Towards a Relational Understanding of the Performance Ecosystem

This article seeks to form a deeper understanding of the performance ecosystem by drawing parallels with Bourriaud's Relational Aesthetics and Guattari's conception of subjectivity as outlined in Chaosmosis. Through an examination of participation within performance, and a recognition of the mutability of the roles of performer, listener, instrument and environment in the creation of the music event, this article examines the place of subjectivity, the capacity for self-creation, in the formation of a group aesthetic. Such a concept places the creation of meaning not within the individual participant but rather within the relationship between participants in a situation, a relationship that recognises the interaction between individuals, societies and institutions in its production. Such a discussion helps further our understanding of the performance ecosystem as a conceptual tool

A Manifesto of Nodalism

This paper proposes the notion of Nodalism as a means describing contemporary culture and of understanding my own creative practice in electronic music composition. It draws on theories and ideas from Kirby, Bauman, Bourriaud, Deleuze, Guatarri, and Gochenour, to demonstrate how networks of ideas or connectionist neural models of cognitive behaviour can be used to contextualize, understand and become a creative tool for the creation of contemporary electronic music

The Exhibition in the Age of Formatting

Since the early 2000s, the critical literature devoted to the exhibition has developed considerably, and several books have ushered in a wholesome labour of historicization, the best known example probably being the portrait gallery produced by Hans Ulrich Obrist, A Brief History of Curating (2008), while, in 2010, his colleague Jens Hoffmann launched The Exhibitionist, a theoretical review devoted to the art of the exhibition, focusing on a defence of curating as a fully-fledged authorial ac..

Complexity as Process: Complexity Inspired Approaches to Composition

This article examines the use of Complexity Theory as an inspiration for the creation of new musical works, and highlights problems and possible solutions associated with its application as a compositional tool. In particular it explores how the philosophy behind Complexity Theory affects notions of process-based composition, indeterminacy in music and the performer/listener/environment relationship, culminating in providing a basis for the understanding of music creation as an active process within a context. The author presents one of his own sound installations, Cross-Pollination, as an example of a composition inspired and best understood from the philosophical position as described in Complexity Theory

Finding Space for Agency in Permanent Exclusion from School

This article aims to examine the experiences of pupils and professionals who are affected by permanent exclusion (what used to be called being expelled) from school. An ethnographic study conducted during the author’s employment as a Pupil Support Officer within secondary schools and the children’s services department of an urban local authority in England explores the idea that professionals may be forced to make inequitable decisions about including or excluding pupils in the face of powerful competition between the politically unchallengeable concepts of tolerance, inclusivity, attainment, and choice. The article argues that the tensions of multi-agency working are focused within what will be described as the contested space of the young person’s ‘extended body’. However, whilst the contested nature of this space renders it vulnerable to negative description and to the biased judgements of authoritarian power, it also offers itself as a space for emancipatory self description by the young person and for the expression of agency on the part of those professionals working for social justice

Investigating situated cultural practices through cross-sectoral digital collaborations: policies, processes, insights

The (Belfast) Good Friday Agreement represents a major milestone in Northern Ireland's recent political history, with complex conditions allowing for formation of a ‘cross-community’ system of government enabling power sharing between parties representing Protestant/loyalist and Catholic/nationalist constituencies. This article examines the apparent flourishing of community-focused digital practices over the subsequent ‘post-conflict’ decade, galvanised by Northern Irish and EU policy initiatives armed with consolidating the peace process. Numerous digital heritage and storytelling projects have been catalysed within programmes aiming to foster social processes, community cohesion and cross-community exchange. The article outlines two projects—‘digital memory boxes’ and ‘interactive galleon’—developed during 2007–2008 within practice-led PhD enquiry conducted in collaboration with the Nerve Centre, a third-sector media education organisation. The article goes on to critically examine the processes involved in practically realising, and creatively and theoretically reconciling, community-engaged digital production in a particular socio-political context of academic-community collaboration

Environmentalism, performance and applications: uncertainties and emancipations

This introductory article for a themed edition on environmentalism provides a particular context for those articles that follow, each of which engages with different aspects of environmentalism and performance in community-related settings. Responding to the proposition that there is a lacuna in the field of applied drama and environmentalism (Bottoms, 2010), we suggest that the more significant lack is that of ecocriticism. As the articles in this journal testify, there are many examples of applied theatre practice; what is required is sustained and rigorous critical engagement. It is to the gap of ecocriticism that we address this issue, signalling what we hope is the emergence of a critical field. One response to the multiple challenges of climate change is to more transparently locate the human animal within the environment, as one agent amongst many. Here, we seek to transparently locate the critic, intertwining the personal – ourselves, human actants – with global environmental concerns. This tactic mirrors much contemporary writing on climate change and its education, privileging personal engagement – a shift we interrogate as much as we perform. The key trope we anchor is that of uncertainty: the uncertainties that accompany stepping into a new research environment; the uncertainties arising from multiple relations (human and non-human); the uncertainties of scientific fact; the uncertainties of forecasting the future; and the uncertainties of outcomes – including those of performance practices. Having analysed a particular turn in environmental education (towards social learning) and the failure to successfully combine ‘art and reality’ in recent UK mainstream theatre events, such uncertainties lead to our suggestion for an ‘emancipated’ environmentalism. In support of this proposal, we offer up a reflection on a key weekend of performance practice that brought us to attend to the small – but not insignificant – and to consider first hand the complex relationships between environmental ‘grand narratives’ and personal experiential encounters. Locating ourselves within the field and mapping out some of the many conceptual challenges attached to it serves to introduce the territories which the following journal articles expand upon

On waiting for something to happen

This paper seeks to examine two particular and peculiar practices in which the mediation of apparently direct encounters is made explicit and is systematically theorized: that of the psychoanalytic dialogue with its inward focus and private secluded setting, and that of theatre and live performance, with its public focus. Both these practices are concerned with ways in which “live encounters” impact on their participants, and hence with the conditions under which, and the processes whereby, the coming-together of human subjects results in recognizable personal or social change. Through the rudimentary analysis of two anecdotes, we aim to think these encounters together in a way that explores what each borrows from the other, the psychoanalytic in the theatrical, the theatrical in the psychoanalytic, figuring each practice as differently committed to what we call the “publication of liveness”. We argue that these “redundant” forms of human contact continue to provide respite from group acceptance of narcissistic failure in the post-democratic era through their offer of a practice of waiting