UPDATE 29/11/2016 – Dr Lyn Robinson has kindly cross-posted this piece to documentingperformane.com and provided a great introduction to the concepts of Documentation and what we mean by documents, please make sure you check it out here.
On 31st October #citylis hosted an fascinating event called The Future of Documents: Documenting Performance the one day interdisciplinary symposium was intended to “bring together scholars, researchers, artists and practitioners from the disciplines of library & information science and theatre & performance, to share and consider respective conceptual views of documents, and the processes and procedures associated with documentation“1
The event was ‘sold out‘ with attendees from a wide range of performance organisations as well as library and information scientists and a contingent of interested #citylis students, including myself, in the capacity of both technical support and attendee.
The event was organised by Dr Lyn Robinson and Joseph Dunne of Rose Bruford College, born out their mutual interest in the documentation of participatory experience, performance and partially-immersive, or complex documents, described by Robinson as:
“provide the reader (player, participant, viewer) with a compelling and realistic world, but one which is delineated to varying extents from actual reality. The reader knows that they, and the document with which they are engaging, are a part of the real world (for want of a better phrase). This is in contrast to the experience delivered by fully immersive-document (as yet theoretical) where the reader cannot distinguish between the unreality and reality, and the interface between human and computer is invisible and frictionless.”2
The day was arranged into 3 acts or sessions. In the first session, Documents and Documentation, the focus was on how memory institutions document performance. Following on from that Exploring Performance as a Document looked at how we can document non-traditional aspects of performance. The third and final act, Beyond the Boundaries, considered what should be documented from newer forms of performance.
Performance Documents or Performance Documentation?
Following a warm welcome and introduction from Lyn and Joseph, the first session featured an excellent talk by Toni Sant, titled The Future of Documenting Performance: Plenty of Performance Documents but Not Enough Performance Documentation. Sant has a background is in Performance Studies, (holding an MA and PhD from New York University) has also lectured on performance and digital technology, in Malta, New York, most recently he has worked in the United Kingdom as Reader in Digital Curation at the University of Hull.
In his talk Sant spoke about Documentation from a Library and Information Science perspective and referred to the work of Suzanne Briet, whose manifesto on Documentation Qu’est-ce que la documentation?, was highly influential to a number of LIS thinkers, particularly Michael Buckland, whilst earning her the nickname Madame Documentation. In talking about Performance Documentation Sant used Briet’s definition of a document as ‘evidence in support of fact’ 3 and:
“any physical or symbolic sign, preserved or recorded, intended to represent, to reconstruct, or to demonstrate a physical or conceptual phenomenon”
As Buckland states, in his article What is a “document?”the implication of Briet’s work is that Documentation should not concerned with texts, but access to evidence.3 Sant champions Briet’s work on documentation over those of performance studies scholars such as Peggy Phelan, who claimed in her writings that performance cannot be documented:
“Performance’s only life is in the present. Performance cannot be saved, recorded, documented, or otherwise participate in the circulation of representations: once it does so it becomes something other than performance”4
Sant went on to argue that documentation of performance is often an afterthought and that there is a tendency to mistake documents for documentation. Documentation he said is the process of storing and organizing documents (physical and digital) in a systematic way to ensure long-term access.
— Benjamin Monk (@BenMonk) October 31, 2016
Sant’s talk was a call to action, saying “forget Peggy Phelan” and arguing there was a need to focus less on documents and more on Documentation.
Connaissez-vous Suzanne Briet?
Renée-Marie-Hélène-Suzanne Briet was born in Ardennes, 1 February 1894, but grew up in Paris. She was part of a generation of women who would come of age in the wake of the First World War. After spending time as a teacher, Briet began her career in Librarianship, at the Bibliothèque National in 1924, and would not only bear witness to but also influence the development of the Library profession in France as a result of its convergence with the field of Documentation. In his article Suzanne Briet: An Appreciation Ronald E. Day claims that Briet’s vision of documentation and documentation agencies:
“…constituted a revision of librarianship and a radical redefinition of what we consider to be documents.” 5
Recognising the importance of the work of the staff in the national library, Briet wrote that it was the duty of librarians “to conserve, to catalog, to make [materials] accessible on the one hand; to orient and instruct on the other.“6
Her time at the BNF coincided with a great see of technological change, the year of her appointment (1924) saw the electrification of the 17th century Richelieu building, she described the effect of this writing:
“I attended the birth of electricity at the BN. . . . During winter season, and under cloudy skies, all work was impossible in the reading rooms and offices after three in the afternoon. . . . It was an unforgettable spectacle to see the green lamps burst into flower on the tables”7
Administrator Pierre-René Roland-Marcel’s efforts to modernize the services and structure of the BNF led to the creation of the Office of Documentation. In 1928 after remarking that the already ‘overburdened’ staff were struggling to answer written requests for information from the office, as it disrupted their normal activity flow, Briet was assigned responsibility for coordinating all such requests, assigning them to qualified Librarians or forwarding them onto the Office of Documentation, as necessary.8
In 1927 Briet was assigned the task of compiling a directory of special collections held across major French Libraries. At this time she was influenced by the Institute of Intellectual Co-operation (IIC) of the League of Nations, which made a number of recommendations regarding the establishment of national information centres in national libraries. According to Naack these recommendations included:
(1) each national library establish a “national information center” where researchers could find out in which library or special collection the printed materials or documentation they needed would be located; (2) that the national information center be adequately funded and provided with card catalogues, printed bibliographies, biographical sources, union catalogues and directories of special collections throughout the country; (3) that these national centers be in close contact with one another in order to answer questions about resources within their home country and to centralize researchers’ requests for information that would need to be answered abroad.9
Over the next two years Roland-Marcel and Briet laid the foundations for such a centre at the BNF, and developed plans for a Centre d’Orientation that would respond to requests for information from French and international researchers. From 1934 to 1954 Briet was in charge of the Salles des Catalogues et des Bibliographies, more commonly known today as Salle X.
Briet alongside chemist Jean Gérard was responsible for co-founding the Union Française des Organismes de Documentation (UFOD) in 1931, the french equivalent of ASLIB or the American Documentation Institution. Soon after she was tasked with surveying documentation centers across the country the results of which were published in a 1935 directory (Répertoire des centres de documentation en France), which identified n 1937 she attended the World Congress of Universal Documentation, in Paris, alongside other notable figures such as Paul Otlet, Henri De La Fontaine and H.G. Wells, the latter of which gave a lecture in which he argued that his concept of the ‘world-brain‘(a form of world encylopaedia) was a precursor for the concepts under discussion at the conference.10
In 1950 Briet became the founding director of studies for the l’Institut National des Techniques de la Documentation, one of the oldest Library schools in france when the training programme of the UFOD was formally adopted by the prestigious Conservatoire Nationale des Arts et Metiers. Briet herself was closely involved with the curriculum including as teacher. The programme was spread over two years and included:
“…included a general introduction to selection, acquisitions, cataloging, classification, indexing, diffusion, exploitation, and reproduction of documents. The second year focused on research and on documentation in the specialized fields, including the social sciences and economics as well as science and technology.”11
Following on from her interest in ‘professional education’, Briet was awarded a Fulbright grant to visit the United States from 1951 – 52, and whilst there she continued her survey of professional education. According to Maack, she also sought to understand the meaning of ‘reference work’, with of focus on technique rather than technology and on users and reference services, rather than information retrieval.12
In 1954 at the age of 60, she took early retirement to pursue a 2nd career, as a historian, studying Rimbaud, Rimbaud’s mother and Jean, Comte de Montdejeux. When her memoirs, were published, in 1976, she arranged them in alphabetical order, dispending with a chronological order in favour of presenting her recollections under key words, described by Maack as ‘idiosyncratic’.13
Briet died in Boulogne at the age of 95. When looking reflecting back upon her life and career she expressed the following as summary:
“At the age of twenty, I had as my motto: ‘To weep perhaps, but never to hate.’ At forty it was: ‘To serve.’ At eighty it could be: ‘To return to the Spirit’ “(l’Esprit) (1976, p.30).
Pour Briet Qu’est-ce que la documentation?
Briet’s treatise on documentation was published in 1951 by EDIT, the publishing arm of the UFOD, was not some lengthy treatise, but rather a slim volume stretching to around 37 pages long. It largely went unnoticed outside of France until the publication of Michael Buckland’s What is a Document? in 1997.
It begins with the definition of a document, not in terms of material object’s such as the book that Paul Otlet, favoured, but by declaring, “Un document est une preuve à l’appui d’un fait” “A document is evidence in support of a fact.” She then provides a more detailed definition claiming that a document is:
“any concrete or symbolic indexical sign[indice], preserved or recorded towards the ends of representing, of reconstituting, or of proving a physical or intellectual phenomenon.”14
Briet’s definition, dispenses with the notion of tieing documents to a physical format and instead focuses on a wider definition of documents, giving an example as follows:
“Is a star a document? Is a pebble rolled by a torrent a document? Is a living animal a document? No. But the photographs and the catalogues of stars, the stones in a museum of mineralogy , and the animals that are cataloged and shown in a zoo, are documents.”15
Briet’s explanation of documents is that objects can be documents when placed into a system such as a taxonomy, catalogue, or indice. Most famously she claims that even an Antelope could be a document, in the circumstance of it being a newly discovered species placed inside a botanical garden:
“Let us admire the documentary fertility of a simple originary fact: for example, an antelope of a new kind has been encountered in Africa by an explorer who has succeeded in capturing an individual that is then brought back to Europe for our Botanical Garden [Jardin de Plantes]. A press release makes the event known by newspaper, by radio, and by newsreels. The discovery becomes the topic of an announcement at the Academy of Sciences. A professor of the Museum discusses it in his courses.The living animal is placed in a cage and cataloged (zoological garden). Once it is dead, it will be stuffed and preserved (in the Musuem). It is loaned to an Exposition. It is played on a soundtrack at the cinema. Its voice recorded on a disk. The first monograph serves to establish part of a treatise with plates, then a special encyclopedia(zoological), then general encyclopedia. The works are cataloged in a Library, after having been announced at publication…The documents that relate to this event are the object of scientific classifying (fauna) and of an ideologic [idéologique] classifying (classification). Their ultimate conservation and utilization are determined by some general techniques and by methods that apply to all documents-methods that are studied in national association and international Congresses.”16
Lastly she argues “The cataloged antelope is an initial and the other documents are secondary or derived.” By this reasoning objects such as paintings, sculpture, photographs and films are documents, and even a person being studied perhaps for scientific, medical or anthropological reasons could be described as a document. Michael Buckland, in his article about Briet’s definition argues that although she doesn’t make her rules explicit the following can be inferred about defining documents:
Briet’s rules for determining when an object has become a document are not made clear. We infer, however, from her discussion that:
1. There is materiality: Physical objects and physical signs only;
2. There is intentionality: It is intended that the object be treated as evidence;
3. The objects have to be processed: They have to be made into documents; and, we think,
4. There is a phenomenological position: The object is perceived to be a document.
This situation is reminiscent of discussions of how an image is made art by framing it as art. Did Briet mean that just as “art” is made art by “framing” (i.e. treating) it as art, so an object becomes a “document” when it is treated as a document, i.e. as a physical or symbolic sign, preserved or recorded, intended to represent, to reconstruct, or to demonstrate a physical or conceptual phenomenon?17
Returning to performance and performance documentation, we must ask what can Briet’s rules and Buckland’s interpretation of them tell us about how we document performance? Taking the rules as defined above the performance itself is not a document, any more than a wild antelope running around the plains of Africa, but writings, photographs, sound recordings and so forth of the performance can be considered documents. And these documents can, it could be said, in the spirit of Briet’s original assertion, be considered as the “evidence in support of fact” that the performance exists or took place in that they are “intended to represent, to reconstruct, or to demonstrate a physical or conceptual phenomenon”.
– Fin –
- Robinson, L. (2016 )Documenting Performance: the backstory.
- Buckland, M.K. (1997)”What Is a “Document”?”, Journal of the American Society for Information Science 48(9) pp. 804-809.
- Phelan, P. (2003) Unmarked : The Politics of Performance (1), Routledge, Florence, US. Available from: ProQuest ebrary. p.146
- Day, R, E. (2006) Suzanne Briet: An Appreciation. Bulletin December 2006/ January 2007
- Maack, M. N. (2004) The Lady and the Antelope: Suzanne Briet’s Contribution to the French Documentation Movement. Library Trends 52(4): 719-747
- Briet 1976:66 in Maack 2004
- Briet, S. 1976 l’Esprit 1976, p.30 In Maack 2004
- Briet, S 1951 p.10 in Briet, S., Day, R. E., Martinet, L., & Anghelescu, H., G., B. (2006). What is documentation? : English translation of the classic French text. Scarecrow Press.
- Buckland, M.K. (1997)”What Is a “Document”?”, Journal of the American Society for Information Science 48(9) pp. 804-809.