Contextual Connections- Peter Richards- Pinhole performances

ok- so following a cross-course tutorial in which the link between my thoughts on linking photography and performance was questioned (which has meant that, rightly so in retrospect,now i have to really get on with considerations in a much more direct way what this connection means, what is this world in between? and how is there a purposeful link between the act of recording and/or process of image making/ engagement with photograph as a performative act in some way to start to make connected work and try to avoid mis-communication) i have started more looking back at the work of others', exploring one aspect of my proposed learning agreement for traditional photography. i must also get on with camera lucida:) i have been looking at whether anyone else had been exploring this with particular reference to pinhole photography and performance, and so peter richards popped up. i remembered having seen a copy of this work a few years ago. although lengthy the text describing his work on his website shows his whole playful process of staging long pinhole exposures in various locations and various engagements with participants.this work was written in a fantastic account linking with a photo booth art work in joshua sofaers essay, conflict of interest: performance as a spectator sport he writes; 'the camera is the performative sculptural mechanism which facilitates the performance. The giant cardboard obscura ........ [is] site (as the stage in theatre) and source (the text - the actors) of the work.' I need to come back to this text, examining its realtion to camera lucida. i should also consider how this work connects with the ideas explored in our frenchmottershead participaton project.