Re: "Performance Art and  Photography"
i think i met you in Hull a few years ago. i seem to remember you in the hotel but certainly at the conference before anyway.
in terms of the 10th Annual you may be interested in my documentation online - you may have seen these pages already i don't know  (they do seem more extensive than anything else I've seen  - but you may know different). performance for photography (Japan + , 2001)

http://invisible.gq.nn/animals.htm 
http://www.foundry.tv/geronimo/try 
more light more power (London, 2000: urban context performance art programme)
http://www.foundry.tv/glasgow 
the novel, finnegans wake as performance (1993-2001)
http://invisible.gq.nu/index1.html 
these and other links also from
http://invisible.gq.nu/34col.htm 

I'm off to Siberia in a couple of weeks = + caught up sticking together film programme for there. but if you are interested to drop me a line i'd be happy to answer any questions.
[and to think a little more]

Ken Davidson

A little further

BIG TALKING HEADS CONFERENCE STYLE WITH ELECTRONIC EFFECTS

(As well as work in Hollywood in 2000 ... )

I created performance for camera(s) (C20 BYE BYE ETERNTITY EIGHT TIMEES ONE
LIKE I SAID) in 1999 (December 19) at SCALA London with London actors Linda Marlowe and Tam Dean Burn reading text (live from scripts) for two Cameras vision mixed live and the results (the actors faces electronically Processed and mixed live) projected behind them. (I operated the mixer and Cameras from a projection box). We did this piece again in Glasgow (Tron Theatre) on June 26 2002 – this time with Tam Dean Burn and Anne Marie Timoney and with VJ Simon Richardson (VJ VItascope) mixing images again from live camera feeds.
The text is online (revised also) at 

http://invisible.gq.nu/c20byebye.htm

A third performance of the work will be made across next two or three months (within a programme of "BABA KABARET" I am producing again at Tron (monthly September to December). This (3rd) time we will record it.

{{  In London the cameras were essentially static (one on Tam, one on Linda// both ECU headshots) although I could zoom and reframe from the projection box. In Glasgow one camera was to all intents and purposes locked off (+ I very occasionally reframed the shot //of Anne Marie == but again both ECU headshots throughout). Here, the second camera was operated by a professioal cameraman. Next time we use two cameramen. :)  }}

Also Boris, the English from your posting is a little unnatural and it
Is not easy to understand precisely the distinction you want to make:
* that photography is performance ?

Ken Davidson
+
one other relevant thing (maybe last thing here) In Glasgow (again) last year an artist Steven Skrynka  THE BARTERED RIDE made a project where he would give people a lift in his taxi (special cheap taxi from taxi shop) in return for a performance in the back.
All the performances in the taxi were recorded on DV. from cooking a curry in the back, to thousands of little coloured balls + children, and singers, elvis impersonators, people talking about difference between Glasgow and New York. et al.
The BBC commissioned a short documentary on the piece which was screened (in Scotland) in November 2001. I also performed in the back dressed as a surgeon with champagne, cigars, guns, a bloody face, and a Dracula mask + beautiful young Russian girl in nurse's costume (We kissed mostly on a journey out to a hill above the city, fire brigade and police came when somebody reported the pyrotechnics I'd brought with me).