This is a book about collaboration in the arts, which explores how working together seems to achi... more This is a book about collaboration in the arts, which explores how working together seems to achieve more than the sum of the parts. It introduces ideas from economics to conceptualize notions of externalities, complementarity, and emergence, and playfully explores collaborative structures such as the swarm, the crowd, the flock, and the network. It uses up-to-date thinking about Wikinomics, Postcapitalism, and Biopolitics, underpinned by ideas from Foucault, Bourriaud, and Hardt and Negri. In a series of thought-provoking case studies, the authors consider creative practices in theatre, music and film. They explore work by artists such as Gob Squad, Eric Whitacre, Dries Verhoeven, Pete Wyer, and Tino Seghal, and encounter both live and online collaborative possibilities in fascinating discussions of Craigslist and crowdfunding at the Edinburgh Festival. What is revealed is that the introduction of Web 2.0 has enabled a new paradigm of artistic practice to emerge, in which participa...
Co-Author biography: Dr. Karen Savage is Head of the School of Fine & Performing Arts at the Univ... more Co-Author biography: Dr. Karen Savage is Head of the School of Fine & Performing Arts at the University of Lincoln, working with colleagues across Dance, Drama and Theatre, Fashion, Fine Art and Music. Karen is also co-convenor of the Intermediality Working Group as part of the International Federation for Theatre Research. Karen’s research is interdisciplinary with a focus on practice-as-research as a methodology in Theatre and Film practice. She has most recently completed a co-authored monograph titled: The Economies of Collaboration: More Than the Sum of the Parts, to be published with Macmillan International.
… , Lenguaje y Representación/Culture, Language and …, 2009
ABSTRACT: The article explores the processes of practice in terms of intermediality, and presents... more ABSTRACT: The article explores the processes of practice in terms of intermediality, and presents a visual and metaphorical concept for collaborative process. Through the use of a case study, Men in the Wall by Liz Aggiss and Billy Cowie, the gallery is discussed as an ...
Californian artist Mark Thompson has an unnerving passion: "the bizarre urge to build a Live-In H... more Californian artist Mark Thompson has an unnerving passion: "the bizarre urge to build a Live-In Hive-an active bee home you could visit by inserting your head into it". 1 Perhaps that sounds fantastical, or at least ill-advised, but it became his long-term project, inspiring the artworks "Immersion" (1973-1976), 2 "Live-in Hive" (1977) 3 and "A House Divided" (1989). 4 Throughout these experiments, Thompson "would insert his head into the hive and stay there for about three hours, an extremely dangerous act", 5 reports Peter Selz. In the first project, a video installation documents his immersion into a cloud of some 40,000 bees: "The artist becomes one of them, one animal among many"; "his performance focusses on the encounter, almost a fusion as it were, of human and animal". 6 With the following project, he became more ambitious, wanting to "experience life on the inside of a colony of bees for real"; to "experience (see and above all hear) the hundreds of insects working all around him". 7 He encased his head in a glass beehive tank with a feeding tube and waste disposal. "The idea was to live like this for three weeks", remarks Juan Antonio Ramirez; perhaps inevitably, that three week marathon didn't succeed. "The bees would have attempted to expel the intruder by covering him with propolis", Ramirez continues, reminding us of the way that bees mummify the bodies of insects or mice. 8 But Thompson's passionate explorations continued, and in 1989, he adapted his "Live-in Hive" to become a metaphor for the political situation between East and West Berlin. With his head inside the hive, bees would come and go, harvesting nectar from flowers in the vicinity. "The honeybees transformed this CHAPTER 8 Swarm
This performance presentation for the Gnarl Fest (2014) explores the idea of the archive in relat... more This performance presentation for the Gnarl Fest (2014) explores the idea of the archive in relation to live-performance, documentation, film and video. The themes in the presentation are around montage, identity and womanhood, explored through practice-as-research methodologies.
In her article, ‘Re-mediaton, inter-mediation, trans-mediation: The cosmopolitan trajectories of ... more In her article, ‘Re-mediaton, inter-mediation, trans-mediation: The cosmopolitan trajectories of convergent journalism’, Chouliaraki explains, “Journalism is about doing things with words, not simply about using words to report facts. What journalism does with words, and indeed with pictures, is that it brings into being the community of people it addresses as its audiences. Journalism is, therefore, performative in the sense that it evokes or ‘‘performs’’ the very publics that it claims to inform” (p.268, 2012). This performative paper will consider the role of ‘news’ as performance through travel. We will explore the role of journalist as performer and how embedding journalism is reporting as an immersive experience. This will be juxtaposed with personal and ‘travel-log’ experiences – detailing a re-reporting and re-representation of events in Athens according to my experiences of the ‘place’ at an-Other time.
This project is the written part of a practice-as-research document which explores the process of... more This project is the written part of a practice-as-research document which explores the process of the fade in intermedial practice. The written element acts as a literary counterpart to the practical work and includes an account of the process, an exploration of its theoretical context and sources of inspiration for the work. The writing is also a part of the autobiographical practice that informs my creative journey. The writing is not primarily an explanation or an analysis of my practice, although there are elements of these present in this document. Furthermore, whilst it adheres to scholarly conventions, this document is not written as a conventional thesis which seeks to explore a hypothesis and draw a set of conclusions. It is, rather, a distinct but integral part of the exploratory process which is at the heart of this project. The project is laid out in sections, rather than chapters. It begins by introducing the inspiration for the practice-as-research project, and explores practical and theoretical ideas through a range of existing practical and theoretical work in the field. The second section puts these ideas in context of feminism, which is an important element of my exploration, and provides the context in which some existing interdisciplinary and intermedial work is located. Section 3 locates the ideas within a 'between' space, influenced by Hegel's concept of sense-certainty and the French body of thought, écriture féminine. Section 4 is written as a dialogue between characters. This section draws a line under the process using many voices from the practical and theoretical journey. Section 5 comprises annexes of additional material complementary to the project. This thesis incorporates a range of material evidence including different forms of writing, visual essays, DVDs and illustrative material. In summarising my practice in this document I resist drawing hard and fast conclusions, but provide reflection upon the process and make suggestions for future work in the field of intermediality. On the following pages I have included a practice as research working diagram (P&R Mollusc) to illustrate the working methodology and the to-ing and fro-ing of collaborative, interdisciplinary and intermedial practices, as well as an alternative contents diagram to illustrate the thesis visually.
I want to see the world. Stratifying wanders. In his article, ‘Making routes: Relational journeys... more I want to see the world. Stratifying wanders. In his article, ‘Making routes: Relational journeys in contemporary performance’, David Overend responds to contemporary performance practice “acting upon the impulse to travel and connect with others” (p.379), he suggests that “technological innovation and globalization have placed journeys and travel at the centre of this global stage” (ibid) Derrida considers globalization as mondialisation, the world, rather than the globe. The globe is foreclosing and completes itself – full circle, “for Derrida, the difference between the Anglo- American “globalization” and the Latinate French mondialisation is the difference between a teleologically informed homo-hegemonization of the earth and a world [monde] exposed to infinite universalization, to what is forever ‘to come.’” (Li, pp. 141-154, 2007). My presentation will explore the notion of the journey and how Overend’s thoughts can be considered alongside intermedial practice. How does travel fit within intermediality? Can we consider the centre of travel? Does the performance of a journey inhabit a central space or a temporal dimension that can be considered to stratify time – time-travel. We will consider this alongside the Derridean ellipsis, using video and performance to reposition the notion of the journey and what it might mean to travel and ‘see the world’
This is a book about collaboration in the arts, which explores how working together seems to achi... more This is a book about collaboration in the arts, which explores how working together seems to achieve more than the sum of the parts. It introduces ideas from economics to conceptualize notions of externalities, complementarity, and emergence, and playfully explores collaborative structures such as the swarm, the crowd, the flock, and the network. It uses up-to-date thinking about Wikinomics, Postcapitalism, and Biopolitics, underpinned by ideas from Foucault, Bourriaud, and Hardt and Negri. In a series of thought-provoking case studies, the authors consider creative practices in theatre, music and film. They explore work by artists such as Gob Squad, Eric Whitacre, Dries Verhoeven, Pete Wyer, and Tino Seghal, and encounter both live and online collaborative possibilities in fascinating discussions of Craigslist and crowdfunding at the Edinburgh Festival. What is revealed is that the introduction of Web 2.0 has enabled a new paradigm of artistic practice to emerge, in which participa...
Co-Author biography: Dr. Karen Savage is Head of the School of Fine & Performing Arts at the Univ... more Co-Author biography: Dr. Karen Savage is Head of the School of Fine & Performing Arts at the University of Lincoln, working with colleagues across Dance, Drama and Theatre, Fashion, Fine Art and Music. Karen is also co-convenor of the Intermediality Working Group as part of the International Federation for Theatre Research. Karen’s research is interdisciplinary with a focus on practice-as-research as a methodology in Theatre and Film practice. She has most recently completed a co-authored monograph titled: The Economies of Collaboration: More Than the Sum of the Parts, to be published with Macmillan International.
… , Lenguaje y Representación/Culture, Language and …, 2009
ABSTRACT: The article explores the processes of practice in terms of intermediality, and presents... more ABSTRACT: The article explores the processes of practice in terms of intermediality, and presents a visual and metaphorical concept for collaborative process. Through the use of a case study, Men in the Wall by Liz Aggiss and Billy Cowie, the gallery is discussed as an ...
Californian artist Mark Thompson has an unnerving passion: "the bizarre urge to build a Live-In H... more Californian artist Mark Thompson has an unnerving passion: "the bizarre urge to build a Live-In Hive-an active bee home you could visit by inserting your head into it". 1 Perhaps that sounds fantastical, or at least ill-advised, but it became his long-term project, inspiring the artworks "Immersion" (1973-1976), 2 "Live-in Hive" (1977) 3 and "A House Divided" (1989). 4 Throughout these experiments, Thompson "would insert his head into the hive and stay there for about three hours, an extremely dangerous act", 5 reports Peter Selz. In the first project, a video installation documents his immersion into a cloud of some 40,000 bees: "The artist becomes one of them, one animal among many"; "his performance focusses on the encounter, almost a fusion as it were, of human and animal". 6 With the following project, he became more ambitious, wanting to "experience life on the inside of a colony of bees for real"; to "experience (see and above all hear) the hundreds of insects working all around him". 7 He encased his head in a glass beehive tank with a feeding tube and waste disposal. "The idea was to live like this for three weeks", remarks Juan Antonio Ramirez; perhaps inevitably, that three week marathon didn't succeed. "The bees would have attempted to expel the intruder by covering him with propolis", Ramirez continues, reminding us of the way that bees mummify the bodies of insects or mice. 8 But Thompson's passionate explorations continued, and in 1989, he adapted his "Live-in Hive" to become a metaphor for the political situation between East and West Berlin. With his head inside the hive, bees would come and go, harvesting nectar from flowers in the vicinity. "The honeybees transformed this CHAPTER 8 Swarm
This performance presentation for the Gnarl Fest (2014) explores the idea of the archive in relat... more This performance presentation for the Gnarl Fest (2014) explores the idea of the archive in relation to live-performance, documentation, film and video. The themes in the presentation are around montage, identity and womanhood, explored through practice-as-research methodologies.
In her article, ‘Re-mediaton, inter-mediation, trans-mediation: The cosmopolitan trajectories of ... more In her article, ‘Re-mediaton, inter-mediation, trans-mediation: The cosmopolitan trajectories of convergent journalism’, Chouliaraki explains, “Journalism is about doing things with words, not simply about using words to report facts. What journalism does with words, and indeed with pictures, is that it brings into being the community of people it addresses as its audiences. Journalism is, therefore, performative in the sense that it evokes or ‘‘performs’’ the very publics that it claims to inform” (p.268, 2012). This performative paper will consider the role of ‘news’ as performance through travel. We will explore the role of journalist as performer and how embedding journalism is reporting as an immersive experience. This will be juxtaposed with personal and ‘travel-log’ experiences – detailing a re-reporting and re-representation of events in Athens according to my experiences of the ‘place’ at an-Other time.
This project is the written part of a practice-as-research document which explores the process of... more This project is the written part of a practice-as-research document which explores the process of the fade in intermedial practice. The written element acts as a literary counterpart to the practical work and includes an account of the process, an exploration of its theoretical context and sources of inspiration for the work. The writing is also a part of the autobiographical practice that informs my creative journey. The writing is not primarily an explanation or an analysis of my practice, although there are elements of these present in this document. Furthermore, whilst it adheres to scholarly conventions, this document is not written as a conventional thesis which seeks to explore a hypothesis and draw a set of conclusions. It is, rather, a distinct but integral part of the exploratory process which is at the heart of this project. The project is laid out in sections, rather than chapters. It begins by introducing the inspiration for the practice-as-research project, and explores practical and theoretical ideas through a range of existing practical and theoretical work in the field. The second section puts these ideas in context of feminism, which is an important element of my exploration, and provides the context in which some existing interdisciplinary and intermedial work is located. Section 3 locates the ideas within a 'between' space, influenced by Hegel's concept of sense-certainty and the French body of thought, écriture féminine. Section 4 is written as a dialogue between characters. This section draws a line under the process using many voices from the practical and theoretical journey. Section 5 comprises annexes of additional material complementary to the project. This thesis incorporates a range of material evidence including different forms of writing, visual essays, DVDs and illustrative material. In summarising my practice in this document I resist drawing hard and fast conclusions, but provide reflection upon the process and make suggestions for future work in the field of intermediality. On the following pages I have included a practice as research working diagram (P&R Mollusc) to illustrate the working methodology and the to-ing and fro-ing of collaborative, interdisciplinary and intermedial practices, as well as an alternative contents diagram to illustrate the thesis visually.
I want to see the world. Stratifying wanders. In his article, ‘Making routes: Relational journeys... more I want to see the world. Stratifying wanders. In his article, ‘Making routes: Relational journeys in contemporary performance’, David Overend responds to contemporary performance practice “acting upon the impulse to travel and connect with others” (p.379), he suggests that “technological innovation and globalization have placed journeys and travel at the centre of this global stage” (ibid) Derrida considers globalization as mondialisation, the world, rather than the globe. The globe is foreclosing and completes itself – full circle, “for Derrida, the difference between the Anglo- American “globalization” and the Latinate French mondialisation is the difference between a teleologically informed homo-hegemonization of the earth and a world [monde] exposed to infinite universalization, to what is forever ‘to come.’” (Li, pp. 141-154, 2007). My presentation will explore the notion of the journey and how Overend’s thoughts can be considered alongside intermedial practice. How does travel fit within intermediality? Can we consider the centre of travel? Does the performance of a journey inhabit a central space or a temporal dimension that can be considered to stratify time – time-travel. We will consider this alongside the Derridean ellipsis, using video and performance to reposition the notion of the journey and what it might mean to travel and ‘see the world’
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