Abstract
Limelight (2016-20) aims to establish terms through which limestone as a geological material with industrial application, presents and holds agency. It aims to determine how exposures of limestone’s material agency are intrinsic to understanding the representations and experiences of its landscapes. Limelight (Granular, The Material Properties of Noise) at Greenwich University re-configured Limelight (Postcards From The Anthropocene, Unsettling
The Geopolitics
of Representation) [linked output] adding storytelling from that performance as new scripted writing. It also drew on new contexts and site references through ongoing work with a community heritage group on the Scottish borders in the North East and their actions towards the restoration of a 19th Century Lime kiln. The performance deployed the Limestone Player Apparatus [linked output], a machine apparatus of quicklime, computer, wires and projector, and the Limestone Microphone Apparatus [linked output]. The deployment of the Limestone Player Apparatus created a unique material-led timeframe and duration for the performance, with video playback and the duration of the performance (paper) contingent to the behaviour of quicklime. Read text, sound and projected images established immersive multi-sensory storytelling through the conjuring of layered industrial limestone landscapes with social histories and transforming materialities of lime.
| Original language | English |
|---|---|
| Type | Performance taking the form of a Paper, Limelight (Granular, The Material Properties of Noise) |
| Media of output | Performance |
| Publication status | Published - 27 Jan 2018 |
Keywords
- limestone
- performance
- limelight
- contemporary art
- contemporary arts and environment
- ecology
- social practices
- land art
- heritage for the arts and sciences
- anthropocene
- digital art