore…[Read more]

A review of the original Sims game and how fans are attempting to preserve the game and its assets through digital archives and other participatory practices. Written for the Intensive: Cult Media Review section of Intensities: The Journal of Cult Media.

A review of the original Sims game and how fans are attempting to preserve the game and its assets through digital archives and other participatory practices. Written for the Intensive: Cult Media Review section of Intensities: The Journal of Cult Media.

Powerpoint slides for a lecture on Area Studies, given for the #cityLIS Information Domains module (#INM307), 2015-16 cohort.

Powerpoint slides for a lecture on Area Studies, given for the #cityLIS Information Domains module (#INM307), 2015-16 cohort.

Live performance lacks the durability of art practices such as photography, film and
painting, and so definitions of ‘live’ acts have traditionally been formulated in terms
of ‘transience’ and ‘disappearance’. In this context the archive and archival documents
are often described as the antithesis of performance’s ontology. An archive’s pri…[Read more]

Live performance lacks the durability of art practices such as photography, film and
painting, and so definitions of ‘live’ acts have traditionally been formulated in terms
of ‘transience’ and ‘disappearance’. In this context the archive and archival documents
are often described as the antithesis of performance’s ontology. An archive’s pri…[Read more]

Live performance lacks the durability of art practices such as photography, film and
painting, and so definitions of ‘live’ acts have traditionally been formulated in terms
of ‘transience’ and ‘disappearance’. In this context the archive and archival documents
are often described as the antithesis of performance’s ontology. An archive’s pri…[Read more]

In his 1992 essay Eftermaele: ‘That which will be said afterwards’ Eugenio Barba states that ‘[i]n the age of electronic memory, of films, and of reproducibility … performance … defines itself through the work that living memory, which is not museum but metamorphosis, is obliged to do’ (78). His mention of memory is an acknowledgement of…[Read more]