12244 research outputs found
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Displaced/Displayed - surviving dance in exile
No full textThis chapter takes its title ‘displaced/displayed’ from a screen dance installation presented at the symposisum Beyond Forgetting 1938 -2018 : Persecution/Exile/Memory in Coburg in 2018. It draws on the legacy of Viennese choreographer Gertrud Bodenwieser (Vienna 1890 – Sydney 1959) and her dancers within a context of global transmission of dance knowledge through crisis, diaspora and exile. Bodenwieser was forced into exile from Europe after the Austrian ‘Anschluss’ in 1938, via Colombia and New Zealand, to work for a period of 20 years in Australia where her work was seminal for the development of Modern Dance culture. How does dance survive displacement? How did radical European Jewish Modern Dancers cope with persecution and exile? The chapter uses unpublished archive material - personal letters and newspaper reviews - to give an insight into the complexities and vulnerability of Gertrud Bodenwieser’s journey through exile, and gives voice to a legacy of nearly forgotten European dancers, including Bodenwieser company members Emmy Steininger- Taussig, Melissa Melzer and Magda Hoyos-Brunne
Subverting the Sonnet: Poems (2016-2020) [REF2021 collection]
No full text'Subverting the Sonnet' is a selection of poems published individually in literary journals, newspapers, and literary magazines, which interrogate, stretch, and repeatedly subvert the sonnet form, whilst also honouring its poetic legacy.
This Collection documents a single component creative practice output with contextualising information. The output is a selection of individually published poems documented in a single PDF file. Contextualising information includes a 300 word statement of research, and a research contexts document detailing methods and processes
Roman Signer's Library of Marvels (2015, 2020) [REF2021 collection]
No full textLibrary of Marvels is a long-term project based on ongoing conversation with Swiss artist Roman Signer and an exploration of the contents of his extensive personal library. The exhibitions arising from this enquiry re-deploy scanned out-of-copyright images to reflect the artist's omnivorous interests and generate montages that rhyme with the poetic imagery of his works, inviting new perspectives on the artist himself and the resonances of his works.
This Collection contains information about the exhibitions Library of Marvels at The Rose Lipman Building, London, 2015, and Library of Marvels (Expanding Version) in St. Gallen and Hamburg, 2020. The Collection also contains a 300-word Statement about the research project, a Research Timeline and set of Research Questions, along with contextualising information relating to the larger Roman Signer's Library of Marvels project
USA Editorial Illustration and Untitled/Re-assembled Exhibition (2014-2020) [REF2021 collection]
No full textUSA Editorial Illustration is a body of illustrations comprising American editorial commissions since 2014, specialising in contemporary socio-political issues, and Williamson’s 2019 solo exhibition, Untitled/Re-assembled, highlighting his collage-based methodology. Through reappropriation and assemblage, using digital and analogue print and collage techniques, Williamson explores the intersections between multiple graphic elements.
This collection comprises a creative practice multi-component output with contextualising information, with two central outputs, a selection of published, commissions illustrations, and an exhibition of illustration works. Contextualising information includes a 300-word statement, research timeline and research questions, and documentation of methods and processes involved in the creation of the published and exhibited works
I and the Village (2015) [REF2021 collection]
No full textI and the Village is a practice-based research project initiated by Silva Semerciyan, Drama Lecturer at Bath Spa University. It combined mock verbatim form and the structure of the Stationendrama to interrogate constitutional linchpins of America’s national/political identity, in particular, the political consensus upholding the second amendment right to keep and bear arms. Funded by the BBC Performing Arts Fund and Arts Council England. The script was shortlisted for awards and further developed with dramaturgical support from the Bristol Old Vic. The final script was published in June 2015 with its first public run taking place 9 June - 4 July 2015 at Theatre503 in London.
This Collection comprises a single-component output with contextualising information. The central output, the written play, is documented by the inclusion of the written script. Contextualising information includes a 300-word statement, research timeline, research questions, performance photography, a performance trailer, a filmed interview with Silva Semerciyan, and a written interview
Coding the Contemplative Collective (2014, 2017) [REF2-2021 collection]
No full textCoding the Contemplative Collective investigates how aesthetic objectives related to contemplative practice might be embedded within the space of a mobile platform and how these objectives are shaped when authors from distinct domains (technology, business, and the arts) collaborate on a single artistic project. The collection consists of the projects echo & Infínity, and the collaborative context for each project shaped the final artworks through managing the multiple perspectives on what constituted a suitable level and type of interactivity for a contemplative space.
This collection documents a multi-component output with contextualising information. The items provide evidence of the project's 300-Word Statement, Research Timeline & Research Questions, The Application Infínity and screen capture of echo (which are the outputs of this project), user experience & interviews, a presentation, an interview with the researcher, screen capture of the artwork and screenshots of the artwork and pure data patch used for sound design (all for Infínity), screen capture of the prototype artwork, a pure data patch used for sound design, screenshots of the prototype artwork, research & development documentation and screenshots of the pure data patch & finished artwork (for $ echo)
Original Artist Identity in Song (2015-2020) [REF2021 collection]
No full textOriginal Artist Identity in Song examines the variables deployed when constructing public-facing identity in original songs, and the subsequent interaction of artist identity within the market ecology of popular music. The 2017 album, CousteauX, is a case study in the construction of artist identity.
Insights into the inner workings of creative practice arise, and the analytical auto-ethnographic method observes practice for patterns and themes in the songwriting, production and touring phases of the album’s release. This practice develops a model with which to reveal those song variables with bearing on the public impression of the original artist.
The music video for "When the Bloom has Left the Rose" which forms part of this collection won Best Music Video at The London Independent Film Awards October 2020.
This Collection documents a single-component output with contextualising information. The items provide evidence of the project's 300-Word Statement, Research Questions & Research Timeline, Album, Journal Article, Audio & Music video for "When the Bloom Has Left the Rose", Music Videos of compositions written as part of this project, images from the album tour, images from a solo tour of performances by the researcher and an interview with the researcher
The Velvet Rage (for flute, voice, cello, and electronics) (2017) [REF2021 collection]
No full textThe Velvet Rage was commissioned by UK-based ensemble Trio Atem as part of their 10th anniversary celebrations, with funds generously supplied by Arts Council England. The piece was premiered at the University of Oxford on May 18th 2017 and subsequently performed at The Wonder Inn, Manchester, and the University of Leeds. The title is taken from Alan Downs book of the same name (Downs 2005).
The research content of the work comprises the establishment of new body/instrument relationships through a queer lens, in particular exploring the sonic application of ideas from Sara Ahmed’s ‘queer phenomenology’ (Ahmed 2006).
This Collection comprises a single-component output with contextualising information, providing evidence of the output in the form of a musical score and video recording of performance. Contextualising information includes a 300-word statement, research timeline, and research questions, and text of a conference presentation presented at MuSA 2017:EighthInternational Symposium on Music and Sonic Art: Practices and Theories
Collective Reality (2016, 2017) [REF2021 collection]
No full textCollective Reality was an immersive environment delivered through multichannel video and audio, projection mapping and motion tracking, intended to be experienced by large groups in real-time. The work was commissioned by NESTA for their 2016 Futurefest event in London's Tobacco Dock in 2016. A second version of the work, reconfigured for a fulldome environment, was presented at Immersion Experience in the 4-storey Satosphere at Montréal’s Société des Artes Technologiques in 2017.
This Collection comprises a multi-component output with contextualising information, evidencing the two immersive experience events, Futurefest and Montréal’s Société des Artes Technologiques, in the form of: audio documentation of the Collective Reality installation, with all sound generated in real time in response to the movements of visitors to the installation; video documentation of the NESTA installation at Futurefest; photo documentation of a Collective Reality event at FutureFest 2016; and photo documentation of a Collective Reality event at IX SAT 2017. Contextualising evidence includes a 300-word statement, research timeline, research questions, and photo documentation of the 2016 residency and construction
Molecular Music (2014) [REF2021 collection]
No full textMolecular Music grew out of the danceroom Spectroscopy (dS) project, an arts/science collaborative project exploring molecular dynamics allowing users to interact with a scientifically-accurate molecular simulation through movement in real time. Where this interaction was originally through movement, in Molecular Music Hyde led a project to explore interaction through sound, both in a solo audiovisual performance (Cloud Chamber) and in collaboration with other musicians.
This Collection comprises a multi-component output with contextualising information. The outputs are evidenced by the inclusion of full video of the Cloud Chamber solo audiovisual work (via Vimeo link), an item documenting single still images of the Cloud Chamber standalone ‘molecular visualiser’, video documentation of the Molecular Music performance with the Charles Hazlewood All Star Collective from the Bristol Proms (2014, via Vimeo link), and photographic documentation of this Molecular Music performance. Contextualising information includes a 300-word statement, Research Timeline & Research Questions, and a paper on Molecular Music from the proceedings of the XVII Generative Art Conference