• Dogs and the elderly: the significance of end of life interspecies companionship.

      Bartram, Angela; University of Derby (05/11/2018)
      We seek comfort from other beings, which in the absence of opportunities to communicate with other humans often finds a solution in relationships with the dogs. Walter Benjamin said “…no single dog is physically or temperamentally like another,” and they bring this individuality to the co-dependence that is living with humans, an interspecies domesticity based on mutual physical and emotional need. The positivity for health of a life with dogs is particularly relevant to the elderly, those who may feel isolated and emotionally vulnerable due to illness, infirmity or being housebound. Their canine companion becomes the energy for life alleviating depression and isolation, creating instead a sense of usefulness to another. Although sharing one’s life with a dog gives purpose and comfort, it also brings anxieties regarding care and separation should that relationship change or cease. For the elderly, this specifically concerns being mindful and worried of the dog’s fate should they enter managed housing or care facilities, or if separated by illness or death. The ‘burden’ they would leave in this situation often sees the elderly intentionally deny homing another dog should theirs die, thus inflicting a self-imposed loneliness. This decision increases sadness and isolation, often with elevated levels of depression becoming a consequence. This illustrated presentation discusses this dilemma through the lens of the social art project ‘Dogs and the Elderly,’ which analyses the significance and benefit of companion relationships towards the end of life. Working with participants from the Alzheimer’s Society’s Memory Café’s in Nottingham, the project analyses the importance of the interspecies relationships for physical and emotional health and wellbeing. Participants, who are interviewed and photographed in their homes with their dogs, discuss their current and past interspecies companions, offering equally heart-warming and heart-breaking accounts as discussions move to a lonelier and dog-free life when their current companion becomes their last. The fear of burden and lack of being able to ensure safe care of a beloved dog once they cannot prescribes a self-imposed loneliness, one where it seems better to know they will not commit a dog to an unknown future than to benefit from their friendship now. The presentation was delivered as part of ARC Artistic Research Forum, De Nieuwe Regentes, The Hague, 5th November 2018.
    • Here and there: two works, ten countries.

      Bartram, Angela; O'Neill, Mary; University of Lincoln (Vilnius Academy of Arts, 2016)
      The presence of the performing body is central to the experience of live art. It is this distinctive quality that enables an audience to engage with an unmediated work that incorporates contingencies of site and response. Here we will discuss two works by Bartram O’Neill (the authors’ collaborative name) that address the myth of presence through an interrogation of ‘liveness’ and what it constitutes in art practice when reliant on technological means. This specifically relates to the performance using remote and scripted bodies at The Body: Out of Time and Without a Place conference in Vilnius 2016. In 2013 Bartram O’Neill performed "I, I am, I am here, I am speaking here" as part of Performa 1, Art Basel Miami (USA). This was performed remotely, from the U.K. through two ‘bodies’ in Miami. Unlike the theatrical tradition of script, rehearsal, interpretation etc. this work required these ‘bodies’ to act as channels and ‘puppets’ for the performers in the UK. Using text messaging and Skype, the UK based ‘performers’ and authors of the work communicated to the audience in Miami through their Miami based translators. Meanwhile the UK authors listened to the performance through a telephone connection with an audience member, and thereby being both performers and audience of their work. Bartram O’Neill participated in “O/R” in the streamed Low Lives 4 Networked Performance Festival. From an empty gallery in Nottingham, UK, the pair performed at 2am GMT to an open laptop on the floor, reaching audiences in the USA, Japan, Trinidad & Tobago, Australia, France, Colombia, Norway, and Aruba, between 8- 9pm the calendar day before, depending on location. These works incorporated not just distance, but also time difference - in the former the performers were in a living room surrounded by their diurnal domestic trappings and in the latter they performed in the middle of the night having walked through deserted streets to occupy a gallery devoid of life. 'Both works distanced the body of the performer, who was in fact ‘present’. This text offers the script for the performance, which opened up and explored the possibilities, complexities and contingencies of the dynamic of present and absent bodies and artistic agencies, thus seeking to analyse what it is to be presented as ‘live’ when geographically distant.
    • Documents, Alternatives #3

      Bartram, Angela; University of Derby (Bath School of Art and Design, Bath, 2018-04)
      The documentation of ephemeral artwork, works made to be transient, changeable and un- fixed, is often problematic for the intent and premise of creation as it aligns itself with a particular moment, place and viewpoint in time. Lens-based methods are mostly relied upon to communicate actuality and happening and to fix the un-fixed memory of the artwork, and this is part of that problem. Effectively, this type of documentary device works in opposition to the concept of the artwork, cementing into a fragmentary history when all it wants is to be fleeting in its temporarality. The lens-made recording tends to generalise vision and, by extension, it does not fully communicate the experience of ‘being there’ and present. Experience is difficult to replicate through a lens. This is problematic for artwork whose very premise is to be transient and time-based, and for which direct experience is a priority. ‘Documents, Alternatives’ is a collection of interlinked exhibitions that include time-based works reliant on performative process and created experience for understanding, which aim to resolve this issue by making the document and artwork reflexive. In doing this they acknowledge their need for change so to remain continuous and in process through staging a practical and thought provoking dialogue across venues. Positioned to operate at the intersection of artistic and academic domains, the project is as creatively stimulating and progressively invigorating as theoretically interrogatory and analytical. This is an experimental, discursive curatorial strategy whereby the document becomes a new artwork and the artwork becomes a new document to keep the ephemeral evolving and in transition. This is exhibition number 3 in the series. To be true to the nature of ephemera, the discursive environment that is ‘Documents Alternatives’ is curated to map a staging that is in ‘motion’ and responsive to artistic meaning and intention. Here, the artworks learn from their prior incarnations, and respond to a re- grouping with the others in the collection of ‘conversational’ exhibitions, of which they are now becoming familiar, and their own concepts to be kept very much in the present. Moving beyond traditional unsympathetic means used as sole mode of translation, it offers a more effective way of communicating the artwork by keeping it current and active, and by denying its relegation to the historic past. To do this it positions the artwork as document and new work simultaneously thereby creating a generating loop of reflexive and developing activity. The exhibitions foreground fluidity and diversity of translation and includes multiple art voices and modes of output, and the work is significantly adapted for this version from those previously staged at Airspace Gallery (Stoke on Trent, 2017) and Verge Gallery (Sydney, 2018). Artists include: Tim Etchells, Andrew Pepper, Emma Cocker and Clare Thornton, Rochelle Haley, Kate Corder, Steve Dutton, Luce Choules, Morrad + McArthur, Brazier and Free, Andrew Bracey, Louise K. Wilson, and Angela Bartram.
    • Documents, Alternatives #2

      Bartram, Angela; University of Derby (Verge Gallery, Sydney, 2018-01)
      The documentation of ephemeral artwork, works made to be transient, changeable and un-fixed, is often problematic for the intent and premise of creation as it aligns itself with a particular moment, place and viewpoint in time. Lens-based methods are mostly relied upon to communicate actuality and happening and to fix the un-fixed memory of the artwork, and this is part of that problem. Effectively, this type of documentary device works in opposition to the concept of the artwork, cementing into a fragmentary history when all it wants is to be fleeting in its temporarality. The lens-made recording tends to generalise vision and, by extension, it does not fully communicate the experience of ‘being there’ and present. Experience is difficult to replicate through a lens. This is problematic for artwork whose very premise is to be transient and time-based, and for which direct experience is a priority. ‘Documents, Alternatives’ is a collection of interlinked exhibitions that include time-based works reliant on performative process and created experience for understanding, which aim to resolve this issue by making the document and artwork reflexive. In doing this they acknowledge their need for change so to remain continuous and in process through staging a practical and thought provoking dialogue across venues. Positioned to operate at the intersection of artistic and academic domains, the project is as creatively stimulating and progressively invigorating as theoretically interrogatory and analytical. This is an experimental, discursive curatorial strategy whereby the document becomes a new artwork and the artwork becomes a new document to keep the ephemeral evolving and in transition. This is exhibition number 2 in the series. To be true to the nature of ephemera, the discursive environment that is ‘Documents Alternatives’ is curated to map a staging that is in ‘motion’ and responsive to artistic meaning and intention. Here, the artworks learn from their prior incarnations, and respond to a re-grouping with the others in the collection of ‘conversational’ exhibitions, of which they are now becoming familiar, and their own concepts to be kept very much in the present. Moving beyond traditional unsympathetic means used as sole mode of translation, it offers a more effective way of communicating the artwork by keeping it current and active, and by denying its relegation to the historic past. To do this it positions the artwork as document and new work simultaneously thereby creating a generating loop of reflexive and developing activity. The exhibitions foreground fluidity and diversity of translation and includes multiple art voices and modes of output including video, light and holography, text, painting, print, web work, ethnographic environmental trace, jam making, and sound. The 'Documents Alternatives' project is led and curated by Angela Bartram. Artists include: Tim Etchells, Andrew Pepper, Emma Cocker and Clare Thornton, Rochelle Haley, Kate Corder, Steve Dutton, Luce Choules, Morrad + McArthur, Brazier and Free, Andrew Bracey, Louise K. Wilson, and Angela Bartram. ‘Documents, Alternatives #2 was in the 5% of successful exhibition proposals for Verge Gallery's 2018 programme.
    • Documents, Alternatives #1

      Bartram, Angela; University of Derby (Airspace Gallery, Stoke on Trent, 2017-11)
      ‘Documents, Alternatives #1’ is an exhibition presenting works by 15 internationally exhibited artists and artist collaborations. Built upon a series of time-based works that rely on performative process and created experience, the project 'Documents, Alternatives,' which comprises linked exhibitions (of which this is number 1), symposium and text, aims to resolve this issue by making the document and artwork reflexive. In doing this it acknowledges their need for change, so that they remain continuous and in process, through staging a practical and thought provoking visual discussion. Positioned to operate at the intersection of artistic and academic domains, the project is as creatively stimulating and progressively invigorating as theoretically interrogatory and analytical. This is an experimental, discursive curatorial strategy whereby the document becomes a new artwork and the artwork becomes a new document to keep the ephemeral evolving and in transition. ‘Documents, Alternatives #1’ and the project to which it belongs, are in response to, and as a continuation from the pilot exhibition that curated a selection of international artists’ work to demonstrate the ways in which ephemeral practice can be renewed through re-staging the document as new artwork. It is a re-drafting, re-configuration, re-grouping and re-working of this pilot, ‘The Alternative Document’ at Project Space Plus in Lincoln (13th February - 11th March 2016), and as such it continues the conversation and the lifespan of these works and their relation to others with the exhibition. The project and 'Documents Alternatives #1' are led and curated by Angela Bartram. Includes work by: Angela Bartram, Andrew Bracey, Brazier and Free, Luce Choules, Emma Cocker and Clare Thornton, Kate Corder, Steve Dutton, Tim Etchells, Rochelle Haley, Morrad + McArthur, Andrew Pepper, Louise K. Wilson. The exhibition was accompanied by an artist's talk at Staffordshire University in association with Airspace Gallery as part of Airspace Curriculum on 23 November 2017, and Bartram was commissioned for the window exhibition space, where a new video artwork 'Santa Dogs' showed throughout the duration of 'Documents, Alternatives #1.'
    • Recto Verso: redefining the sketchbook.

      Bartram, Angela; El-Bizri, Nader; Gittens, Douglas; University of Lincoln (Ashgate Publishing Ltd., 2014)
      Bringing together a broad range of contributors including art, architecture, and design academic theorists and historians, in addition to practicing artists, architects, and designers, this volume explores the place of the sketchbook in contemporary art and architecture. Drawing upon a diverse range of theories, practices, and reflections common to the contemporary conceptualisation of the sketchbook and its associated environments, it offers a dialogue in which the sketchbook can be understood as a pivotal working tool that contributes to the creative process and the formulation and production of visual ideas. Along with exploring the theoretical, philosophical, psychological, and curatorial implications of the sketchbook, the book addresses emergent digital practices by way of examining contemporary developments in sketchbook productions and pedagogical applications. Consequently, these more recent developments question the validity of the sketchbook as both an instrument of practice and creativity, and as an educational device. International in scope, it not only explores European intellectual and artistic traditions, but also intercultural and cross-cultural perspectives, including reviews of practices in Chinese artworks or Islamic calligraphy, and situational contexts that deal with historical examples, such as Roman art, or modern practices in geographical-cultural regions like Pakistan.
    • Here and there: two works, ten countries

      Bartram, Angela; O'Neill, Mary; University of Lincoln (2015-09)
      A paper was delivered remotely at The Body: Out of Time and Without a Place conference at Contemporary Art Centre, Vilnius, via two performing 'bodies'. The 'script' for these bodies was exhibited in the Performance Ephemera exhibition as a paper document at Practice Gallery, University of Worcester. The paper abstract for Vilnius: The presence of the performing body is central to the experience of live art. It is this distinctive quality that enables an audience to engage with an unmediated work that incorporates contingencies of site and response. In this paper we will discuss two works by Bartram O’Neill (the authors’ collaborative name) that address the myth of presence through an interrogation of ‘liveness’ and what it constitutes in art practice when reliant on technological means. In 2013 Bartram O’Neill performed "I, I am, I am here, I am speaking here" as part of Performa 1, Art Basel Miami (USA). This was performed remotely, from the U.K. through two ‘bodies’ in Miami. Unlike the theatrical tradition of script, rehearsal, interpretation etc. this work required these ‘bodies’ to act as channels and ‘puppets’ for the performers in the UK. Using text messaging and Skype, the UK based ‘performers’ and authors of the work communicated to the audience in Miami through their Miami based translators. Meanwhile the UK authors listened to the performance through a telephone connection with an audience member, and thereby being both performers and audience of their work. Bartram O’Neill participated in “O/R” in the streamed Low Lives 4 Networked Performance Festival. From an empty gallery in Nottingham, UK, the pair performed at 2am GMT to an open laptop on the floor, reaching audiences in the USA, Japan, Trinidad & Tobago, Australia, France, Colombia, Norway, and Aruba, between 8- 9pm the calendar day before, depending on location. These works incorporated not just distance, but also time difference - in the former the performers were in a living room surrounded by their diurnal domestic trappings and in the latter they performed in the middle of the night having walked through deserted streets to occupy a gallery devoid of life. 'Both works distanced the body of the performer, who was in fact ‘present’. This explores the possibilities, complexities and contingencies of this dynamic seeking to analyse what it is to be presented as ‘live’ when geographically distant.
    • Unsettling action and text: a collaborative experience.

      Bartram, Angela; O'Neill, Mary; University of Lincoln (Routledge, 2016)
      The original abstract for this text was written in 2009, and reflected the beginning of a collaboration informed by two individuals’ research confidences and disciplines. A work titled ‘Oral/Response’, which combined the documentation of a performance within its structure, allowed a conversation to emerge between disciplines and ways of working, of live action and its textual documentation. ‘Oral / Response’ explored the dynamic, but often disjointed relationship between these two linked but separate elements within the performance itself. The simultaneous dialogue between action and text in this work aimed to highlight the ways in which performance and its legacy as documentation can be reflexive and co-dependent. By making the text as evanescent as the act it describes, this work became the foundation of a new form of practice for both collaborators, a nexus of theory and practice that combined different languages, different ways of knowing and experiencing. The rules and regulations that direct and confine solo compositions in text and action became less rigid, more malleable and symbiotic. In the interim and beyond this work the collaboration has developed in such a way that the distinction between these disciplines, specifically in critical theory and arts practice, has become insignificant. While initially the partnership provided access to each other’s disciplines there is now fluidity, confidence, and trust whereby the roles ascribed to each varies depending on the requirement of the work. The lines have become blurred, and the separation of roles foggy allowing each collaborator the safety and space to take risks by entering domains that are less familiar research methodologies. Therefore the collaboration, aside from the actual work produced, has a significant extra dimension - it allows each partner to become confident and articulate in the others field. Dynamic elements have been liberated for the possibility of an analysis of the range of co-efficiencies and motivations that abound from this fusion, and speaks of the nature of collaboration itself. A reflexivity in approach and position has reshaped, informed, and re-informed the possibilities for emergent research, where trust allows each participant to be confident in a range of methods for creating knowledge. This chapter traces the development of the collaborative relationship from its beginning in two distinct areas of expertise and strength to a partnership where there is now more overlapping of roles.
    • Here and there: two works, ten countries (displaced)

      Bartram, Angela; O'Neill, Mary; University of Lincoln (2015-09)
      Bartram O’Neill performed "I, I am, I am here, I am speaking here" as part of Performa 1, Art Basel Miami and "Here and There: Two Works, Ten Countries" for The Body: Out of Time and Without a Place (Vilnius).This was performed remotely, from the U.K. through two ‘bodies’ in Miami acting as channels and ‘puppets’ for the performers in the UK. The work distances the performers bodies, despite their being ‘present’ as audience through Skype and mobile phone. It explores the possibilities, complexities and contingencies of this dynamic seeking to analyse what it is to be presented as ‘live’ when geographically distant. The paper displaced the authors: one was in her living room whilst the other was at the conference, yet only one spoke. The text in Irish was delivered from the 'script' by the author in her home, whilst the other gave her role to a conference delegate at the start of the session. A role he had no idea he would take prior to walking in the room and meeting her invite. The author present at the conference documented the event from the back. Both authors answered questions afterwards.
    • “Does that mean I have to hump Monica?”: the sexual dynamics of a human / nonhuman dog pack.

      Bartram, Angela; Hurley, Paul; University of Derby; University of Southampton (Human-Animal Studies Conference, 2018-08)
      Jacques Derrida said that animal is a name humans “have given themselves the right and the authority to give to another creature. ” This agency of naming separates human from animal, humanity from animality, despite shared behavioural traits. Sex, and sexuality and being ‘in sex’ remind us of animal (in the human and the non-human) primal drives. The genitals reference ‘sex’ (as site, as pleasure, anatomically), and locate where dogs are ‘in heat.’ Dog or human, the heat of sexual enhancement is a force that ignites a biological drive at the expense of cognate sensibilities. It makes us animal, in spite of our species. What does is it to be ‘in heat,’ in the heat of the moment and subject to the impulses of another (species)? Be Your Dog, an interspecies collaborative project at KARST (2016), sees human and dog companions learn the others behaviours and establish empathy. Here, the dogs led the humans (astray) in performative interactions, including those of inter-gender experiences of neutered/intact and sexually receptive/non sexually interested, and a sexually ripe and ‘on heat’ female. This paper, a scripted conversation between Paul Hurley (Be Your Dog, participant) and Angela Bartram (organiser), analyses the investment of sexual tensions brought by the ‘in heat’ canine participant in the group, and her effect on the other dogs and humans.
    • Ephemeral art and documenting the un-documentable.

      Bartram, Angela; University of Derby (06/07/2018)
      Concerned with the ephemeral and how it is perceived when lost to the fractures of time, Peggy Phelan suggests “you have to be there.” Phelan states that ephemera, specifically performance “become[s] itself through disappearance,” which draws empathy with Walter Benjamin’s notion of the “aura of the original.” In practice this a less than pragmatic account of the reality of experiencing such artworks, for how can they exist beyond the moment of making if not recorded, in order to map their histories? Archival devices are however, problematic, for how do we suitably record the remains of these artworks that, by their very premise, deny longevity and fixity? This paper interrogates the critical, sensitive and individualized distance necessary when capturing ephemeral artwork to allow it to remain true to intent. Moving beyond the disciplinary ghettos of event and documentation, it interrogates how divergent and sympathetic modes of practice allow for a greater level of sustainable critique. This complex and problematic terrain will be analysed to question if appropriate documents, with the varied and differing demands of works of art, can ever be possible. Based on artworks within ‘The Alternative Document’ exhibition (Project Space Plus, Lincoln UK, 2016, which I curated to include a collection of archival documents reconfigured as new artworks) I discuss the potential for legacy beyond formal and traditional means. Through this, I will suggest how it is possible to move beyond formal academic, artistic and museological conventions when documenting and re-staging ephemeral art.
    • The alternative document exhibition.

      Bartram, Angela; University of Lincoln (2016)
      Artists: Tim Etchells, Jordan McKenzie, Rochelle Haley, David Brazier & Kelda Free, Hector Canonge, Rachel Cherry, Luce Choules, Emma Cocker & Clare Thornton, Kate Corder, Chris Green & Katheryn Owen, Andrew Pepper, Louise K Wilson, Bartram O’Neill. Beyond most ephemeral artwork a memory remains in the mind of the observer and this forms part of the legacy of the fleeting event. However, memory is mostly a personal experience, that shifts, mutates, and fades over time to become distant, different to its origin, and in this way its archival potential is unreliable. To overcome this dilemma a variety of lens-based archival methods have become the tradition of recording the ‘actual’ event in as far as it is possible. Although a recorder, of any variation, can provide footage that gives place and context of the archive document, they present a dilemma – how much do they indicate what it was like to ‘be there’. For recordings are mediated and translated for posterity through the direction of the person holding the device and document their viewpoint and subjective encounter with the work. This creates an archival document open to subjective discussion, as a memorial and work in its own right, and of which alternatives are often sought. It is in this way that the disciplinary ghettos of event and documentation are abandoned in favour of a mode of practice that allows for a greater level of mutual critique. For documentation is also subject to the same vagaries of time as the event itself. Concerned with the ephemeral and how it is perceived Peggy Phelan represents a position on this subject of “you have to be there” in order to understand the ephemeral. Phelan acknowledges that a performance “become[s] itself through disappearance.” This argument draws empathy, but in practice is a less than pragmatic account of the reality of experiencing ephemeral works, for how is the work to exist beyond the moment if not recorded in some way. The Alternative Document exhibition at University of Lincoln seeks to expand on the idea of the ephemeral and its loss, by offering a platform where different acts of legacy can be witnessed and discussed. An accompanying symposium to the exhibition was held in Lincoln Performing Arts Centre on Saturday 13th February 2016 with a keynote address by Tim Etchells, and opened with a performance by Jordan McKenzie on the evening of Friday 12th February 2016.
    • The Alternative Document symposium.

      Bartram, Angela; University of Lincoln (2016-02)
      Beyond most ephemeral artwork a memory remains in the mind of the observer and this forms part of the legacy of the fleeting event. However, memory is mostly a personal experience, that shifts, mutates, and fades over time to become distant, different to its origin, and in this way its archival potential is unreliable. To overcome this dilemma a variety of lens-based archival methods have become the tradition of recording the ‘actual’ event in as far as it is possible. Although a recorder, of any variation, can provide footage that gives place and context of the archive document, they present a dilemma – how much do they indicate what it was like to ‘be there’. For recordings are mediated and translated for posterity through the direction of the person holding the device and document their viewpoint and subjective encounter with the work. This creates an archival document open to subjective discussion, as a memorial and work in its own right, and of which alternatives are often sought. It is in this way that the disciplinary ghettos of event and documentation are abandoned in favour of a mode of practice that allows for a greater level of mutual critique. For documentation is also subject to the same vagaries of time as the event itself. Concerned with the ephemeral and how it is perceived Peggy Phelan represents a position on this subject of “you have to be there” in order to understand the ephemeral. Phelan acknowledges that a performance “become[s] itself through disappearance.” This argument draws empathy, but in practice is a less than pragmatic account of the reality of experiencing ephemeral works, for how is the work to exist beyond the moment if not recorded in some way. The Alternative Document symposium, which accompanies the opening of the exhibition of the same name at University of Lincoln, seeks to expand on the idea of the ephemeral and its loss, by offering a platform where different acts of legacy can be witnessed and discussed. A guest edited edition of Studies in Theatre and Performance will be published from the project as a whole in the near future. The symposium was originated and led by Angela Bartram. The day coincided with the launch of the exhibition of the same name, and featured presentations by the artists in the exhibition (plus others). Tim Etchells delivered the symposium's keynote paper, and Jordan McKenzie gave a keynote performance to open the event at the same time as the launch of the accompanying exhibition on the evening of Friday 12 February 2016. Presenters: Tim Etchells, Jordan McKenzie, Annalaura Alifuoco, Hector Canonge, Ana Carvalho, Rachel Cherry, Luce Choules, Emma Cocker & Clare Thornton, Stewart Collinson, Kate Corder, Rochelle Haley, Min Kim, Sophie Kromholz, Anya Lifting, Chiara Passa, Andrew Pepper, Louise K Wilson. Created and led by Angela Bartram as part of the Alternative Document project. The symposium took place at Lincoln Performing Arts Centre, 12-13 February 2016.
    • Teaching an old dog new tricks.

      Bartram, Angela; University of Derby (15/07/2018)
      At a recent animal studies conference I noticed that although discussions were of the subjects being sentient and cognate, the delivery was for humans. Essentially, animals have no opportunity to understand the theories written about them. For the past year I have been reading animal theory to dogs, cats and horses and now it is time for a lecture for dogs and their humans about dogs in art. ‘Teaching an Old Dog New Tricks’ is a different type of lecture for an interspecies audience and extended ‘pack’.
    • Here and There: two works, ten countries.

      Bartram, Angela; O'Neill, Mary; University of Lincoln (22/05/2015)
      The presence of the performing body is central to the experience of live art. It is this distinctive quality that enables an audience to engage with an unmediated work that incorporates contingencies of site and response. In this paper we will discuss two works by Bartram O’Neill (the authors’ collaborative name) that address the myth of presence through an interrogation of ‘liveness’ and what it constitutes in art practice when reliant on technological means. In 2013 Bartram O’Neill performed "I, I am, I am here, I am speaking here" as part of Performa 1, Art Basel Miami (USA). This was performed remotely, from the U.K. through two ‘bodies’ in Miami. Unlike the theatrical tradition of script, rehearsal, interpretation etc. this work required these ‘bodies’ to act as channels and ‘puppets’ for the performers in the UK. Using text messaging and Skype, the UK based ‘performers’ and authors of the work communicated to the audience in Miami through their Miami based translators. Meanwhile the UK authors listened to the performance through a telephone connection with an audience member, and thereby being both performers and audience of their work. Bartram O’Neill participated in “O/R” in the streamed Low Lives 4 Networked Performance Festival. From an empty gallery in Nottingham, UK, the pair performed at 2am GMT to an open laptop on the floor, reaching audiences in the USA, Japan, Trinidad & Tobago, Australia, France, Colombia, Norway, and Aruba, between 8- 9pm the calendar day before, depending on location. These works incorporated not just distance, but also time difference - in the former the performers were in a living room surrounded by their diurnal domestic trappings and in the latter they performed in the middle of the night having walked through deserted streets to occupy a gallery devoid of life. Both works distanced the body of the performer, who was in fact ‘present’. This paper explores the possibilities, complexities and contingencies of this dynamic seeking to analyse what it is to be presented as ‘live’ when geographically distant.
    • Stratified realities: convergence and mediation in non-fiction collage film.

      Bosward, Marc; University of Derby (07/09/2018)
      Positivist thinking has been highly influential on the development of documentary film in the English-speaking world. Brian Winston (1995) argues that this is explained by the perception of the camera as a scientific instrument that provides the facility to deliver an unmediated reality intact to the viewer. This conceit has been central to documentary production in the English speaking cannon, underpinning the truth claims of direct cinema and its observational, objective ethos. In contrast, Documentary filmmakers such as Adam Curtis and Joshua Oppenheimer, working within strategies that openly embrace the synthesis of documentary with experimental and fictional practice, have suggested that the language of non-fiction must develop new tools for adequately addressing the heterogeneity and plurality of the social world. This implies that the complexity of unequal relations determining social forces cannot be adequately described by conventional documentary representation, particularly those conventions tied to tenets of objectivity and balance. The research aims to address this need by developing non-fictional collage as a method for interrogating the mechanisms that shape the social world. The project’s practical methodology emphasises fabrication, simultaneity and layering as tools with the potential to extend the vocabulary of documentary film. The paper will present a body of practice research that explores the intersection of collage, found footage film, animation, documentary and critical realism. The practice investigates digital compositing, hybridity and the capacity for spatial layering to generate an intermediate, unstable aesthetic that cannot be assigned to any singular, unitary ontological level. The paper argues that these conditions provoke an elasticity and ambiguity that dissolves binary distinctions between mimesis and abstraction, reflecting the non-dualist standpoint of critical realism at a medial point between positivist and idealist perspectives. The research deploys the particular constructedness and intermediality of collage as a disruption to ideologically conditioned appearance forms. This posits the practice as a challenge to reductive accounts of the socio-historical world in dominant visual cultures under capitalism. The paper claims that in contrast to unmediated live action images, the hybridity of collage has the potential to more adequately describe the complexity and contingency of reality. The paper explores the layered composite of colliding images as the locus of collage as political discourse. This lies in its facility to surpass the limitations of the monovalent image through the dialectical tension of simultaneity and coexistence. The capacity of collage to describe the interdependence and complexity of socio-historical phenomena is underpinned by the critical realist concept of stratified reality, an idea that advances an ontology comprised of co-dependent structures and mechanisms. The project draws from theoretical debates in experimental and animated documentary that assert the legitimacy of explicit construction and fabrication in non-fictional address. The paper argues that the persistence of collage lies in its continuing relevance as a process of working through and negotiating the complexity of an increasing interconnected and disorientating world.
    • PaintingDigitalPhotography: Synthesis and difference in the age of media equivalence

      Hilliard, John; Honlold, Astrid; Robinson, Carl; Rosenstein, Tatiana; Rushton, Stephanie; Simson, Henrietta; Speidel, Klaus; Walker, Jame Faure; Weir, Catherine M; Wooldridge, Duncan; et al. (Cambridge Scholars Publishing, 01/09/2018)
      We live in a digital age where the mediums of art are inextricably bound to the binary code, and painting and photography are redefined in their interconnected relationship through digital reconfiguration. As digitisation unmoors these mediums from their traditional supports, their modes of production, display and dissemination shift. These changes bring about new ways of creating, and engaging with, artworks. Through this, the innate qualities of the mediums, previously anchored in their analogue nature, are re-evaluated through their connection with “the digital”. Born out of the PaintingDigitalPhotography conference, held at QUAD Derby, UK, in May 2017, this anthology of essays investigates aspects of interconnectivity between painting, digital and photography in contemporary art practices. It contributes to critical discourses around networks of associations by examining where syntheses occur, and differences remain, between these mediums at the beginning of the twenty first century.
    • Introduction

      Bartram, Angela; University of Derby; Arts Research Centre, University of Derby, Derby, UK (Taylor and Francis, 15/08/2018)
      This is the introduction for The Alternative Document, a special edition of Studies in Theatre and Performance edited by Angela Bartram. The edition contains essays by Angela Bartram, Emma Cocker and Clare Thornton, Kate Corder, Steve Dutton, Rochelle Haley, Sophie Kromholz, Una Lee, Andrew Pepper and Louise K. Wilson.
    • A sense of becoming and alienation: the retrospective in the work of Jordan McKenzie.

      Bartram, Angela; University of Derby; School of Arts, College of Arts, Humanities and Education, University of Derby, Derby, UK (Taylor and Francis, 15/08/2018)
      The act of art retrospective, specifically that placed within a museum or gallery, is to reflect on, and give knowledge of something past. Retroactive in its overview of an artist’s practice, it is inherently backwards facing rather than future focused. As an act that specifies finiteness and conclusion, a living artist’s retrospective produces an ananomaly. In 2016, I simultaneously staged the Alternative Document symposium and exhibition. This included Retrospective 2027 by Jordan McKenzie, an event set in the future and staged by a living artist. Positioned as a keynote in the symposium rather than the exhibition it not only offered the retrospective as a representation of the artworks of the living, but also challenged traditional formats of structural placement. Situated within colloquialism rather than exhibition, the aim was to set it adrift from the gallery to open it to critical analysis and debate. This essay considers McKenzie’s approach to retrospective and how it differs from the conventional. Including my critical conversation with the artist, his performed, gestural and event-based approach is discussed for how it differs from the regular model of exhibition. The essay discusses the implications for the documentation of performance and the retrospective in McKenzie’s work.
    • Illustrating Corsica: The modernist landscape of John Minton's Time Was Away.

      Neal, Ian; University of Derby (Intellect Ltd., 01/04/2018)
      The article considers John Minton’s (1917–57) illustrations of landscape for the book Time Was Away: A Notebook in Corsica (1948) with an aim to recover their significance in the history of illustration. Certain illustrations are positioned as notable for their ambiguous relationship to the text. I elaborate thinking around text–image relations alongside questions concerning the cross-fertilization of fine art and illustration. In their adoption of modernist principles, Minton’s illustrations are significant in recasting the role of illustration in the artistic context of post-war Britain. In melding formalist effects with realist concerns, the illustrations raise broader matters around realism, fine art and the democratic potential of illustration. I show that in seizing on cinematic techniques, Minton offers an effectively modern response to the traditional paradigm of depth associated with landscape and thereby proffers an alternative to the Modernist paradox that a teleological development of painting is at odds with landscape.