Provoking the future: Performa commissions -- Exalting the crowds: performance as spectacle -- The illuminating stage: performance at the edge of theater -- Simultaneous awareness: performance between screens -- The art of noises: music, radio, sound -- Lust is a force: the lust weekend -- The universe will be our vocabulary: on language -- The polyexpressive symphony: captured on film -- A slap in the face of public taste: pushing the audience -- Every generation must build its own city: the Performa hub and urban activism

Histories of Performance Documentation traces the many ways in which museums have approached performance works from the 1960s onwards, considering the unique challenges of documenting live events. From hybrid and interactive arts, to games and virtual and mixed reality performance, this collection investigates the burgeoning role of the performative in museum displays. Gabriella Giannachi and Jonah Westerman bring together interviews and essays by leading curators, conservators, artists and scholars from institutions including MoMA, Tate, SFMOMA and the Whitney, to examine a range of interdisciplinary practices that have influenced the field of performance documentation. Chapters build on recent approaches to performance analysis, which argue that it should not focus purely on the live event, and that documentation should not be read solely as a process of retrospection. These ideas create a radical new framework for thinking about the relationship between performance and its documentation—and how this relationship might shape ideas of what constitutes performance in the first place.

Covers receipts and expenditures of appropriations and other funds.

Theatre and Performance Design: A Reader in Scenography is an essential resource for those interested in the visual composition of performance and related scenographic practices. Theatre and performance studies, cultural theory, fine art, philosophy and the social sciences are brought together in one volume to examine the principle forces that inform understanding of theatre and performance design. The volume is organised thematically in five sections: looking, the experience of seeing space and place the designer: the scenographic bodies in space making meaning This major collection of key writings provides a much needed critical and contextual framework for the analysis of theatre and performance design. By locating this study within the broader field of scenography – the term increasingly used to describe a more integrated reading of performance – this unique anthology recognises the role played by all the elements of production in the creation of meaning. Contributors include Josef Svoboda, Richard Foreman, Roland Barthes, Oscar Schlemmer, Maurice Merleau-Ponty, Richard Schechner, Jonathan Crary, Elizabeth Wilson, Henri Lefebvre, Adolph Appia and Herbert Blau.

For a long time the techniques of solving linear optimization (LP) problems improved only marginally. Fifteen years ago, however, a revolutionary discovery changed everything. A new `golden age' for optimization started, which is continuing up to the current time. What is the cause of the excitement? Techniques of linear programming formed previously an isolated body of knowledge. Then suddenly a tunnel was built linking it with a rich and promising land, part of which was already cultivated, part of which was completely unexplored. These revolutionary new techniques are now applied to solve conic linear problems. This makes it possible to model and solve large classes of essentially nonlinear optimization problems as efficiently as LP problems. This volume gives an overview of the latest developments of such `High Performance Optimization Techniques'. The first part is a thorough treatment of interior point methods for semidefinite programming problems. The second part reviews today's most exciting research topics and results in the area of convex optimization. Audience: This volume is for graduate students and researchers who are interested in modern optimization techniques.

What makes art 'feminist art'? Although feminist artists do have a unique aesthetic, there can be no essential feminist aesthetic, argues Kathy Battista in this exciting new art history. Domesticity, the body, its traces and sexuality have become prominent themes in contemporary feminist practice but where did these preoccupations begin and how did they come to signify a particular type of art? Kathy Battista's (re-)engagement with the founding generation of female practitioners centres on 1970s London as the cultural hub from which a new art practice arose. Emphasising the importance of artists including Bobby Baker, Anne Bean, Catherine Elwes, Rose English, Alexis Hunter, Tina Keane, Hannah O'Shea, Kate Walker and Silvia Ziranek and examining works such as Mary Kelly's Post-Partum Document, Judy Clark's 1973 exhibition Issues, Carolee Schneemann's Meat Joy and Cosey Fanni Tutti's Prostitution, shown in 1976, Kathy Battista investigates some of the most controversial and provocative art from the era. This book not only deals with the 'famous' art events but includes analysis of lesser-known exhibitions and performances and explains why so much feminist art has been both marginalised in art history and grossly under-represented in institutional archives and collections.