12244 research outputs found
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Very clear instructions (2018) [REF2021 collection]
No full textVery Clear Instructions is a performance rooted in a distillation of everyday gestures and routine. The performance grew out of an intensive sequence of improvisatory workshops, forming a true conversation between the visual art world of John Wood and Paul Harrison and that of the dance corps of Ballet BC.
The performance was held Off-site at The Polygon Gallery, North Vancouver on Friday, April 20, 2018 and was a collaboration between artists John Wood and Paul Harrison, Ballet BC and The Contemporary Art Gallery, in partnership with The Polygon Gallery.
Wood and Harrison have long been concerned with the body, characteristically employing a vocabulary that connects into the spatial concerns and material world of choreography and contemporary dance. They engage with attributes such as trust, cause and effect, action and reaction, and the physical arena and dimensions in which movement and gesture occurs with characteristic observations surrounding the human condition.
This performance is structured as ten episodes such as “Falling”, “Right angles” or “Lean”, and combines much of their ongoing preoccupations with a keen delight, humour and reflection on human endeavour. The familiar is made charmingly and compellingly strange, altering our perceptions as we move through the world.
This collection contains evidence of the output (videos of the performance) and contextualising information, including notes and rehearsals relating to the creation of the artwork
5100:Pentagon (2014, 2017) [REF2021 collection]
No full textA ritualistic flash mob performance that reinterprets a moment in history, 5100:Pentagon explores modes of memorialisation and the potential of group subjectivity to challenge socio-political hierarchies.
This Collection comprises a multi-component output with contextualising information, evidencing the flash mob performance events at the 10th Gwangju Biennale, Gwangju, South Korea in 2014, and the Block Universe Performance Festival, Royal Academy, London, which took place 4th June 2017.
Contextualising information includes a 300 word statement, research timeline, and research questions, as well as documentation of the methods and processes involved in the research
Let us dance (2014-2019) [REF2021 collection]
No full textLet Us Dance is a flash mob performance created in collaboration with young female street dancers, questioning notions of authorship in art, and the potential of unregulated collective engagement to challenge cultural and socio political hierarchies.
This Collection comprises a multi-component output with contextualising information, evidencing the three collaborative flash mob performances of Let Us Dance at Spectrum Spectrum, Plateau Museum, Seoul, South Korea, July 24th - October 12th 2014; Art Paris 2016, Grand Palais, Paris, 31st March, 1st & 2nd April 2016; and Arnolfini, Bristol, UK, 15th September - 15th December 2019.
Contextualising information includes a 300 word statement, research timeline, research questions, and documentation of methods and processes, including rehearsals in Seoul and Paris
Plastic Vanitas and Amani Vanitas (2016-2019) [REF2021 collection]
No full textEmerging from residencies at the museum of Design in Plastics and Amani, an abandoned post colonial science research centre in Tanzania, the Vanitas works question what constitutes an archive and how responses to it might forge new connections, shedding light on our anthropological heritage, sustainability and our relationship to the environment.
This Collection comprises a multi-component output with contextualising information, evidencing the following works and their exhibitions in the items below: Plastic Vanitas, a re-presentation of the plastics collection as Vanitas still-lifes, a total of 49 individually framed photographs exhibited as an evolved museum painting collection; and Amani Vanitas, a series of photoworks, videos and stereoscopic photographs where the imagery of the objects and situations were left as depicted and unarranged. Contextualising information includes a 300 word statement, research timeline, and research questions
Outliers (2018-2019) [REF2021 collection]
No full textOutliers is a research project carried out by Rosie Snell, Senior Lecturer in Fine Art at Bath Spa University. The research is articulated through the solo exhibition held at No 20 Arts in London. It contained a body of 26 works including paintings, drawings and photographs that were the culmination of a research trip to Greenland. This body of work aimed to explore how the medium of paint could be manipulated to not only represent the dramatic and transient nature of the icescapes of Greenland but to also emulate and explore the properties of snow and ice themselves.
The Collection comprises a single-component output with contextualising information. The central output, the Outliers solo exhibition at No. 20 Arts, London, from 23/11/18 – 06/01/19, is evidenced by the inclusion of images of the works shown in the solo exhibition, installation images from the exhibition, the exhibition catalogue for the show, as well as images from group exhibitions as contextualising information, a 300 word statement, and a research timeline. Additional text from a blog authored by Rosie Snell regarding the work is included for further context
Developing a vigilant musical practice
Get PDFThis thesis, in the field of music composition and performance practice, presents the results of a practice-research project into performance validity and notational reliability in vigilant musical practice.
From my initial inquiry into what constitutes a valid performance, three ground principles were observed: non-normative cognitive states (how the performer thinks); embodied multimodal imagery across a full effort scale (the images a performer draws with their presence); and inter-personal communication (the performer’s readiness to react to the audience’s presence) and the performance environment. These three interconnected skills form what I come to call 'vigilant performance practice'. This thesis aims to define a conceptual framework for vigilant music practice, at the stages of composition, of rehearsal, and of performance.
In support of vigilant practice, a set of developmental tools and activities were constructed that promote each of the three vigilance skills. These tools and activities are developed in practice in a sequence of sixty-four scores entitled "Games for Musicians and Non-Musicians". This workbook promotes the development of vigilance skills in the context of improvised music performance in groups. "Games for Musicians and Non-Musicians" was rehearsed and performed publicly in several occasions. Reports of those events are presented here.
Vigilant performance practice has the potential to be of use in music education and professional training, with different age groups (including children), as well as in other types of performance practice. It may be of use outside the performance environment altogether, in personal or community development
Formal Legacies (2016, 2017) [REF2021 collection]
No full textThis Collection documents a multi-component creative practice Design output with contextualising information.
Formal Legacies seeks to re-examine the past of Shaker furniture through the digital present, via furniture making and photography, as a proxy lens for examining its own European and American antecedence and its formal legacies.
The outputs that form the Collection are the Shaker Settee (2016) and the Occasional Table (2017). There is documentation of their construction and dissemination, and contextualising information in the form of a 300-word statement, Research Timeline and Research Questions
Tarrare (2015-2017) [REF2021 collection]
No full textTarrare is a creative practice based research project initiated by Director and Senior Lecturer Sita Calvert-Ennals, based upon the research material developed by Dr. Laura Purcell-Gates, which uses primary medical research and archive material to explore the true story of 18th-century French medical anomaly, Tarrare. The Depraved Appetite of Tarrare the Freak is the original puppet chamber opera, which became the final output of the research, and toured the UK in 2015 and again in 2017, and was funded by the Wellcome Trust and Arts Council England. The work investigated the adaptation of Stanislavski’s naturalistic approach to acting as a methodology to develop puppet theatre into an engaged visceral experience for an audience.
This collection comprises a single-component output with contextualsing information. Evidence of the central output, the directed performance of The Depraved Appetite of Tarrare the Freak, is provided in the form of a full performance video. Contextualising information includes a 300-word statement, research timeline, research questions, documentation of performances and rehearsals in photos and further video, promotional materials, storyboarding materials and and a production schedule
it is impossible for everyone to achieve everything they want (2018) [REF2021 collection]
No full textit is impossible for everyone to achieve everything they want (2018) asks the players to construct sequences of sounds, responding to what they hear preceding players do. Players have control over their own actions, but generally not those of others. They can influence some behaviours but not control the group totally, although forming allegiances might enable more control to be exerted on the group. The piece uses a set of artificially constructed or presented sounds, including text-to-speech computer voices, recordings of real world sounds, algorithmically generated music, synthesisers, radio, dictaphones, and spoken commands delivered over megaphones. The title is taken from Larry Diamond's text 'What is Democracy?' (2004).
This Collection comprises a single-component output with contextualising information, evidencing the output in the form of a music score and video recording of a performance. Contextualising materials include a 300-word statement, research timeline, research questions, and documentation of a conference presentation entitled 'Heuristic models for decision making in rule-based compositions'
you are required to split your attention between multiple sources of information (2018) [REF2021 collection]
No full textyou are required to split your attention between multiple sources of information (2018) is a musical score that presents the players with a stream of auditory cues to which they must respond with specified sounds. The cues regularly switch between different types and are directed at different sub-groups within the two ensembles, requiring the players to think and act very quickly. The piece explores cognitive load and the way we remember associations between cues and responses.
This Collection comprises a single-component output with contextualising information, evidencing the output in the form of a music score and video recording of a performance. Contextualising materials include a 300-word statement, research timeline, research questions, and a book chapter entitled 'Group behaviours as music', published in Together in music: participation, co-ordination, and creativity in ensembles, Oxford University Press