• Narratives of catastrophe

      Fisher, Craig; Stratford, Helen; University for the Creative Arts (2015)
      ‘Standardized Versions’ is a collaborative project between artist Craig Fisher and artist/architect Helen Stratford that takes as its starting point the idea that representations of scenes of disaster are based on standard types. There are always repeated elements: shards of timber, an upturned car, papers, barricades and piles of rubble. What if these elements were all deliberately and carefully placed to give the appearance that they had been assembled in an apparently random manner? Perhaps selected from a ‘Catalogue of Catastrophe’® with accompanying instructions and specification on their construction and placement? Fisher and Stratford are engaged in examining how representations of disaster and destruction are mediated for our consumption. Fisher and Stratford’s ‘Standardised Versions (Rubble)’ presents Standardised Rubble through a typology of paper objects, 3D drawings and a plan, with means of assembly, associated specification and the technical equipment necessary, the very precise measuring stick (VPM®). Employing humour, the drawings/objects play with and subvert the language of architectural conventions, typologies, plans and written specifications, to provide a set of instructions to reconstruct (through live performances) that, which has the appearance of having been deconstructed. Fisher and Stratford have been commissioned by Bloc Projects, Sheffield (2016) to present Standardized Versions (Rubble) within the public realm as a billboard. This enables Fisher and Stratford to consider further how representations of ‘ disaster, aftermath and wreckage’ become flattened and consumed through its mediation in the media.
    • Stand in

      Fisher, Craig; Swann, Debra; University for the Creative Arts (2015-04)
      Nottingham based artists Craig Fisher and Debra Swann present their work in three cabinets of the Small Collections Room at Nottingham Contemporary. The exhibition explores their interest in ideas of representation. In the fourth cabinet Fisher curates a group exhibition 'In Miniature' as part of Fisher’s ongoing curatorial project, 'Mrs Rick’s Cupboard' at Primary. Contemporary artists are asked to develop artworks to be presented within the unconventional gallery setting - a walk in cupboard. Exhibiting artists: Roy Brown, Louisa Chambers, Laura McCafferty, David Ersser, Lynn Fulton, Kit Poulson, Derek Sprawson, Emma Talbot and Paul Westcombe.
    • Re-enacting Palestine and the performance of credibility

      Hazou, Rand; University of New Zealand (2016-06)
    • A design journey across time and five nations

      Wells, Kate; University of Derby (2019-09-19)
      ‘Itajime gasuri’: A design journey across time and five nations. A design journey of twenty years and five nations starting in Japan to Thailand then back again. This paper discuses a journey of the textile patterning technique itajime gasuri. How it evolved from an ancient craft/dyeing practice through digital intervention to a process reinvention, one that retains some of the qualities of original process but creates fabric designs suitable for the 21st century consumption. Across the World, the ancient fabric patterning technique of ‘board clamping’, has been constantly reinvented, but over the last few centuries its traditional use has declined to almost extinction. Known by different names depending upon the country of origin, the most common today is the Japanese term Itajime, but an older word Kyokechi is sometimes used and a variation Itajime gasuri, invented in 1837 is a patterning technique for yarn provided an ‘ikat’ effect design. But to the authors knowledge, by 1996, the technique, Itajime and Itajime gasuri are no longer employed commercially with the exception of the Japanese craftsman, Norio Koyama, who was the only remaining craftsperson in Japan to employ the traditional process of Itajime gasuri and Itajime in a commercial manner. In 1996, Norio Koyama made a gift of eight boards to the author, this much-prized gift has ensured that the knowledge of such an ancient technique continued to be developed as part of practice- based research into the 21st Century. As digital technologies evolved, these new technologies were investigated to find new methods of creating boards or reproducing the original fabrics produced that retained the qualities of original pieces but could be replicated. Initially through digital copies of the original designs; the exploration of CAD/CAM production techniques for new boards to finally a collaboration with ‘Turnbull Prints’ in Thailand, who collaborated in digitizing an original dyed Itajime fabric and digitally printing a warp which when woven produced a new hybrid fabric that reflects the qualities of the original Itajime gasuri technique. The excitement occurs when a process initially invented in 1837 to copy and increase production of the labor-intensive textile resist dyeing technique Ikat can be once again employed to create designs that if digitally printed onto a warp will, once woven, produce a ‘Ikat’ effect: A complete cycle of creativity and innovation created and over 20 years later, a piece of this fabric was returned as a gift to Norio Koyama in Japan to complete the collaboration cycle and say Thank you.
    • Itajime: digital intervention

      Wells, Kate; University of Derby (The Maharaja Sayajirao University of Baroda, 2019-10-03)
      The lesser known Shibori technique of clamped resists of Itajime or Kyokechi as it is more commonly known by in Japan and Jiaxie within China, has been perfected over time and reinvented throughout its long history. Clamped resists have been discovered worldwide but it is unsure as to where the technique first originated, the history of the technique is an enigma as examples have been found in China, Japan, India, Central Asia and southern Europe. Research into the technique’s origins indicate within Chinese records that Jiaxie was produced between the Qin Dynasty (778-206 BC) and the Han Dynasty (206 BC - AD 263) but today, however, production through this resist method of patterning is nearly extinct despite efforts by the Chinese Government in the 21st century to help preserve this ancient folk craft practice from vanishing all together. In Japan examples exist that date from the 8th century but subsequent examples are scarce until a re-appearance of the technique in the 1800 but by the later 20th century to the author’s knowledge, a single designer was employing the process then. Nowadays, in the textile/craft sector, there are examples where such a patterning technique is successfully being re-employed through the integration of CAD/CAM into the process. Advances in laser cutting, CNC Woodworking, 3D, and digital design manipulation and printing, create an interesting opportunity for its revival again. Digitally controlled machines that engrave an image in a hard surface with exact precision replace the woodcarvers’ skill originally needed for creating the matching wooden plates/blocks, whereas the process of colouration and patterning of the fabric returns to the skill of the Dyer/Craftsperson. Digital printing can reproduce the randomness and the soft-edged, but precise motifs that have a ghostly image as described by Larson in the ‘The Dyers Art, ikat, batik, plangi’ (1976) which embeds a degree of imperfection in the resulting print. It is a case of technology meets haptic to inventing a unique form of patterning to create unique fabrics. The juxtaposition where precision digital cutting, forming, and printing, and the hand process of dyeing unite.
    • The material-discursive border & territorial-apparatuses {the Eile project}

      McCloskey, Paula; Vardy, Sam; University of Derby (Architectural Association of Ireland, 2020)
      Through our trans-disciplinary practice, a place, of their own , and one specific project based at the UK border with the Irish Republic, we discover, occupy and create (alternate) 'field conditions' of various kinds. Our ongoing art and spatial research in The Eile Project draws together different bodies of knowledge, experience and practice; from art, architecture, urbanism, philosophy, and science, to create new imaginaries and cartographies of the border. This is a particularly apposite time for such an endeavour - as the UK's protracted and contentious manoeuvres to leave the EU create renewed tensions and uncertainties at the Irish Border, and borders and their most brutal and basic spatial manifestation of the wall are increasingly being built around the world, physically and in the collective imagination.
    • ; a place of their own

      McCloskey, Paula; Vardy, Sam; University of Derby; Sheffield Hallam University (2010)
      a place of their own is an experimental contemporary art and spatial research practice. We exploit the meeting of these fields to investigate contemporary conditions and create new spaces, imaginaries and subjectivities. A place of their own was co-founded in 2010 with our four children. We are Paula McCloskey and Sam Vardy, based in Sheffield, UK and Ballyshannon, Ireland. We make performances, spatial interventions and audio-visual art and research. Our projects explore the transformative potential of art and spatial practice to suggest other worlds yet to become; they are becomings enacted through collaboration, by asking questions, provoking dialogue and testing ideas, and try to prise the production of subjectivity and the radical imagination back from the grip of neoliberal forces.
    • The Eile project

      McCloskey, Paula; Vardy, Sam; University of Derby; Sheffield Hallam University (2016-07)
      The Eile Project is an ongoing investigation of borders using art research methods. The research aims to investigate border subjectivities, border-linking/making; territorial fictioning, based in, across, and about the geopolitical border between Ireland and the UK. It uses multimedia visual art research that uses the subjective, spatial, political and imaginative, yet highly contested, concept of borders/bordering to respond to some of the immediate political and environmental challenges of our time. The Eile Project takes places on the contested UK border which crosses the island of Ireland dividing the land into the Republic of Ireland and Northern Ireland. The investigation seeks to generate new ways of thinking of this border through the creation a new aesthetics generated mainly through site-specific performance acts by the character ‘Eile’. Through performative gestures using a range of materials Eile intervenes into this geopolitical border scene to develop a border-fictioning. ‘Eile’ is a creature of the border who has been summoned to interact with buildings, different species, the bogs, rivers, flora and fauna, caves, mountains and so on against the unfolding socio-political drama of this border, which at present takes the form of ‘Brexit’ (but previously has had many other iterations, such as ‘The Troubles’). This work has its roots in Paula’s family history. Paula’s family are from Ballyshannon, County Donegal, a small border town in the Republic of Ireland. Her mother was brought up in an Irish Protestant family and her father as Irish Catholic. Paula was born in 1975 at the height of the so-called ‘Troubles’ and during her childhood lived in England, Northern Ireland and the Republic of Ireland, regularly traversing the border. This brings a particular ‘situated knowledge’ (knowing as partial and located, and generated through interactions, Donna Haraway) to this border research practice, which is used in when Paula performs ‘Eile’ on the border-sites. There have been various outputs so far including site-specific performances, conferences, talks book chapters. This is an ongoing research project. This output links to the website which shows the history of the project, images, and film.
    • Acting Alone: exploring by-stander engagement through performer/audience relationship

      Hunt, Ava; University of Derby (Taylor and Francis, 2019-12-02)
      Acting Alone: a solo performance that explored how social and political engagement in the Israeli/Palestinian conflict might be created through the performer/audience relationship. Drawing on practice as research and data gathered from an extensive tour, this article examines the complexities of creating human rights theatre for a by-stander or tritagonist audience to create engagement, discourse, and agency. Acting Alone used verbatim and autobiographical material to create a theatrical immediacy through which the audience, as by-standers, were invited to cross the dramaturgical divide to engage actively in the Israeli/Palestinian conflict exploring the question – can one person make a difference?
    • The Time of The Artist

      Jones, Rhiannon; Burrows, Simon; University of Derby; Nottingham Trent University (FORMAT/QUAD, 2019-03-01)
      The Time of The Artist (2019) was a collaborative research activity between Rhiannon Jones (S.H.E.D Artistic Director) and Simon Burrows (S.H.E.D Master Builder and MA Fine Art Photographer, Nottingham Trent University) for Format, International Photography Festival (2019). They produced a series of photographic images taken to document the construction and building of S.H.E.D, a wooden mobile arts space. This research project makes a nod towards an exchange between Roland Barthes and John Berger (1981), in which Barthes describes how original photographic implements were related to techniques of cabinet-making and the machinery of precision: cameras were clocks for seeing, and the photographic mechanisms, the living sound of wood. The relationship between making, wooden structures, documentation of time and photography are ideas place at the centre of this enquiry. The resulting curated works are a selection of photographic sculptures to explore a shared interests in the architectural and sculptural possibilities of the photographic form. Rhiannon Jones and Simon Burrows adopted a curatorial approach to installing the works that treated the works and the process as though they were building S.H.E.D. In doing this, they playing with the concept of construction, shape and form through the act of hanging photographic prints – resulting in the use of nails, screws and bolts to hang and suspend the works. The resulting sculptural prints allude to the architectural lines, wooden form and the different possible configurations of S.H.E.D. The photographic works made manifest the poetics of how a wooden structure, like that of S.H.E.D providing a ghostly mnemonic to how Roland Barthes (2004) describes photographic mechanisms as the living sound of wood. The resulting works, curatorial and hanging processes generated a discourse on fading techniques, and new technologies within photographic practice. The prints also allude to the architectural transformation of S.H.E.D through their sculptural shape and structure. Making visible the poetics of how a place traditionally used in the UK for storage has become a touring arts space designed for dialogue. Their collaborative practice operates at the intersection between theory and practice, playing with notions of immediacy and developmental processes in both artistic research and photographic development. The research activity furthered their thinking around the reconfiguring of the shape and form of S.H.E.D as a structure, facilitated through the production this series of photographic images of S.H.E.D for Format.
    • Informed & educated: when public service radio learns from the commercial radio sector

      McMahon, Daithí; University of Derby (VIEW Journal of European Television History & Culture, 2019-12-19)
      Using the Irish Radio Industry as a case study, this chapter illustrates how the Public Service Broadcaster (PSB), Raidió Teilifís Éireann (RTÉ), was slow to react to change and the effect this had on the organisation’s competitiveness. This chapter analyses how RTÉ’s youth radio station, RTÉ 2fm, lost its place as the market leader to the competition including commercial station Beat and other stations as it resisted the required technological, social and economic change which ultimately affected its listenership. The author argues that the independent sector led the way in innovation and affected change which greatly benefited the industry as a whole and brought it into the digital age. This research was based on a methodology involving in-depth interviews, online surveys, textual analysis, direct observation and a longitudinal content analysis.
    • Memories of our youth: the viral spread of radio station Facebook posts

      McMahon, Daithí; University of Derby (University of Westminster Press, 2020-03-17)
      Radio and social media have developed a strong relationship in Ireland since the explosion in popularity of the latter from 2008 onward. Although the convergence of radio with Facebook in Ireland has allowed radio stations to reach wider audiences, some stations have been much more successful than others at achieving this. In this article the author presents a case study of Beat, a regional commercial radio station targeting the ‘digitally native’ (Palfrey and Gasser, 2010) millennial 15–34-year-old market, and one of the Irish Radio Industry’s most successful viral media instigators. During the period of study, 2011–2016, Beat was found to be very successful at engaging its audience through bespoke material that connected emotionally with the cultural community. The success of this viral reach helped the station grow its online followers to numbers that far outnumbered their actual listenership. In this article the author presents an analysis of the viral posts that feature childhood toys as the subject matter and explore why these pieces ‘went viral’. Using the generational theories of Mannheim (1952) and Strauss and Howe (1991) among others to frame the argument, the author posits that users share media texts which connect with them emotionally and by enjoying this material with others are unified as an affective community of individuals. This experience brings the group closer together and closer to the radio station. I also touch on the power of nostalgia as a factor in the viral spread of media texts. This research employed several research methods: in-depth interviews with radio industry professionals, an online survey of radio listeners/online users of Beat, textual analysis of Beat’s Facebook page, direct observation of radio producers and content analysis of social media growth.
    • Sunday Supplement: Hancock & Kelly and InDialogue

      Jones, Rhiannon; Connelly, Heather; University of Derby (2019-11-24)
      Dr Rhiannon Jones and Dr Heather Connelly commissioned and curated Hancock and Kelly International Residency, supported by ACE, Derby Theatre, In GoodCompany and Dance4. The artists were invited to the UK, to have time to develop their practice and present their work at Nottingham Contemporary of An Extraordinary Rendition. This dissemination event was hosted by Dance4 and InDialogue, was an opportunity for Dr Rhiannon Jones and Dr Heather Connelly to reflect upon the residency and how their practice works with notions of dialogue. The event was open to the public – extending the dialogue beyond the live performance event, to consider the impact of hancock & kelly’s practice within a wider context. During the conversation Hancock and Kelly were invited to discuss the inception of their performance An Extraordinary Rendition in Chicago, how they worked with the Goat Island Archives, their dialogic process, the development and performance of the work for Nottingham contemporary. Reflecting upon their experience of working with ‘in’ Dialogue with each other and participation in InDialogue 2019.
    • S.H.E.D launch research event

      Jones, Rhiannon; University of Derby (2019-07-03)
      How does artistic research engage or engineer alternative sites for practice? The panel discussed the impact that mobile projects have on cultural, social and political discourse on placemaking for cities. It provided an opportunity to reflect on the ambitions for S.H.E.D to be a literal and metaphorical vehicle for the transformation of dialogue. Panellists: Professor Alex Nunn, University of Derby Dr Vishalakshi Roy, Centre for Cultural & Media Policy Studies, University of Warwick Ben Anderson, Creative Producer, In Good Company Dr Rhiannon Jones, University of Derby Rebecca Beinart, Engagement Curator for Primary & artist, Nottingham Dr Victoria Barker, University of Derby Dr. Nick Owen MBE, CEO The Mighty Creatives Chaired by: Dr Michael Pinchbeck, University of Lincoln
    • Be your dog (workshop)

      Bartram, Angela; University of Derby (2020-01-17)
      'Be Your Dog' sees participants learn from the behaviour of their dogs by mirroring what they do: walking, laying, barking, drinking, etc. They become dog in essence and learn through empathy, becoming an inter-species pack.
    • Human school (be your dog!)

      Bartram, Angela; University of Derby (2019-07-20)
      Human School (Be Your Dog!) abstract: Inspired by her own dog, the artist Angela Bartram turns the concept of the dog school around. Here, she asks the dogs to be the teachers, showing us how to become a part of the pack, connect across companion species and to be more ‘dog.’ On the first day of Animals of Manchester (including HUMANZ) students of the Human School are bringing their own dogs to explore their relationship on a connected and empathetic level. On the second day, Angela has invited dogs from Dogs4Rescue for human students to experience companionship with and to get to know. Would you like to sign up for a workshop? Please talk to one of our volunteers. Animals of Manchester abstract: Imagine a city in which animals of all kinds, including humanz, would live together in peace. What might life be like if dogs, hogs, cows, squirrels and other creatures lived alongside us not just as our pets but as our peers – our companions? Imagine what Manchester could look like then! Animals of Manchester (including HUMANZ) is an interactive Live Art experience created by Sibylle Peters (Theatre of Research) and LADA for the Manchester International Festival 2019 which poses questions about the relationship between humans and other animals. Taking place over the Festival’s final weekend, audiences are invited to follow a trail through Whitworth Park and the Whitworth’s galleries, and take part in some absorbing animal encounters. Across a series of installations and performances, children, families and adults alike will explore our fascination with fellow animals, pledging allegiance to another species, having family portraits with other creatures and discovering more about the relationship between human and non humans. Works include Joshua Sofaer’s Mouse Palace, a reconstruction of a popular Chinese attraction in mouse and human-sized forms; a Town Hall (Standing Conference of Animals) for cows, microbes and pigeons created by Theatre of Research & Ansuman Biswas, Andy Field & Beckie Darlington, and Esther Pilkington & Daniel Ladnar (random people); Angela Bartram’s Human School where dogs teach humanz; Pet Workshops (for Human Students) with Krõõt Juurak and Alex Bailey; Nuts House, an edible Arndale Centre for squirrels and birds by Bruce Gilchrist and Jo Joelson (London Fieldworks); Memorials for Extinct Species by Marcus Coates and Adam O’Riordan; The BeetleFilmTheatre with artist Tim Spooner and scientist Dmitri Logunov; The Hedgehog Hospital with artist Rebecca Chesney and Barbara Roberts of the Withington Hedgehog Care Trust; an Interspecies Family Portrait Studio with photographer Benji Reid; an Aquarium for small humanz who want to be bitten by sharks by Martin O’Brien; a Bestiary Beauty Parlour for humanz to signify their animalship with Katharina Duve; a Pantheon of Performing Animals; a Life Art Library exploring the history of animals in art in books and films; and Performing Animals Lectures where animals are honoured as artists with Antony Hall, Laura Cull O Maoilearca, Jack Ashby, Kira O’Reilly, David Weber-Krebs & Maximillian Haas, and Kerry Morrison. With children collaborating as facilitators and ambassadors for the works, Animals of Manchester (including HUMANZ) follows on from Theatre of Research and LADA‘s projects with children at their core, including PLAYING UP and KAPUTT: The Academy of Destruction. “This summer we will invite everyone to turn into animals of Manchester alongside squirrels and dogs, cows and beetles and pigeons and many more. In the every day humans meet our co-species less and less, and I think we are actually missing them. So, with the guidance of our collaborating kids and my partners at MIF and the Live Art Development Agency we will turn Live Art into Life Art and create a zone of companionship in which humans and other animals can be together without food chains or zoo cages getting between us.” Sibylle Peters. “Animals of Manchester will be a joyous and thoroughly unexpected exploration of our relationships with animals. The artist Sybille Peters has been working in truly unique ways with young people and their stories and ideas for many years and has created some of the most extraordinary and engaging projects for children and families around Europe. We’re delighted to be joined by the range of unexpected artists that she has invited to be part of this project with her. The day itself will be full of surprises and a truly enjoyable adventure.” John McGrath, Director of MIF. Official visitor figures for the event were 16,500 over its two day duration.
    • When the image takes over the real: Holography and its potential within acts of visual documentation

      Bartram, Angela; University of Derby (MDPI Open Access Journals, 2020-02-15)
      In Camera Lucida, Roland Barthes discusses the capacity of the photographic image to represent “flat death”. Documentation of an event, happening, or time is traditionally reliant on the photographic to determine its ephemeral existence and to secure its legacy within history. However, the traditional photographic document is often unsuitable to capture the real essence and experience of the artwork in situ. The hologram, with its potential to offer a three-dimensional viewpoint, suggests a desirable solution. However, there are issues concerning how this type of photographic document successfully functions within an art context. Attitudes to methods necessary for artistic production, and holography’s place within the process, are responsible for this problem. The seductive qualities of holography may be attributable to any failure that ensues, but, if used precisely, the process can be effective to create a document for ephemeral art. The failures and successes of the hologram to be reliable as a document of experience are discussed in this article, together with a suggestion of how it might undergo a transformation and reactivation to become an artwork itself.
    • InDialogue symposium 2019

      Jones, Rhiannon; Connelly, Heather; University of Derby; University of Lincoln (University of Derby, 2019-11-19)
      InDialogue is a collaborative artistic research project between Dr Rhiannon Jones and Dr Heather Connelly. Conceived in 2012, whilst both where in the midst of their PhDs in Fine Art, InDialogue was created as an extension of their own practices and aims to provide platform and hospitable environment for artistic research, experimentation, interrogation and discussion about and through dialogue. The 2019 symposium aims to follow and expand the core values of InDialogue: knowledge sharing, dialogue, and interdisciplinarity, to create a space of intellectual interaction and imagination for the future in society. InDialogue 2019 will be the fourth iteration in the continuing series of international events. InDialogue is an ongoing research project, that interrogates how arts researchers and cultural organisations use dialogue in and as practice. The underpinning research is evidenced through the medium of exhibition, publishing, public debate, conference and commissioning of new work. The research explores the contemporary landscape of dialogic practice, across all contemporary visual arts and performance practice. InDialogue was established in 2012 with the key objectives of disseminating dialogic modes of artistic research. It provided a unique platform for artists and researchers to test out new work, share examples of best practice and present artistic research. InDialogue has become a celebratory gathering of different perspectives, experiences, knowledge, methodologies, and cultural origins, a place for the development of research and the sharing of ideas. Each iteration of InDialogue has been curated by the co-founders Dr Heather Connelly and Dr Rhiannon Jones, who have invited curators and chairs from a wide range of disciples within the Arts to ensure that each iteration responds to, and reflects on current debates and issues. Further information and archives of these events can be found on our website: InDialogue 2012: https://indialogue2014.wordpress.com/archive-2/ InDialogue 2014: https://indialogue2014.wordpress.com/2014-archive/ InDialogue 2016: https://indialogue2014.wordpress.com/indialogue-2016/ Connelly and Jones are currently editing an anthology of texts and works, with InDialogue presenters from 2012 – 2019, for publication, which explores how InDialogue operates both as a practice and a platform for supporting artistic research. Jones and Connelly are also developing two Special Interest Groups (SIG) during InDialogue 2019, to expand their own particular Dialogic practices and concerns with the aim of developing future research projects and events with invited international partners and researchers.
    • The predictive scenographer: Performance design as predictive affordance-o-graphy

      Penna, Xristina; University of Leeds (27/11/2018)
      We are finding parts of ourselves, playing, playing with the light, unexpected events […] wood, fabric, cameras, sound equipment, and a bit of alcohol. Shades of red, grey, it is pretty dark, you cannot see much. It provokes you in terms of fiction. (Participant S3, practice-research project Work Space III, October 2015). In hybrid and participatory performance environments, the audience’s position constantly shifts and is not contained within a viewing area, like in traditional forms of theatre, raising questions for the performance maker such as: How do I design the distribution of the experience of the audience? How do I contextualise this distribution? How do I frame this experience; and the feelings generated by a distributed design? In this paper, I will reflect through specific performance practice on how the free-energy principle (Friston 2011) and PP (Clark 2013) can be useful for a performance designer (scenographer) as a method for performance making but also as a way of contextualising what participatory performances do and how they do it. The audience–participants’ predictive brains are understood to get a grip on multiple fields of affordances (both material, cultural, etc.) simultaneously, and these become interweaved in the circular causal weave between embodied brain and world. The plurality of possible fields of interrelations the audience–participants make in relation to the design stretch across interoceptive, proprioceptive, and exteroceptive information, providing “a rich new entry point for accounts of experience, emotion, and affect: accounts that do not compartmentalize cognition and emotion, but reveal them as (at most) distinctive threads in a single inferential weave” (Clark 2015: 296). WS III’s scenography could be described as an embodied, and ecological playful. prediction algorithm that had the audience–participants as anticipating errors predicating the next moves in order to maintain the organisation of the performance system..
    • To you, to me: Generation non-eocentric habits of embodied, embedded, enactive and extended spectating.

      Penna, Xristina; University of Leeds (19/06/2019)
      Practice-led presentation involving the participation of the delegates.