Surprising usages of a documentation model: On the notion of boundary objects and beyond

Cultural Heritage, Information Science, and the Creative Process

“…In the most critical perspective, documentation becomes an inherent part of the creative process. For choreographic works, the initial goal of documentation for future performance, carried out by Van Saaze and Dekker (2013), transformed into the creation of "boundary objects" xii , a term conceptualized by Star and Griesemer (1989) as "those scientific objects which both inhabit several intersecting social worlds . .…”

“…and satisfy the informational requirements of each of them" (p. 393). For Van Saaze and Dekker (2013), the model of the activity turned into a collaboration artefact among dancers, choreographer and technicians of the company. Another example is to be found in Anarchive (Lessard, 2009), a project focusing on creation in new media arts, where "past works are archived in a new creation that delves into the potential of new media to explore preservation interactively" (p. 316).…”

Multiplicity in the documentation of performance-based artworks: Displaying multi-media documentation in Rebecca Horn’sBody Sculpturesat Tate

“…Vivian van Saaze, focusing on installation art but with observations relevant to performance-based artworks, has explored the influence of documentation -or the lack of documentation -within conservation practices, especially around artworks which require some element of re-creation within their life in the museum: 'In the same manner as documentation may guide decision in conservation, also gaps in documentation or blind spots may influence practices' (van Saaze, 2013, p. 107). She explores instances within which the process of documentation, as much as the documents themselves, directly shape the existence of the artwork within the museum across time, an issue strongly resonant to the Body Sculptures case study in this article (van Saaze, 2013, p. 114;van Saaze and Dekker, 2013). Van Saaze, along with Renée van de Vall (2015) and Laurenson (2006), explore the ways in which the contemporary artwork might change across the course of its life in the museum; the authenticity of the artwork, therefore, is no longer necessarily fixed by the artist at the point of creation, but can be formed and reformed across time within the museum.…”