AUDIAanderson4 - Jerome Joy website

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!!1976-77 — For Instants ---- —— ''from FOR INSTANTS, Museum of Modern Art, NYC, 1976''{br}—— ''from FOR INSTANTS, Whitney Museum of American Art, NYC, 1976''{br}—— ''from FOR INSTANTS, Brockport College, Brockport, NY, 1976''{br}—— ''^[Fast Food, Artists Space, NYC^]''{br}—— ''from FOR INSTANTS, Skidmore College, Saratoga, NY, 1976''{br}—— ''from FOR INSTANTS-3 », Philadelphia College of Art, Philadelphia, PA, 1976''{br}—— ''?, California Institute of the Arts, Valencia, 1976'' {br} ---- — — ''Laurie Anderson performed various instalments of the 12-part series between 1975 and 1978.{br}{br}''For Instants'' was a series of performances that Laurie Anderson began in 1974 ^[?^]. This particular presentation was a work-in-progress which focused on the rhythms of talking, with a soundtrack created from spliced audiotape and live violin. Anderson’s signature projections appeared in the background.'' \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t Seule sur scène, Laurie Anderson expérimente un harmonizer en modifiant sa voix, deux techniciens l'accompagnent : un pour le son et un pour les images. C'est à cette époque qu'elle commence à se familiariser avec les machines qu'offre la technologie.\| {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/anderson/1976_forinstants1.jpg]\|t \|t \|t \|t \|t \|t \|t \|t \|t ---- ''The 45 minute piece ''For Instants'' (1976) incorporated explanations of the technical difficulties in making the work plus postmodern distinctions between ‘what happened’ and ‘what I said and write about what happened.’''{br}{br}''The consistent component of these works is the manipulation of image, body, voice, and source. Using the body to intersect projection as a site of suture or rupture continues with ''For Instants: Part 3, Refried Beans'' (1976), a project that incorporates film, the playing of a violin, recorded stories, and live stories. The most noted element of this piece, though, involves a corridor of projections from three projectors in which Anderson moves her body inside, outside, and through. Her body becomes a part of either the film projection or the space between the screen and the projector. Depending on her position, the image on the screen changes. By interrupting the film and creating shadows among the projected display of images, or continuously walking in and out of shadows and spotlights and creating both positive and negative images against the video screen backdrop, Anderson uses her body to interrupt and intercept filmic and projected images so as to affect how and what one can see in the performance environment. In what seems to be a shift to performances that focus more on the physical body, projected images, and light rather than the voice, the recorded and live voice as well as the playing and sound of the violin (a representation or extension of body and voice) provide constant variables that alter and affect the visual.''\| {br}{br} {br}{br} {br}{br} ----
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