AUDIAanderson3 - Jerome Joy website

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!!1974 — In the Nick of Time ---- — — — ''A performance at The Clocktower, NYC, 1974)'' \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ''{br}{br}---- ''In the Nick of Time'' (1974) posits Anderson’s physical body as that which directly interferes with and constitutes spectacle: Anderson moves in and out of the light of a projector and traces an outline of the projected image on the wall that served as the screen. When the film ends, the red traced object remains on the bare wall and silence engulfs the room.'' — {small}(In Johanna Frank (University of Windsor), [Exposed Ventriloquism: Performance, Voice, and the Rupture of the Visible\|http://hdl.handle.net/2027/spo.ark5583.0019.001], Ann Arbor, MI: MPublishing, University of Michigan Library, vol. 19, Fall 2005-Spring 2006, Issue title: Bodies: Physical and Abstract){/small}{br}{br}''Anderson uses time to emphasise a structure that regulates an otherwise chaotic world. Images of time ''In the Nick of Time'', in which she played her violin, told her family stories, and recounted her dreams. include clocks and calendars …''. — {small}(Gillian Kime, [Laurie Anderson as being a 21st Century storyteller within the performing arts\|http://www.jimdavies.org/laurie-anderson/commentary/papers/laurie-dissertation.html], 1999){/small}{br}'' In Anderson's second extended performance, ''In the Nick of Time'', she developed themes and devices from ''As:lf'' ''{br}{br}---- ''Songs from In the ''Nick of Time'' include ''{br}'''{small}{cap} "Click! " — "Don't Lose It Now!" — "Bless This Bran" — "Is Like" — "That Chicken Float As I Lie" — "1976" — "Ya!" — "Old Flames" — "Waiting for You" — "If you were a sport" — "Black Water" — "Hour of Power" {/cap}{/small}'''{br}{br} \| ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ''— — Well, the next ^[performance I did with the ''Tape Bow Violin''^] was in 1975, called “In the Nick of Time,” the basic premise was really film more than anything else. I was interested in these traffic accidents in Amsterdam. At the time, you had to feel responsible for someone’s death; you’d have to jump out, the cop would give you some chalk, and you’d outline the way the body fell and then come back and paint it in white, and I thought that was really grisly. They stopped doing it pretty quickly because it was just too depressing to see them, these silhouettes. I did like that sort of frozen motion, the way of diagramming motion, and so I did a series of films that were shot from the exact same angle, a completely stationary camera onto a table where there were several objects and a person. For instance, there was in one episode a cereal box in one place; during the performance that rectangle was sprayed red and the film would go on and later, say a book would just slot into that place with the red outline. By the end it was sort of a blackboard diagrammatic thing, just shapes that had been filled with different kinds of objects. I wanted the film to come from various different kinds of sources. So there was one long story about mothers. This film came out of this purse and onto the ceiling. It was like a situation with a lot of rigged objects and then for some reason it was all…instead of water it turned out to be, this is very elemental, a lot about fire. And all sorts of metaphors for burning. ^[This^] early performances actually ^[was^] pretty much based on things that had happened to me in a sort of distant past.'' — {small}(Laurie Anderson, interview, 1977 — ^[[Source\|http://www.fnewsmagazine.com/2006-apr/interview_1.html]^]{/small}\| {br}{br} {br}{br}
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