“Howtodothingswith…”ThesecondannualPracticeResearchsymposiumUniversityofSurreyWednesday20thJuly2016,9.30-18:00,IvyArtsCentre

TheUniversityofSurreyisproudtobehostingthesecondPracticeResearchsymposium,followingthesuccessoftheeventspearheadedbyDr.LauraCullÓMaoilearcalastyear.The symposium was conceived to provide a platform for a range of positions,presentations and performances on practice research. This year we are delighted tobroaden the scope of the event beyond theatre and dance to include practitioner-researchers inmusic, composition,media and creativewriting.We are keen to foster asupportive environment for researchers at all stages to share work in progress andpractical explorations,whether aspart of their researchprojectsordevised specificallyfortheevent.Thesymposiumwillalsoincludea'practicegallery'thatwillrunthroughoutthedayandwillshowvariousexamplesofinterdisciplinarypracticeorcreativeoutputs.

Programme

9:30-10:00Registration

10:00-10:10Welcome

10:10-10:50Howtodothingswith…TheFuture/IvyMainHouse

NikWakefield(RHUL/KingsCollegeLondon):“Three”,performance.

2

10:50-11:40Howtodothingswith…Establishments/IvyMainHouse

Dr. Rachel Hann (University of Surrey): “Disciplinary Beliefs: Ideologies of practice inuniversitiesandconservatoires”,provocation.

Gwilym Lawrence (University of Manchester): ”Walking Waywards: Itinerancy,ImprovisationandCreativityinSite-SpecificPerformance”,provocation.

Rachel Marsh (University of Surrey): “Targeting the Patron: Satire in campus fiction”,presentation.

11:40-12:00CoffeeBreak

12:00-13:00Howtodothingswith…Vigour/IvyStudio3

Dr.ShantelEhrenberg(UniversityofSurrey):“BarrenImages,FertileTerritory:PracticeExploration2”,performancelecture.

LauraBrera(UniversityofSurrey):“TheSubtleDanceoftheHealer”,performance.

Alison Gibb (RHUL) “What Duchamp Said, Even – Instruction for annotations a.”,performancelecture

13:00-14:00Lunch

14:00-14:40PaRGalleryfreewandertime(ThegallerywillopenthroughouttheentireeventandwillbelocatedinIvyDanceStudio,seeparticipantsbelow)

14:40-15:50Howtodothingswith…Scenography/IvyMainHouse

Vânia Gala (Kingston University): “Maliciously Missing: The Potential of the MissingPerformerinChoreography(studyII)”,performancelecture.

Xristina Penna (GSA, University of Surrey / University of Leeds): “Applications ofCognitiveScienceinScenographicReceptionandProcesses’:ScenographicContraptions”,presentation.ElenaAlekseeva (RHUL): “Music Composition and Sound Design for Media platforms(ScreendanceandVideogames)”,presentation.

3

15:50-16:10CoffeeBreak

16:10-17:00Howtodothingswith…Vision/IvyStudio2

YaronShyldkrot(UniversityofSurrey):“Campfire”,workinprogressperformance.

Michelle Man (University of Surrey): ”Forrest Lights: Collaborative Glimmerings inPerformanceMakingwithMediatedLight”,provocation.

17:00-18:00Howtodothingswith…Reflections/IvyStudio2

RoundtableWith: Prof.DeeHeddon (Deanof theScottishGraduateSchool forArts&Humanities, University of Glasgow),Dr. Lauren Redhead (Senior Lecturer inMusic &convenoroftheCentreforPractice-basedResearchintheArts,CanterburyChristChurchUniversity)andProf.RobinNelson(VisitingProfessor,UniversityofSurrey).

18:00Drinksreception

(Pictures:LauraBrera,TheSubtleDanceofTheHealer;NikWakefield,Three)

4

PaRGallery

JamesArmstrong(UniversityofSurrey):“SoundingoutNostalgia”,soundrecordings.

Juliet Chambers (GSA, University of Surrey): “Labanarium”, web resource demopresentation.

Prof.DavidFrohlich(UniversityofSurrey)andJustinMarshall(FalmouthUniversity):“Com-Cam”,mediadevicedemo.

AlisonGibb(RHUL):“Iamknot...a”,videoperformance.

RachelMarch(UniversityofSurrey):“TargetingthePatron”,writingsamples.

KatherynOwensandChrisGreen(UniversityofPlymouth):“24HoursspenttogetherinSilence”,poster.

JeevanRai(UniversityofSurrey):“Cortex”/”noplaceforthis”,musiccompositions.

Nik Wakefield (RHUL/Kings College London): “Political Participation For Dummies”,artefacts.

Sally-Shakti Willow (University of Westminster) and Joe Evans: “The UnfinishedDream”,Videoandbook.

Abstracts

Howtodothingswith…TheFuture

NikWakefield(RHUL/KingsCollegeLondon):“Three”,performance.

Threeis a solo work of practice as research thatperforms the time-specificity of thefuture. It isacreativeresponsetotheworkofHenriBergsonandJanezJanša;yet looksnot unlike some danceby Jérôme Bel and Xavier Le Roy. Through exhibitivechoreography, text and music, its dramaturgy is the act of attending the future whichnever becomes present. It actively looks for nothing and finds constant change, orevolution, especially in the theatre. As such it plays with order and indeterminacy,attempting todemonstrate thebeautyofnothingas thepassageof time. It is aworkofmaking,meetingandadapting.Biography

Nik Wakefield is an artist and writer who explores performances of temporality thatrelate art and life.HisPhD isATime-specificityofPerformance.Nikperformsacross theUK, USA and Europe and publishes in academic journals. Heworks at Royal Holloway,UniversityofLondonandKing’sCollege.

5

Howtodothingswith…Establishments

Dr. Rachel Hann (University of Surrey): “Disciplinary Beliefs: Ideologies of practice inuniversitiesandconservatoires”,provocation.

This provocation asks one question: do universities and conservatoires conceive thenotion of practice differently? I propose that one offers ameans of critiquing the livedknowledgeofanartworkorencounter, theother is focusedonaneconomicallydefinedprofessionalism.Toevidencethisclaim,Iarguethatthisschismisexposedinthedifferingrelationships to the academic discipline of theatre & performance. For universityorientated academics, thedisciplineoffers intellectual emancipation and a safeplace tocollectively grow our shared understanding of the subject, with the aim of arguing itssignificancetothewideracademyandsocietyatlarge.Theconservatoiretrainerseestheacademicdisciplineasdistant fromtheday todaypressuresof regularemployment,aswell as being unwelcoming due to barriers of language and the typical focus onexperimental practices. One group believes in the academic discipline, the other isconcerned that the academic study of practice displaces calls for ownership. It is,however, the arguments presented by the academic discipline that has enabledconservatoires to enter the university system. Arguments for embodied and livedknowledgeasbeingcentraltotheacademicstudyoftheatreandperformancehavebeenadopted by the conservatoires as a validation of established practices of conservatoiretraining.The commercialisationof thehigher educationenvironment in the lastdecadehasfurtherpromotedtheinfluenceoftheconservatoires,withstrongeconomicoutcomesforgraduateswithin6months.Whereascolleagues in theuniversitysectorhavehad toshapetheircurriculaaroundthesoftskillsofcriticalthinkingasenabledthroughpractice,the economically defined success of the conservatoirehas enabled a sustaineddistancefromtheseconcerns.Whiletheacademicdisciplineisconceivedasacollectivehome,theadvancedlevelofcritiqueanddebateatuniversitylevelservestodisempowerthosewhohavenotpreviouslyhadaccesstothetoolsofscholarlycritique.Thisdifferenceinbeliefarguably results in an ethos of rupture: which asks the question are these positionsantithetical,incompatible?Biography

Dr.RachelHannisaLecturerinScenographyattheUniversityofSurrey.Herresearchisfocusedonthematerialculturesofcostume,performancedesign,andarchitecture.Sheisa co-editor of a new Practice Research section for Studies in Theatre and Performance(firstissuedue2017),aswellasanAssociateEditor(reviews)forthenewjournalTheatreand Performance Design. In 2013, Rachel co-founded the biennial conference andexhibitionCriticalCostume,whichinformedaco-editedspecial issueofScene(Intellect)oncostumepractices.Racheliscurrentlyintheprocessofwritingamonographentitled‘Beyond Scenography’ for Routledge (due 2017). Since 2014, Rachel has been anExecutiveOfficerfortheTheatreandPerformanceResearchAssociation(TaPRA),havingpreviouslyco-convenedtheScenographyworkinggroup(2010-2013).Gwilym Lawrence (University of Manchester): ”Walking Waywards: Itinerancy,ImprovisationandCreativityinSite-SpecificPerformance”,provocation.

In recent years there has been a significant and stirring groundswell in practical anddiscursive exchangebetween various combinations of: performance studies, geography,

6

walking,siteandlandscape.Foraroundadecade,writersfromacrossthedisciplinessuchas Deirdre Heddon, Misha Myers, Carl Lavery, Mike Pearson, Miwon Kwon, HarrietHawkins,Tim Ingold, JohnWylie andNigelThrift, amongst others, havebeenexploringtheinterrelationbetweenourbodiesandtheirsurroundings,betweenartworksandthesitesinwhichtheyaremademanifestandbetweentheincreasinglyblurryanduntenabledistinctionbetweennatureandculture.Withinthiscontextanddrawinginparticularonthework of anthropologist Tim Ingold and his writings on cultural improvisation, thisprovocation will consider the ways in which itinerancy, wandering and waywardnessmight serve not just as practical tactics for making site-based performance, but morebroadly as vibrant metaphors for opening up our reading of creativity withinpractice/researchenvironments.Biography

Gwilym is currently working on an AHRC-funded practice-based PhD project at theUniversity of Manchester entitled Space and Spontaneity: an interdisciplinaryunderstandingofimprovisedperformance,siteandprocess.Heisalsoco-artisticdirectorofSheffield-basedtheatrecompanySadSiren,whoseexperimentalandplace-basedworkdrawsonandgrowsoutofthepeople,placesandstoriesaroundthem.Rachel Marsh (University of Surrey): “Targeting the Patron: Satire in campus fiction”,presentation.

Ascampusfictionusuallymockstheinstitutionofeducationandispredominatelywrittenby University faculty members, ProfessorMerritt Moseleyrhetorically asked in hiskeynote address at the ‘Scholars as Fictionists’ conference at the University of Gdansk,howcanauthorsofcampusfiction justifycriticisingtheverysystemthatsignstheirpaycheques?Thisquestionresonatedwithme,asthecreativewritingportionofmypractice-basedPhDisanovelthatsatiresHigherEducation.AsafundedDoctoralstudent,amIahypocritebytaking funds fromtheverysystemImock?Additionally,shouldIsatiriseasystem from within, when increasing fees, government policies, and budget cuts arethreateningtodismantleHigherEducationfromtheoutside?Withtheseveryrealthreatstothepost-secondaryeducationalsystem,isthecampusnovelstillappropriate?Forthispresentation,Iwilldiscussthesequestionsandmyattemptstoaddresstheminmythesisand in my creative writing practice.Biography

RachelMarshisanFASSStudentshipholderandDoctoralcandidateincreativewritingattheUniversityofSurrey.Theprimaryobjectiveofherthesisistoinvestigatethecreationofsatireasasocio-politicaldiscourse,andunderstandhowitsitsseparatelyfromgenre.RachelalsohasanMPhilfromtheUniversityofDundeeinliterature,anMLittincreativewriting from the University of St Andrews, and a BA in English from Louisiana StateUniversity. Rachel has beenpublished in literary anthologies, aswell as academic textsand as a journalist, and she is the Senior Editor for the upcoming Gothicanthology,TemporalDiscombobulations.SheteachesontheUniversityofSurreyseminar‘ThinkingLikeaWriter’andteachescreativewritingatPerthCollege.Shealsoblogsaboutbeingacreativewritinginstructoratwww.rachelmarsh.co.uk

7

Howtodothingswith…Vigour

Dr.ShantelEhrenberg(UniversityofSurrey):“BarrenImages,FertileTerritory:PracticeExploration2”,performancelecture.

A lecture-performance-presentation, in-process, centred on a new area of Shantel’sresearch,which is, broadly, the exploration and performance of female gender identityrelated to infertility. The key provocation of thework is: how dowomen diagnosed asinfertile deal with their emotional and bodily experiences and the ‘hard evidence’presentedtotheminmedicalcontexts?Theworkforthe2016festivalisadevelopmentof‘in/vestigating/fertility draft 1’ presented at the Performance as Research Festival atSurrey,July2015.Biography

ShantelEhrenberg isLecturer inDance&TheatreatSurrey.She isadancepractitionerand academic. For more about Shantel’s work, please visit:http://shantelehrenberg.weebly.comLauraBrera(UniversityofSurrey):“TheSubtleDanceoftheHealer”,performance.This Solo is part of a research that seeks to investigate if and how the use of Reikiinfluences the ‘Subtle body’ of a contemporary dancer during a live performance eventthusshowinghowthisaffect theaudience’sreceptionof theperformedpiece.The term‘Subtlebody’referstothepsycho-spiritualaspectsofacomplexsystemofenergeticfieldsthatsurroundthephysicalbody,assuchthesubtlebodyunderpinsthematrixofpsycho-physicalBeing,accordingtovariousnon-WesternculturalandspiritualpracticessuchasHinduism,Taoism,BuddhismandSufism,forexample.IrefertoReikiastheparticularkindofenergywithintheUsuisystemofNaturalHealingwhose founderwasMihaoUsui,born in Japan inApril1865 froma familyofHatamotoSamurai (high rankofSamurai).ThewordReiki isa compoundmade from“Rei”whichmeans“God’sWisdomortheHigherPower”and“Ki”whichis“lifeforceenergy”soReikimaybedefinedas “spirituallyguided life forceenergy”.Reiki is a gentle technique thatpromotes healing,within the field of complementarymedicine is under the category ofenergymedicineorbio-fieldtherapyandiswidelyusedinavarietyofsettings,includinghospitalsandclinics.Asawellexperienceddancer/choreographer,healerandmartialartist Ihavewitnessedfirst-handthepowerof transformationofenergies invariouscontextswhere theuseofbodilymovementsislinkedtoconsciousness.Thiswork’saimistoidentifythekeyelementsofastylethatresultsinafusionbetweenthemovementsofawesterntherapeuticmassageandAikido,withbodilymemoriesthatreferenceesotericstylesandpractices,usingReikitoaccesstheenergeticelementofthecorporealaspectoftheperformerbody.Biography

Laura is anartist-researcherand choreographer interested in theperceptionofwhat is“invisible”totheeyes,butrelevanttoourlifeespeciallyinanextra-ordinarysettingasinperformancearts.She holds anMA (hons) in Philosophy and a Postgraduate in Performance Innovationsthat led her to direct a pan-European dance company through which she intertwines

8

creative researchwith technologyand cognitive science, and is currently studying for aPhDinDanceatUniversityofSurrey.HerartistictrainingstartedwiththerigourofBalletguidedbyteachersfromtheVaganovaAcademyofSt.PetersburgandcontinuedwiththeexplorationofdifferentapproachestoperformingartaswellasthetrainingofaJapanesemartialart.ShehasworkedextensivelyasartistandchoreographerintheatresinEuropeandtheUK.Alongsideit,whilstworkingasmassagetherapist,becameMasterintheReikisystemofNaturalHealing.Alison Gibb (RHUL) “What Duchamp Said, Even – Instruction for annotations a.”,performancelectureIn1934,MarcelDuchampfirstpublishedundertheguiseofhisalterego,RroseSélavyTheBrideStrippedBarebyherBachelors,Even,TheGreenBox.Originally produced to accompany his major work, The Bride Stripped Bare by herBachelors, Even, The Large Glass (1915-23). The box contained 93 loose-leaf pages ofcollotype reproductions of notes, drawings, diagrams, paintings and prints on variouspapers innoparticularorder.Thesepagesareaverbalversionof theLargeGlass.TheyalsooperateasinstructionforassemblingtheLargeGlass,anddocumentthereoccurringconcepts and themes in Duchamp work, including his use of readymade objects, andlanguage.In1960Britishartist,RichardHamiltonandAmericanacademic,GeorgeHeardHamiltoncollaboratedwithDuchamptotranslatedtheGreenBoxintoahardcopybookinEnglishentitled,TheBrideStrippedBarebyherBachelorsEven:atypographicalversion.Myperformativelecturefocusesonthe ‘Annotations’producedbyDuchampandupheldbyRichardHamilton, as language systembywhich to develop a series of experimentalwritings,performance,textsandinstructions.Biography

Alison isapoet,artistandpractice-ledPhDresearcheratRoyalHolloway,UniversityofLondon. Her current research project focuses on visual arts practice as a basis forproducing experimental poetry. Alison’s work investigates language throughexperimental, explorations into creative processes and artistic methods of making art,poetryandperformance.Shehasperformedherworkatavarietyofconferences,readingseriesandartsevents,includingTheOtherRoom,POLYply,E:PoetryFestivalandBeyondText,Making&UnmakingText.In2013,AlisonwasresidentatTheBanffCentre,CanadaaspartoftheIn(ter)ventionsLiteraryArtsprogramme,whereshedevelopedsound-scorefor her collaborative poetry and dance project, Thus in the crossing. Her recentpublications include: Smile. Love. Itmight never happen, PoetryWales, Get Pretty. Girl,TheColonyLiteraryMagazineIreland&Iamher.e3amMagazine.HersoundcollageCD,Pomegranates InTheOak,wasproducedbyzimZalla in2012.Alisonhaspublishedtwopamphlets,ParallelToRedInChorus(2011)&SilentDiagrams(2013),withTheKnives,Forks and Spoons Press, Manchester. Pieces of POWER, poetry poster editions areforthcomingbyambergrispress,Autumn2016.

Howtodothingswith…Scenography

Vânia Gala (Kingston University): “Maliciously Missing: The Potential of the MissingPerformerinChoreography(studyII)”,performancelecture.

9

This performance-lecture will address the critical potential of disappearance inchoreography in the present time of high capitalism. In an era characterized by ourobsessionwithknowingeverythinginthemomentandthattradesonimmaterialgoods-flexible organizational forms, ideas, event creation, affects - intensive and unstoppablecommunication is encouraged. This paper will explore the potential of invisibility anddisappearance as fundamental ideas for choreography in the present time. Iwill arguethat our constant connection to the “now” through various devices has changed ourrelation to time. In the face of this; absence, the interruption of time are ways ofinterrupting thepresentsubjectivity. Iwilldescribe various strategiesof disappearanceinvestigated byme (from acts ofwithdrawal, camouflagewith environment, the use ofsound) and the consequent inter-medial potentialities of choreography emerging fromthese operations. The intersections of thesewithMassumi’s “part-subject” concept andwith present conditions of contemporary lifewill be addressed by analysing processesandconcepts thatcreated theshows“Lefttoyouowndevices“andotherdistinct scores.Thelectureconsidersthefollowing:What possible forms of resistance can choreography offer in a Post-Fordist world thatfeedsonephemeralforms(flexibleorganization,event-creation)?Whatinter-medialpotentialitiesmightemergefromactsofwithdrawaloftheperformer?Throughwhatvariousmethodscanchoreographyengagewitha critical absence?Whatare the challenges of approaching disappearancewithout eliminating disappearance orfallingintoa“representationofdisappearance”anditscriticalpotential?Biography

Vânia Gala is a Choreographer-researcher. Her creations toured in Angola, Portugal,Norway,Germany,Ireland,UKandRussia.Shewas:awarded“BestFemalePerformance”attheDublinFringe,partofAerowavesFestival(London)andLuandaTriennial(Angola).She performed at the African Pavilion - Venice Biennale (2007). Collaborations asperformerhave involvedLesBalletsC.deLaB.,ConstanzaMacrasandSoniaBoyce.Recentcreations include a Pan- European-commission performed in Croatia, Austria, SloveniaandHungary.SheholdsaMasters(Distinction)andisPhDcandidate(Kingston).Xristina Penna (GSA, University of Surrey / University of Leeds): “Applications ofCognitiveScienceinScenographicReceptionandProcesses’:ScenographicContraptions”,presentation.In my Practice as Research projects ‘Work Space I- a scenographic workshop onconsciousness’,‘WorkSpaceII-AttemptsonMargarita(multipledrafts)’and‘WorkSpaceIII-PhishingThingsTogether(thepredictivemind)’Iusecognitivetheoryimaginativelyasaspringboardfordevisingperformanceexperiments/events/workshops.Theaimisto bring into dialogue insights of cognitive studies related to the 4E radical frameworkand neuroscience research on consciousness with the ‘how’ of the workings ofscenographic performance practice, in order to produce scenographies of process andsimultaneity and to further analyse dynamic scenographic processes, operations andreception.Iwilluseexamplesfromtheabovepractice-ledinvestigations(WSI,WSIIandWSIII)inordertointroducetheuseof‘scenographiccontraptions’and‘contraption-environments’as amethod tool for encouraginga conversationbetween theaudience/participant andthework.Drawingfromradicalenactivecognitiveframeworkswhichshiftexistingviews

10

onthenotionoftheGibsonianaffordance(RietveltandKiverstein2014,BruinebergandRietvelt2014)thepredictivemind(Clark2015)andanenactiveapproachofthenotionofsenseandnon-sense(CappuccioandFroese2014)Iwillattempttoanswerthequestion:Howmight‘scenographiccontraptions’or‘contraptionenvironments’impactonhowtheaudienceestablishesacommongroundwithco-audiencesduringaperformance?Andinextendinwhatwaysmightweuseenactiveandradicalembodiedcognitiveneurosciencetoinvestigatetheaudiences’experienceofdynamic/scenographicsystems?Biography

XristinaPenna is aPhD researcher at theUniversity of Leeds (PCI), a performance anddesign practitioner, and anAssociate Tutor at theUniversity of Surrey (GSA). She usesPractice as Research to investigate the ‘how’ of theworkings of scenographic practice,operationsandreceptioninrelationtonotionsofembodiment,thesociallycollaborative,culturally situated and ecologically extended nature of human cognition. Her focus issituatedwithinthecurrentlandscapeofhybrid,‘immersive’,installationperformanceandlive-art.Shehascontributed to internationalacademicconferencesandsymposia in thefield of performance and cognition such as the AISB 2016 and 2015, IFTR 2015, ISTR2014,OISTAT.Herperformanceworkhasbeenpresentedinternationally:Currents2013,NewMexico,USA;TheBluecoat,Liverpool(2013);TheRoundHouse,London(2011);TheBenakiMuseum,Athens,Greece(2010).ElenaAlekseeva (RHUL): “Music Composition and Sound Design for Media platforms(ScreendanceandVideogames)”,presentation.Itismyargumentthatthefusionofcommercialelectronicdancemusic(EDM)withtonalharmonyandsynthesisofdiverseinstrumentation,isappliedtomediaplatforms,suchasscreendanceandvideogames,withthetechniquesoffilmmusiccomposition.Myusageofconservativemusicalstructurehowever,appearsasacombinationofdigitalandacousticsoundsofsuchvisionforthefuture.Furthermore,mypersonalmusicalvoicehascometobeassociatedwith tonal electronica,myworksas‘Loneliness’, ‘MovingAway’(withHugoCortes) and‘Cube’being considered partly responsible for fostering good feeling andstorytelling approach in compositionalmethodologies. In today’s grooving technologiesworld, the musical approach to the sound design in a digital environment would deexplained and showed in examples of thecompositional works. InterdisciplinarycollaborationandcreativeapproachwouldbedescribedaswellasatechnicalshowcaseofthesounddesignmiddlewareWwise.Biography

ElenaAlekseevaisacomposer.OriginallyfromRussia,shestartedhermusiccareerasachild. She studied classical piano at the Moscow College of Music named after M.M.Ippolitov-Ivanovand theMoscow InstituteofMusic. Shedidhermastersas in the IrishWorldAcademyofMusicandDance,UniversityofLimerick,Ireland.CurrentlyElenaisaPhDcandidateattheRoyalHolloway,UniversityofLondon.Herpractice-basedresearchisfocusingonthemusicandsounddesignformediaplatforms.

11

Howtodothingswith…Vision

YaronShyldkrot(UniversityofSurrey):“Campfire”,workinprogressperformance.

Campfire isaworkinprogressexploringthetensionbetweenthe individualandsharedaudience’sexperienceoccurringduringperformance in thedark.On theonehand,eachaudiencememberiswrappedinandbydarkness,beingisolated.Ontheotherhand,theperformanceattempts tohighlight the collectiveor communalexperience, to constantlyremindtheaudiencethatwhiletheycannotseeoneanother,othersaretheresomewhere.Following a week of practical exploration investigating the conditions of darkness,dramaturgies of uncertainty and the generation of atmosphere(s), Campfire is a firstiterationwhichinvitestheaudiencetoconsiderandexperiencebeingtogetherinthedarkandthepossibilitiesitbrings.

Biography

YaronShyldkrotisapractitioner-researcherintheearlystagesofaFASSfundedPracticeasResearchPhDat theUniversityof Surrey, exploringdramaturgiesofuncertaintyandtheatreinthedark.HeholdsanMAinAdvancedTheatrePractice(withdistinction)fromRCSSD. As a performance maker, Yaron works as a director, lighting designer anddramaturg and co-founded Fye and Foul, a theatre company exploring unique sonicexperiences,darknessandextremes.www.yaronshy.com

Michelle Man (University of Surrey): ”Forrest Lights: Collaborative Glimmerings inPerformanceMakingwithMediatedLight”,provocation.

Through this short paper I will be sharing some of the challenges and productivecollisionsthatarefuellingForrestLights,acurrentcollaborativepracticeresearchprojectthat brings together choreographer and performer Michelle Man and lighting designerandboardoperatorDaveForrest.Bothartistsworkwithinawiderangeofdance,theatreand site-specific contexts, and the prime factor that brings them together is theirfascinationforthereciprocalrelationshipsthatemergefromtheinteractionsoflightandthedancingbody.IntheForrestLightsproject,theirstartingpointwillbetoreversetheirhabitualcreativerolesinordertoprovokenewmethodsfordevising‘light-dance’workincollaboration.To date our collaborative relationship has developed fromworking together over fouryears on short-term projects,where restricted time to ‘play’with thematerial of light,protocolsandcreativeimperativeshaveforthemosthelduswithinourprescribedroles.Nevertheless,inherentinourworkisastrongsenseofoverlap,whereForrestthroughmysuggestions gives shape to light environments that are integral to my choreographicthinkingandmaking.Sensitizedresponsesandspatialattunementsarethenmadetothedanced work, to meet these lightscapes. As the processes of Forrest Lights develop,attentionwillbepaidtohowtheseoverlappingsshiftandbecomesitesforcreativeandproductiveex-changewithinourestablishedpremiseofartisticrolereversal.ByframingForrest Lights as a practice research project, we are setting ourselves new boundarieswithin which to affront challenges with a rigor that we hope will formulate freshquestionsaroundcollaborationandwaysofscoringdancefromlight.AsForrestLightswillbeworkingwithilluminationoperatedthroughpixelmapping,mypractice research will also ‘be in conversation with’ the dancers and their sensorial

12

experiencesinchoreographicprocessesmoldedbydigitallyprogrammedlighting.Inthemediated light environmentwewill exploreChris Salter’s posit that “[t]echnologydoessomething in and to theworldmodifying existing relations and constructing new onesbetween humans, tools, processes and the environment in which all are deeplyentangled.”(2010:xxxv).Biography

MichelleMan, choreographer, performer and pedagogue, currently lectures inDance atEdge Hill University, having spent twenty-two years living and developing her artisticcareerinSpain.Asafreelancepractitionershecontinuestochoreographinternationallyforcircus,theatreanddance.Recentprojectsincludedirectingalarge-scalecontemporarycircusshowwithaninternationalcastfortheSocialCircusOrganizationCresce-Vivir,RiodeJaneiro;thedevelopmentoftheSocialCircusProjectExplorandoinSantiagodeChile;performances at the Tate Liverpool of Imaginarium, co-choreographed with JamesHewisoninresponsetotheworkofBritishSurrealartistLeonoraCarrington.MichelleiscurrentlyaPhDcandidateinDanceattheUniversityofSurrey.www.michelle-man.com

Howtodothingswith…Reflections

Chair:Dr.RachelHann

Prof. Dee Heddon is Professor of Contemporary Performance at the University ofGlasgowand is foundingDeanof theScottishGraduateSchool forArts&Humanities, anationalorganisationwhichsupportsdoctoralresearchersacrossScotland.Theauthorofnumerous publications, including 'Devising Performance: A Critical History' (PalgraveMacmillan2005)and'AutobiographyandPerformance'(PalgraveMacmillan2008),Dee'smostrecentbook,co-editedwithDominicJohnson,paystestimonytotheworkofAdrianHowells('It'sAllAllowed:ThePerformancesofAdrianHowells',Intellect/LADA2016).Prof.RobinNelson.UntilrecentlyDirectorofResearchatRoyalCentralSchoolofSpeechand Drama (2010 - 2015), Robin remains an Emeritus Professor of ManchesterMetropolitanUniversitywhereheworked formany years. Currently, he is an associateprofessor at Surrey University. Twice a RAE/REF sub-panel member, he has himselfpublished widely on the performing arts and media. Recent books includePractice asResearchintheArts:Principles,Protocols,Pedagogies,Resistances(2013),StephenPoliakoffon Stage and Screen(2011), andMapping Intermediality in Performance(co-edited withS.Bay-Chengetal.)(2010).Dr. Lauren Redhead is a composer of experimental music, a performer of music fororganandelectronics,andamusicologistwhoseworkfocusesontheaestheticsandsocio-semiotics of music. She is Senior Lecturer in Music at Canterbury Christ ChurchUniversity,wheresheisalsotheco-directoroftheCentreforPracticeBasedResearchinthe Arts. Recently, she has been commissioned by the Transit Festival (Belgium),performedatourofperformancesinBerlinandScotland,releasedaCDonthesfzmusiclabel,andwrittenarticlesforContemporaryMusicReviewandaneditedcollection.

13

PaRGalleryJamesArmstrong(UniversityofSurrey):“SoundingoutNostalgia”,soundrecordings.

Sounding Out Nostalgia introduces a methodology created to explore personalconnections to environment and space during a musical performance. Extending onexisting experimental methods into the effects of acoustics on a musician’s playing,thisresearch investigates the psychological and emotional impact of the surroundingenvironment over a musician’s performance experience. This is achieved through aunique interdisciplinary approach between music performance studies andenvironmental psychology, wherein a participating musician’s playing can be closelyanalysed and theirresponse to the surrounding environment can be observed. A post-experiment interview with each participant is also included, in which personalexperiences in each performance space can berecorded. Current findings expectedlyindicate adjustments to playing and technique inresponse to acoustical characteristics,and following interviews, varyingrelationships to environment arerevealed. Mostnotably, participants have stated personal association, social norms, and a sense ofnostalgiahavebeenhighlyinfluentialoverperformanceexperience.Biography

James EdwardArmstrongis a second year PhD Music student at the University ofSurrey,researchingtheimpactofenvironmentandspaceonmusicalperformance.Jamesalso composes and performs improvised, guitar-based ambientmusic, and hasreleasedmusiconlabelssuchasAudioGourmet,TessellateRecordings,andSomehowRecords.Juliet Chambers (GSA, University of Surrey): “Labanarium”, web resource demopresentation.TheLabanariumis in its early development stages. It is an onlineResearch&ResourceCentrefortheMovementCommunityintandemwithanannualMovement&Danceeventat GSA, Surrey. It is an interactive networking site, much like social media wherebymemberscanself-organisegroups,collaborate,shareandpromotetheirworkandengagewiththewidermovementcommunityacrossgeographicalandinstitutionalborders.OneoftheaimsoftheprojectistobringvariousmovementcommunitiestogetherbothwithinSurrey/GSA and other institutions in the UK, Europe and the U.S concerned withmovement practice and pedagogy. TheLabanariumalready has participation andcontributionsfromhigh–profileindividualsandorganisationsandhasbeenwelcomedbypractitionersacrosstheUK,USandEuropelookingtoshareresearchandpracticeacrossthismultiandinterdisciplinaryfield.TheLabanariuminteractive website allows for teachers and researchers to share,promote and collaboratewithmembers of theMovement Community on aworld-widebasis,givingthemvisibility inthefieldandaccesstothecommunitynetworkwhichhaspotentialtoleadtocollaborationandfurtherresearchoutcomes.It is designed to be an inclusive project whereby practitioners and academics ofmovement convene to share knowledge, further research and collaborate leading topublication.

14

Biography

JulietChambers-Coe is a Graduate Laban CertifiedMovement Analyst, (GL-CMA, Laban)MA,BA(Hons).SheisaMovementDirector,aTeachingFellowattheGuildfordSchoolofActingandteacherofLabanstudiesatMountviewAcademyofTheatreArts,DramaStudioLondonandmorerecentlyguestlecturedatJiangnanUniversity,Shanghai.InSeptember2016JulietwillbeguestteachingattheUniversityofIllinois,ChicagoU.S.Sheiscurrentlydeveloping a new project theLabanarium,aweb-based network research and resourcecentre for the movement community, due to launch 2017. Professional MovementDirection includes the Young Vic Theatre; Theatre 503; Brighton Fringe Residencies;Channel 4; andmain stage productions at Rose Bruford College and E15Acting Schoolwhere she taught Laban for Actors for 9 years. Professional Acting work includesBBC’sDoctor Who;A View from the Bridge(UK National Tour);About Colin,(TriadTheatre) off Broadway, New York and a pop promo for Kirsty MacColl. Her doctoralresearch focuses on the spiritual underpinning of Laban’s theories and taxonomy ofhumanmovementandtheroletheyplayinConservatoiremovementtrainingofActors.Prof.DavidFrohlich(UniversityofSurrey)andJustinMarshall(FalmouthUniversity):“Com-Cam”,mediadevicedemo.Thejourneyfromadesignideatoaworkingprototypeorproductisalongone.Itusuallytakes place through a series of conceptual and physical steps, involving repeatedcomparisonsbetweenimaginedrequirementsandpossiblesolutionstoaproblem.Inthisposteranddemonstrationweshowsomeofthesestepstosolvetheproblemofprovidinga low cost viewer for group sharing of video content from a mobile phone. Thisrequirement arose in the context of the StoryBank project in rural India and theCommunityGeneratedMediaprojectinruralSouthAfrica,weretechnologywasdesignedtosupport thecreationandexchangeofaudiophotonarrativesonmobiledevices. ThedesignideawastousecheapCCTVtechnologytosimplyfilmthescreenofamobilephoneandrelay it tooldTVsobserved in the Indiancontext. To realize this ideawecreatedsevenprototypesofvaryingsophistication,exploringdifferentconfigurationsofcamera,microphoneandphonecradle.Theprocessofmakingtheseprototoypescanbeseenasaformofpractice-basedresearch in itsownright,generatingknowledgeofwhatworkedandwhatdidn’twork,andrevealingnewusesofthedeviceasavirtualwhiteboardandobjectprojector.Com-Camisnowapieceofopensourcehardwarewhichcommunitiescancopyandusefreelyfromtheinstructionshere:http://digitaleconomytoolkit.org/com-cam/Biographies

DavidFrohlichisDirectorofDigitalWorldResearchCentreattheUniversityofSurreyandProfessorofInteractionDesign.PriortojoiningDigitalWorld,Davidworkedfor14yearsasaseniorresearchscientistatHPLabs.HehasaPhDinpsychologyfromtheUniversityof Sheffield and post-doctoral training in Conversation Analysis from the University ofYork.HehasalsoheldvisitingpositionsattheRoyalCollegeofArt,andtheUniversitiesofYork, Manchester, Sydney (UTS) and Melbourne, and is founding editor of theinternationaljournalPersonalandUbiquitousComputing.

15

JustinMarshallisAssociateProfessorofDigitalCraftintheAutonomaticResearchgroupatFalmouthUniversity.Heisapractisingmakerandresearcherwithadiversetraininginarangeofvisualartanddesigndisciplines,includingaBAinFineArt,aMAinCeramicsand culminating in a PhD focused on the significance of digital tools in craftpractice. Justin is also Manager of theMakernow digital fabrication lab (FabLab) inFalmouth.

AlisonGibb(RHUL):“Iamknot...a”,videoperformance.

Based on the language and the performing of tie-knots, I am knot . . . a. is a videoperformance that explores the concepts of identity, gender and of POWER dressing, asprocessesofmakingandsitesforwritingexperimentalpoetry.RachelMarch(UniversityofSurrey):“TargetingthePatron”,writingsamples.

Satire seeks a balance between the real and the absurd, and as a creativewriting PhDstudentproducingaworkofsatire intheformofacampusnovel,mywritingmust findthisbalance.Emails,blogs,andsocialmediahavebecomeacommonplacewaytonetwork,shareideas,andsocialise.Therefore,atextwithoutreplicationofsocialmediawouldbe‘unreal’, so I have woven various forms of digital communication into my novel. Thishyperreality–whenjuxtaposedwithabsurdinformationconveyedineachsocialmediaupdate, email, and blog post – helps to convey the satiric nature of the novel. The artobject for this gallery installation is a sample of the socialmedia included in the novelaspectofmyPhD.

KatherynOwensandChrisGreen(UniversityofPlymouth):“24HoursspenttogetherinSilence”,poster.

KatherynOwensandChrisGreenaretwoartists/researcherswhohaverecentlybeganafullycollaborativepractice-as-researchPhDatPlymouthUniversity.Theprojectwiththeworking title ‘collaboration as an archival source of privately sited performance of themind’issupervisedby,Dr.LeeMiller(directorofstudies)andProf.RobertaMockandDr.VictorRamirezdeGuevara(assecondandthirdsupervisors).The project examines the philosophy of collaboration that extends beyond a politics ofworkingtogether,toincorporatecollaborationofthedifferentialselvesandcollaborationin the everyday.We are developing a practice of ‘performance of themind’ in order tohelp us explore these concepts. We are also challenging the notion of knowledgeproductionasasolitaryactandinsteadarguingthatallknowledgeisproducedasaresultofcollaboration.Often our work is privately sited, with no invited audience. Recently we have beenconductinganumberofexperimentsinordertoexploreourcollaborativerelationship.Inthis case we spent 24 hours together in silence, the poster is a dissemination of theknowledge produced through that experience. It is through an interaction with theperformance writing that an audience can interact with the work and it is here that‘performanceofthemind’iscreated.

16

JeevanRai(UniversityofSurrey):“Cortex”/”noplaceforthis”,musiccompositions.

CortexSince headphone-listening became a mainstream means of music consumption,approximateleft-rightspectralevennessinstereorecordingshasbeenanapparentstatusquo since.Cortexaims to embrace sustained stereo and spectral asymmetry as a validaestheticinitsownright.The73-minutebinauralassaultofminimalglitchisdesignedtoput the listener’s internal psychoacoustic sphere through a series of disorienting,irregular spatial and spectral shifts. The length of this work is core to its effect: acontinuous work comprised of twenty-seven blocks within which spectral/spatialgenomes evolve gradually, but between which occur extreme schisms. As each sectionunfolds,thelistener’sbuilt-inauralandpsychoacoustic‘compressors’adapttoeventuallyaccepttheskewedspaceasanorm.Thiscompoundscontrastwiththebeginningofeachnewsection,‘resetting’thelistenerinanewlyunfamiliarsoundbox.noplaceforthisAreflectiononthegradualcurtailmentofartspaces/venuesunderausterityBritain,theincreasingmarketisationofthefewthatremain,andconsequentlythetendencyforeven‘progressive’ spaces/venues to be setting agendas not according to the movement ofcontemporaryartbutpreconceivedmodelsofartascommodity,noplaceforthisisapart-generativeambientdurationalworkwhichwillneverbeheardinthefullforminwhichitwas originally conceived (quadrophonic durational performance). Instead, everyperformance will be a compromise upon the composer’s design: fragments of it arepresentedinsettingsthatonlyprovidereduceddimensionsonlistening.Here,onlyafixedloop of excerpts of one performance are presented in stereo (i.e. half the spatialinformation). Later this year, a split durational performancewill be live-broadcast as aseriesofone-hourlo-fiMP3-streamsoversevenconsecutivenights.Biography

Jeevan Raiis a laptop-composer/improviser and sound artist focusing on experientialgrain and its phenomenological relationship with textures of environment, acousmaticsurfaces, the creative ecology of electronicism and (post)digital ‘liveness’. He hascollaboratedwithNotes Inégales (PeterWiegold,MartinButler),HuwWatkins,MelaniePappenheim, Max Baillie, and Snowpoet, with performances at the National PortraitGallery, St John Sessions LC, GreatStBarts, BarbicanPIT, Guildford InternationalMusicfestival, and Vibe. He is completing fully-funded doctoral research at Surrey, where heteachesBMus/MMuscoursesincomposition,computermusicandscreenmusic.Nik Wakefield (RHUL/Kings College London): “Political Participation For Dummies”,artefacts.

Political Participation For Dummiesby Nik Wakefield (2013 - ongoing)creates theconditions forpleasurableinclusiveness through direct politicalcommunicationfromwithin the safety of the gallery. In this art, nothing is real and being a dummy isencouraged. The signs are a way to rehearse the political. Contemporary politics arecomplicated, and citizenship becomesmore andmoremystifiedwith every supposedlydemocraticeventandnewsheadline.Thesignsarepartofanongoingcollectionofworksthat playfully explore the structures of democracy. It beginswith a simple protest sign

17

thatreads‘Don’tbemean’,whichisatoncedisarminginitsnaivetyandalarminglypotentinitstruthfulness.Eachsignminimisestheformoftheslogantoanincompletecarrierofinformation.InthiswaytheworkspeakstothepracticesofMladenStilinovićaswellastheneonsofTimEtchellsandthepaintingof JonathanMeese.Overall, theworkaimstoenable a basic and pure engagement with politics that is uncorrupted by apatheticdisenchantment.Havefun.Pleasefeelfreetotouchtheartworksaswellastakephotosofandwiththem.

Sally-Shakti Willow (University of Westminster) and Joe Evans: “The UnfinishedDream”,Videoandbook.The Unfinished Dream explores the utopian function of art and literature through therelationshipbetweenwordandsilence, self andother. It ispresentedbothasanartistbookandasashortloopingfilm. ThetitletakesaphrasefromErnstBloch,inwhichhedescribestheutopianpoeticasacontinuallydialecticalprocessofrevelationandrenewal,and carries connotations of Theresa Hak Kyung Cha’s desire to be ‘the dream of theaudience’ in her performance piece A Ble Wail (1975). To become ‘the dream of theaudience’ is forChatomakeherself,astheartist, theobjectoftheaudience’ssubjectiveexperience;thussimultaneouslyoccupyingandevacuatingthesubjectivespaceofartisticorauthorialintentionandenablingthatspacetobebothoccupiedandevacuatedinturnbythesubjectiveexperienceoftheaudience.Theartistbookisanexperimentinextremeformatting to highlight the interrelationship betweenword and silence, self and other,writerandreaderthatisenabledviathesharedspaceofthetextobject.Inthisway,andthroughtheuseofexperimentalsyntaxandpunctuation,aspaceisofferedfortheactiveinterpretation of the reading subject in the collaborative process of meaning co-construction.The Unfinished Dream is a collaborative project between PhD Researcher Sally-ShaktiWillowandherpartnerJoeEvans.Biography

Sally-Shakti Willow is researching for a practice-based PhD in utopian poetics andexperimental writing at the University of Westminster, where she also does someteaching and works as a research assistant on www.thecontemporarysmallpress.com.She'sinterestedinwaysthatliteraturecanembodyakindofutopianconsciousness,andexperimentswiththisinherownwriting,oftenwithsurprisingresults.SallyperformsherpoetryatvenuesandeventsinEastbourneandBrighton,andmakesartistbookswithherpartnerJoe.TheircollaborativecollectionTheUnfinishedDreamwillfeatureaspartoftheBrighton Festival at Phoenix Brighton in May 2016.sallyshaktiwillow.wordpress.com/@willowwriting