What kinds of relations do we generate when we think, write and talk about/through/with a performance, a live encounter, any artistic object or a book, which we intend to continue – giving it other lives – in other mediums?
If artistic and documentary productions cannot be considered as separate activities and positions, how can we practise the idea of an extended collaboration between artistic work, performance, reception, documentation and edition, in a permanent process of public engagement in the activation of common places of investigation?
These issues certainly imply a critical discussion about the temporality of the live event, often simplistically opposed to the temporality of written discourse, thought, and document. How many temporalities resonate in a performance, in an installation, in a live encounter, in the writing (and reading) of a book? Which pasts does the live touch; what presents does it find in which pasts; what futures does it build in which presents… and what (mean-)whiles, (mis-)encounters, “inter(in)animations” can a book – or any other written surface or audio file – generate?