STATE OF PLAY ...

07.2011

STATE OF PLAY...
www.ppr.miriadonline.info

PART OF THE ACTIVITIES OF THE PROCESS, PRACTICE & REFLECTION (PPR) GROUP

INTRODUCTION State of Play is an exposition of practice-based research in progress by seven PhD students at Manchester Metropolitan University. It is linked to and coincides with the Practice As Research Consortium (PARC) North West Carnival event at MIRIAD, MMU. Practice, Process and Reflection (PPR) is an alliance of MIRIAD art and design practice-based PhD students exploring strategies, methods and opportunities for conducting, testing, presenting, and disseminating our research. We are particularly interested in the possibility of extending the repertoire of approaches used to present practice-based research and the network of venues, environments and situations used to do this, for ourselves and future PhD cohorts. Through this exposition and its accompanying dialogues, along with other activities foregrounding and sharing the practice aspect of our research, we intend to add to a growing awareness of the potential of creative practice for generating new conceptions of research, appreciation of diverse kinds of knowledge and methodologies derived from and appropriate to the practices in question. PPR intends to make a proactive contribution to the spectrum of PhD training offered by the University, encouraging the discussion of practice research issues amongst postgraduate art and design students and the wider creative community. The work displayed in this exposition is representative of our current, individual research trajectories and therefore exploratory rather than resolved. On a basic level bringing this small but diverse selection of research material raw into the same public space indicates the tentative, crosssubject conversations that are beginning to occur amongst members of the PPR group itself. More importantly it presents opportunities for more focused discussion, about similarities and differences of research experience for example, across and beyond the group and for critical dialogue and reflection catalysed by the material presence of emergent research output.
Ana Luisa Cruz Cj ONeill Clinton Cahill David Penny Emily Strange Lewis Sykes Mike Chavez-Dawson July 2011

THE EVENT OF THE PHOTOGRAPH: A PRACTICE-LED INVESTIGATION INTO PHOTOGRAPHY THROUGH WRITING,

ANA LUSA CRUZ

ABOUT THE WORK Wrapping paper

from a folder titled: (immediately) after the literature review work in progress

Considering practice and theorys inseparability, the work intends to reflect about the entanglement of gestures and weaving lines within the research act itself. It consists of a summarized description of the contents of the folder I have been using every day after having written the literature review, to file and revisit the journey of the research. A work about a fragrant tree: lemon tree
(Collaboration Ana and R) work in progress

A few weeks ago I wrote to R (Tel Aviv, Israel) to ask her if she would be willing to make visible to me (us) a fragrant tree from her country. Although we had only exchanged a few e-mails in the past, R. accepted, letting me know she has a lemon tree outside her window in Tel Aviv. Due to personal reasons, R decided to leave the project, but has agreed that I take it further with her in mind. The final work will consist of a series of written texts along little portions of the branches reproduced in porcelain. However, this piece will be presented at the PPR event still unfinished, as work in progress. ON PRACTICE AS RESEARCH My research approaches photographic practice as an event, and searches for possibilities that writing, as a practice, can reveal the event of the photograph. Aiming to explore a view of the photograph as unfixed, and photography as movements towards described by gestures towards, my study looks for a position within notions of affect by questioning what can a thing do, rather than what [a thing] is, and follows Derridas suggestion to question what comes before the question?. Writing is part of my practice, and intrinsic to, indistinct from, thought as a search for knowledge. My research looks for a view of photography from a movement of (un)folding away from the photograph via writing, to see it anew. In aiming to account for the un-sayable in language, and language as a subjective trajectory, both evocative and nourishing, I have come to realise that the intention to look for a view that, from affect, envisages an entanglement with academic discourses, is also to extend formative processes,

Note left onto books in the library, during absence (December, 2010); coming to stand (as) for a space between (May, 2011)

CJ ONEILL
www.cjoneill.co.uk

RE*PRESENTING HEIRLOOMS: ARTISTIC INTERVENTIONS INTO THE VALUE OF EVERYDAY CERAMICS

thinking and making, subjectivity and precision, along an intention to relate with others; my project seeks growth from a multiplicity of gestures through social interaction, but also from the interaction of things the angle of the viewfinder and the windows opened, the bread and milk in her coffee and a photograph, a formula and the ball he used to play with, my sons shoes and an 8 seconds exposure photograph, a telephone placed in a gallery and the possibility of a moment being captured when someone, far away, makes some-thing sayable at the other end. To my research I am bringing myself extended through writing, and inviting others through evocative things, in a conversation that remains opened from gestures towards.

Un Soutien Pour Japon Papercut, postcard, pencil, CJ ONeill, 2011

ABOUT THE WORK Inspired by memories and everyday ceramics, I create a visual language of silhouettes. Re-interpreting existing objects, adding a new layer of pattern over the old, I hope to embed a new story, provoke conversation and inspire new ways of seeing objects. I use industrial production processes, but align myself more closely to the individual craftsman and am interested in the balance between the handmade and the industrially produced. By punching old, manufactured everyday objects with a newness which refers to current mass production, new technologies and materials, but in a more unique or one off fashion, the objects are placed in the spotlight, their value brought into question. How has the value of these pieces changed with this new narrative? ON PRACTICE AS RESEARCH Practice-based research (in particular for a PhD) is research where some of the resulting knowledge is embodied in an artefact. Whilst the significance and context of that knowledge is described in words, a full understanding of it can only be obtained with reference to the artefact itself. Artefacts in practice-based research can range from paintings and buildings to software and poems. 1 How do we, as makers, articulate the knowledge we produce through the artefacts or other products of our making process in words? Is a reflective narrative produced after the practice, enough to fulfil the requirements of the PhD thesis? Embarking on a practice based PhD I felt like I was drowning in a sea of reading. Writing. Thinking. Writing. Reading. Writing some more and finally getting to a point where I needed to, had to, would simply curl up in a corner and give up entirely, if I didnt make something. Practice. Produce. Process. It is a part of me. An essence of my being to touch materials, to interact, to layer, to cut up and re model materials that I gather from the world and re*present them in a new format. Accepted outside of academia, a beautiful artefact or piece is accepted, bought, and exchanged. A narrative is sometimes provided by the creator. Reflections on these objects often come in the form of critique, review and inclusion in writing by others on the world of craft/art/design. What is my role in this? Reflection on my own practice is key to the development of my own work, but how this is perceived and interpreted once published is unknown. Does the publication of this reflection alter the value in the work? Does it affect the ability of the viewer to bring an outside perspective to the work? Can the artefact itself embody all of the knowledge?
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The following are excerpts from an ongoing practice journal.

Doorways as transitional points, escape routes, entry to other places. The doorway, and the steps leading to it (the Otla) in the Pol project was so key. In this community, life is centred around this area, and the threshold to a home is open, welcoming. Being invited into homes to meet family, drink tea (Chai) eat and chat was an incredibly humbling experience. The generosity of the families in the Pol was endless. This transitional crossing the threshold felt quite symbolic, and using the symbol of the doorway within the pieces was a natural step. I am intrigued by what lies beyond closed doors, imagining lives and stories that are contained behind them. Making provides a different way of clarifying thoughts for me. I can read and write about a subject, but until I actually make something, the ideas are never concreted, or fully formed. Invited to submit work for un soutien pour japon, an exhibition in Deux Dimanche gallery, Japan, to raise funds for disaster victims, I am immediately drawn to reproducing the pair of children sat on the doorstep from India. Something changed in the piece being cut from a fluorescent post it. The use of luminous orange is key in introducing the contemporary, industrial, otherness of the work. Layering, collage and combinations are central to my process of making. Working with layout and placement, papercutting, photography, tracing, scanning, reworking, adding this works better for me than drawing with paper and pencil.

BIOGRAPHY Born in Belfast in 1978, Cj lives and works in Manchester combining practice, research and teaching. She is undertaking PhD (by practice) research at MIRIAD, with a thesis working title Re*presenting heirlooms: artistic interventions into the value of everyday ceramics and is a member of the craft research group. She is also MA route leader for Contemporary Craft Practice at MMU, working on live projects to support students in developing professional craft practices. Graduating from MMU in 2000, Cj has worked and exhibited internationally including;The Pol Project, part of Ahmedabad International Arts Festival, India; Picnic, a collaborative project with Alice Kettle; Non-Object-Ive, part of the Lodz Design Festival, curated by Marek Cecula; Object Factory, Museum of Art and Design, New York; Wesley Meets Art project, Special Collections Gallery, Manchester; Kirkens Collection, invited artist in residence project, Guldagergaard, Sklskr, Denmark.

2011 Creativity and Cognition Studios http://www.creativityandcognition.com/content/category/10/56/131/

ILLUSTRATING THE WAKE: A VISUAL READING OF JAMES JOYCES FINNEGANS WAKE

CLINTON CAHILL

ON PRACTICE AS RESEARCH My practice research is concerned with Illustration as visual adaptation. It explores ideas about relationships between drawing, writing and reading arising from the following hypothesis: Inherent in James Joyces Finnegans Wake is a movement away from conventions of linear narrative text towards the condition of an image. Though widely referenced by writers on subjects as diverse as semiotics, mass communication, race and technology, Finnegans Wake itself though first published as a single volume in 1939 - remains largely unread and unappreciated outside academia. My own reading of The Wake and the visual/ imaginative response I derive from it has prompted my curiosity about the peculiar nature of this text and, more generally, about the interaction of printed word and visual imagination. A distinctive aspect of this research is the attempt to read, imagine and visualize the Wake to create a visual adaptation of it informed by the lineage of illustrative practice. Consequentially it explores the extent to which the application of creative visual practice can offer an alternative mode of reading this kind of text. Adopting the premise that the peculiarity and difficulty of The Wake arise in part from its indeterminate state between word and image, my practical research methods are meant to identify, foreground and explore aspects of visuality in the text, and realize more fully its latent image form. Contesting the nature of the Wake as a purely literary object this trans-disciplinary practice may contribute to the understanding of illustrative visual adaptation and its functions, potential and relationship to reading and drawing. It may also widen the appreciation of Finnegans Wake and, implicitly, other similarly problematic works, by proposing and testing an alternative, image-based approach. Practice methods used so far include an initial page-by-page narrative mapping of the Wake, providing a summary text form and a kind of proto image and navigational aid; a sketchbook based page-by-page visual reading/drawing notational response; developmental images and artists book experiments of key strands, narrative nodes, themes, events, consciousnesses, environments etc.; larger drawings re-visiting selected reading/drawing notations. These latter drawings exploit the highly responsive, mutable and unstable medium of charcoal. This is intended to broadly equate with

FW p5, charcoal on paper, Clinton Cahill, 2011

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DAVID PENNY
www.davidpenny.info

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the way that the language of Finnegans Wake holds in surface play divergent possible readings of passages, phrases and words until the reader commits emphasising a particular meaning or nuance, whilst remaining sensitive to traces of alternate possibilities. BIOGRAPHY Artist, designer and educator, Clinton Cahill is a tutor on the BA (Hons) Graphic Design course and co-ordinator of the taught MA in Design and Art Direction and also a part time PhD student at Manchester Metropolitan University. His creative practice incorporates painting, illustration and graphic design. He has a strong interest in the relationship between image, text and illustration and the phenomenology of image, particularly in relation to drawing. His practice-based PhD research is an investigation of visuality in James Joyces Finnegans Wake through processes of visual adaptation. CONTACT c.cahill@mmu.ac.uk

Outside of the Walls, David Penny, 2011

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ON PRACTICE AS RESEARCH Practice as Research is a term that I have heard being used in relation to arts practice since I finished my undergraduate photography degree six years ago. It can often be found within a set of quotation marks, which might denote a lack of confidence in what the combination of these words might actually mean when adopted to define academically posited research. Similar phrases with various additional, omitted, or alternated words tend to creep into use, which could also suggest a lack of specific certainty regarding what an artist should be doing when their naturalised practice functions as research. The difficultly arises through the misjudged opposition between the words used to describe practice and theory, particularly when in an institutional environment where undertaking research and the pursuit of knowledge is synonymous with theory, and theory is misconstrued as being empirically defined knowledge that can only be gained through time spent reading in the library, through analytical writing or by carrying out experiments in a controlled laboratory situation (ironically, these too are practices). Instead theory can be more simply defined as a system of ideas, or a means in which to explain the way something works. Practice as Research in the arts should prioritise action, or doing as an investigative methodology. This should have two functions. Firstly, to provide an institutional framework for artistic practices that serve to re-frame existing knowledges or provide new knowledges about different social and cultural experiences, as well as developing and disseminating knowledges of the specific but varied and often idiosyncratic artistic practices and process used when involved with artistic research. And secondly it should seek to counterbalance positivist approaches to research that remain dominant throughout the wider academic field. Kathleen Coessens et al use a ship sailing out as a metaphor for artistic research.The ship embarking on a journey epitomises a purposeful trajectory towards an experience, yet unknown (Coessens et al., 2009). Unlike a journey across land, moving across water cannot rely on a map of charted territory; the surface of the sea has unfixed reference points that shift through the flux of the body of water. No two journeys can be the same, even if the start and end points are. This metaphor of the ship can be further developed to incorporate the relationships between practice and theory within PaR approaches to research practice; the territory or research field is initially defined by a personal trajectory, the experience of previous journeys taken before the

time of the new departure. Onto the ship, the researcher carries with them the specialist skills and knowledges or processes of making required for the uncertain journey ahead. Once the ship has set out towards the horizon, initially using a known practice to gather momentum to be sufficiently free from the comfort of land, the subject context can be framed fluidly penned in/out (see diagram) providing a theoretical, historical, conceptual and personal framework within which the individual practice takes place.

This provides a period of academic time (often three years) to investigate the defined research environment and the researchers individual art practice. I see the research field as a medium that initially penetrates the hull of the ship and the artists practice is a means to periodically repair the damaged vessel. Through the process of repairing a leaky ship, in the ships depths, the artist might come across an object that had always been there, (perhaps the incoming water has washed away the dirt covering it) but could not be discovered without embarking on this journey and the different practices required to keep the ship afloat.
COESSENS, K., CRISPIN, D. & DOUGLAS, A. 2009. The Artistic Turn - A Manifesto, Ghent, Orpheus Instituut.

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EMILY STRANGE
www.eestrange.wordpress.com www.rogueartistsstudios.co.uk

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MANIFESTATIONS OF UTOPIA THROUGH DRAWING

BIOGRAPHY David Penny is an artist based in Manchester and has been involved with teaching and research within academia since 2006. Davids practice is located within the field of photography and specifically focuses on still life, or that which can be described more broadly as the photographic representation of objects. Inevitably this practice strays into works that identify with sculptural gestures as well as moving image, as a means to question the ontology of the photograph and associated practices. David has widely exhibited his work and disseminated his research practice at conferences; most recently at the Liverpool Biennial, Castlefield gallery Manchester, The Holden Gallery Manchester and Parsons New School for Design New York. CONTACT dajope@hotmail.com

no title, transcript paper collage and ink, 40cm x 40cm

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ON PRACTICE AS RESEARCH When trying to formulate a mindful definition to determine what research through practice actually means, I recalled something Simon Starling once said about his art making process. My approach to research is very un-academic...there is a degree of rooting around in libraries but mostly its a confusion of verbal information, storytelling, things picked up in the pub and things stumbled upon by accident...its about identifying somethings significance. Perhaps the most interesting aspect of research in the fine arts is that it necessarily involves collecting and re-modelling fragments of things that already exist in the world in order to identify their actual shape, reveal a truth that may otherwise remain concealed. For Starling this practice (method) of foraging is latent within the visual and textual records he keeps throughout his process. Records which ultimately form the basis of the art work, determine its wider social meaning and (in terms of research) the new knowledge it promotes1. Practice by research, practice as research, practice led research are sounds that have long permeated the culture of higher education. One of the concerns of this exposition is this interrelationship of art and research and how the research methods involved in the practice of fine art might contribute to and expand the traditional definition of institutional research. I am working with diagrams as abortive and corrosive devices. I am attempting to disrupt comfortable (comforting) and harmonized associations of drawing as notation, a method of finding form. A Utopia that is mindful of its own discrepancies.
Notes: 1) A conversation between Ross Birrell and Simon Starling for Starlings Autoxylopyrocycloboros project at Cove Park in Scotland, recorded for Art and Research Journal, V 1, Number 1, 2007.

BIOGRAPHY Born UK, Lives and works in Manchester

EXHIBITION PROFILE: 2011: 2010: 2010 2010: 2009: 2008: 2007: 2007: 2006: 2006: 2006: 2005: 2005: 2005: 2005: September, Patricia Frost Museum, Florida University, USA 19th July 7th August: Surface Gallery, Nottingham UK, http://surfacegallery.org/ July 20th August: Repton residency solo show, Derby TraLa Curatorial, St Pancras, London Fremantle contemporary arts, Perth, Australia New court studios, Derby Trinity Buoy Wharf, Art in process, London Bezalel Academy of Art, TelAviv Biennale, Israel Roskilde Museum of contemporary art, Copenhagen, Denmark Tramway contemporary art, Glasgow, UK Emerged collective, Glasgow, UK Emerged collective, Glasgow, UK Bezalel Academy of Art, TelAviv Macintosh and newberry projects, Glasgow School of Art Bezalel Academy of Art, TelAviv/Jerusalem, Israel

PROJECTS, COMMISSIONS AND RESIDENCIES: 2011: 2009: 2006: 2005: 2004: September, Frost Museum drawing project, Florida International University, USA Fremantle Arts and Edith Cowen University, Perth, Australia. Supported by Repton school residency, Derby UK. With thanks: Batavia archives and museum, Perth Australia Hikkaduwa documentation and regional development, Colombo/Galle/Hikkaduwa, Sri Lanka. Funded by UZ events, Glasgow. With thanks: Hikkaduwa Area Relief Fund Bezalel Academy of Art, TelAviv. Urban borders; Funded by Glasgow School of art Bezalel Academy of Art, TelAviv. Exchange projects; Funded by British Council

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THE AUGMENTED TONOSCOPE: AN ARTISTIC STUDY INTO THE AESTHETICS OF SOUND AND VIBRATION
www.augmentedtonoscope.net

LEWIS SYKES

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ABOUT THE WORK The Augmented Tonoscope is an artistic study into the aesthetics of sound and vibration through an analog of music in visual form - the modal wave patterns of Cymatics. Key to the research is the design, fabrication and crafting of a sonically and visually responsive hybrid analogue/digital instrument that will produce dynamic and aesthetic visual music based on the physics, effects and manifestations of sound and vibration. With the instrument so central to my study, Ive sought a meaningful framework that will position the Analogue Tonoscope within a genealogy of similar devices as well as inform its development through discreet stages - and have found a parallel in the historical evolution of instruments argued by Hankins & Silvermans (1995) - from the devices of wonder of natural magic circa C16th, to the instruments of demonstration of experimental philosophy of the C17th & C18th and onto the devices of entertainment, art and culture of the modern era. For this exposition I plan to showcase selected outputs and analogue prototypes from the first stage - reproducing the wondrous effects of natural magic by creating realistic images where there is no substance, drawing analogies between the senses and revealing natures secrets. ON PRACTICE AS RESEARCH
Experiment called Cymatics by Opiumble + ZIZIZIC - http://www.triangulationblog.com/2011/01/cymatics.html

I have both an artistic bent and an aptitude for science, so Im interested in that area of interdisciplinary activity commonly termed Sci-Art where these practices intersect and interplay. The scientific experimental method refers to a body of techniques for investigating phenomena and of gathering observable, empirical and measurable evidence subject to specific principles of reasoning. It is such an established and acknowledged means of acquiring new knowledge that its development is inseparable from the history of science. In fact m.any would argue that Science is the experimental method. Im intrigued by whether its possible to develop a creative counterpoint to this perspective - and so Ive attempted to formulate my own research methodology - a robust, investigative yet creative research technique and critical reflection tool - an artistic experimental method.

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My approach is to source germane and concise definitions for a set of artistic paradigms - beauty, aesthetics, authorship, process, serendipity and technology misuse - and then apply these as a framework of systematic measures to gauge, reflect on and draw effective conclusions from the outputs of a rolling series of artistic experiments - gathering this evidence to help drive the research forward. While Im still a little way off a final set of definitions I have made progress, for example:
Serendipity - the art of making an unsought finding; the art of loose blinkers i.e. the talent and ability to combine systematic approach with intuition, surveillance and hunch; a type of explorative scientific method, a category that may be called abductive.

Lewis is Director of Cybersonica - an annual celebration of music, sound art and technology (now in its ninth year) - and between 2002-07 was Coordinator of the independent digital arts agency Cybersalon - founding Artists-in-Residence at the Science Museums Dana Centre and formerly based at the Institute of Contemporary Art (ICA). Lewis is in his first-year of a practice as research PhD at MIRIAD, Manchester Metropolitan University exploring the aesthetics of sound and vibration. Monomatic: www.monomatic.net Cybersonica: www.cybersonica.org

Hankins & Silverman (1995) assert thatInstruments have a life of their own they do not merely follow theory often they determine theory because instruments determine what is possible and what is possible determines to a large extent what can be thought. While I hope that my research methods contribute new thinking and an emerging terminology to future practice as research initiatives I aspire to demonstrate that a decidedly artistic experimental method can indeed help to determine what is possible and... what can be thought helping to validate artistic practice alongside scientific experimental method as a means to enhance insight and develop knowledge.
REFERENCES Hankins T.L. & Silverman R.J. (1995), Instruments And The Imagination, New Jersey: Princeton University Press

BIOGRAPHY Lewis Sykes is a musician, interaction designer, digital art and media curator and producer and a qualified Youth & Community Worker specialising in the Arts. A veteran bass player of the underground dub-dance scene of the 90s he performed and recorded with acts such as Emperor Sly, Original Hi-Fi and Radical Dance Faction; was a partner in the underground dance label Zip Dog Records; and more recently composed for and performed with the award winning, progressive AV collective, The Sancho Plan. He is currently one-half of Monomatic - a collaboration, experimental playground and halfway house alongside the work of Nick Rothwell - exploring sound and interaction through physical works that investigate rich and sonorous musical traditions.

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MIKE CHAVEZ-DAWSON

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ABOUT THE WORK A practice-based investigation of the borders between documentation and performance in contemporary visual art My consideration of the borders between documentation and performance stem from observing a shift of usage of performative modes of activity (performance) and documentation (recorded & archived material/artworks). The shift observed is how current visual artists use live/performance methods as extensions to their object based practice. Using both practice and theory (reflection) these will mutually inform each other. Physicalising the project will provide direct experience of the concept to allow me to gain insight into its dynamics, which will further inform future practice. David Davies proposes an ontology of art that takes works to be process-like rather than productlike entities. [Davies, 2004] Here the process-like nature is re-enacted in the mind of the viewer thereby becoming performances. Philip Auslander also points out that, perhaps the authenticity of the performance document resides in its relationship to its beholder rather than to an ostensibly originary event: perhaps its authority is phenomenological rather than ontological. [Auslander, 2006] Whilst Davies adheres to an ontology of art Auslander suggests one based more in intentionality and its the dichotomy of these positions that I see occurring within my practice that I hope to resolve through further interrogation. In terms of establishing a cohesive critical framework from a contemporary visual art perspective, these differing positions will be the focus of my current research concern. By testing and correlating these views by practice and reflection the project will seek to establish a new transparent (critical) position. ON PRACTICE AS RESEARCH [W]e are able to invent and explore new methods and approaches to research that are directly relevant to our disciplines. Mike Press, Visualising Research, 1990.
Re-Trans-Informer 2, imagining what went through the mind of Michael Craig-Martin, whilst he drank his first glass of water after creating An Oak Tree, (1974, the year I was born). Digital Video Still, Mike Chavez-Dawson, 2011

Grafting incongruent material and approaches together seems to be endemic for creative practitioners. This dynamic sets forth a challenging yet qualified position to formulate new methods for research, in this case a chosen mode of practice.

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We measure our experiences through the practice process and this becomes enriched by reflecting upon knowledge gained by the act of doing. The empirical act of doing allows for clarity and sensitivity in articulating the represented, thereby enabling a refinement and furthering of a methodology in practice. As practitioners we map and survey terrains where we shift between subjectivity and objectivity; we take the political and make it personal or vice-a-versa. To refine a point by artist/researcher Lee Campbell we utilise a bricolage of improvisation and intuition as methodological survival tactics but are not limited by it, at present we seem to straddle a post-positivist and constructivist hybrid, as Coumans explains the artists/designerother than the art and design processis a transparent process in which conscious steps are taken, in which knowledge is used, or knowledge is searched for and articulated in the process [Coumans, 2003] This is akin metaphorically to drawing a line from A to B to see where it goes - variability is inevitable and becomes dependent upon the parameters set.
REFERENCES Auslander, P. 2006: The Performativity of Performance Documentation. Performing Arts Journal, 84, September, 2006. Coumans, A. (2003). Practice-led research in higher arts education. In T. Ophuysen & L. Ebert (Eds), On the move: Sharing experience on the Bologna Process in the arts (pp. 62-67). Amsterdam: European League of Institutes of the Arts (ELIA). Retrieved May 5, 2007, from http://www.encatc.org/downloads/ELIABolognaProcess&Arts.pdf Davies, D. 2004: The Artwork as Performance: An Argument from Artistic Intentions. In: Art As Performance, 2004. Blackwell Publishing, Malde, USA, Oxford, UK, Victoria, Australia

BIOGRAPHY Mike Chavez-Dawson graduated from Manchester Metropolitan University, Interactive Arts BA (Hons) in 1997 and MA (Art as Environment) in 1999; he is now currently a PhD (by practice) research fellow at MIRIAD. He was the Visual Arts Editor for Flux Magazine and founding curator for Flux Space for just over a decade. Chavez-Dawson works crosses an interesting path of disciplines, such as fine art & design, performance, music, curating and publishing. To date hes ran a gallery in a publication, utilised alter egos as living portraits, ran a club night as an artwork, formed a band to explore the relationship between visual presentation and its audio, interviewed dead artists through a spiritual medium, created a cinema using hypnotism and gave gallery tours as estate agents and crime solving detectives. RECENT/FORTHCOMING SHOWS/PROJECTS INCLUDE: Memory Flash, Carter Presents, London. Magda Archer: Crazy Mad Cornerhouse, Manchester. Re-Covering, Untitled Gallery, Manchester. Network Aesthetics The Reading , Castlefield Gallery, Chinese Art Centre, Cornerhouse, Cube, Manchester Art Gallery, John Rylands Library,The Reading Room Collection MMU Library, Manchester.Nigh Revolve-Lution (Live Text Performance), British Art Show 7, Nottingham Contemporary, Nottingham. Re-Motive View(s) (Live Text Performance), The Surreal House, Barbican, London.Unrealised Potential Cornerhouse, Manchester, NGCA, Sunderland, VOID, Derry, N.Ireland. Involved Socially, Base Gallery, San Francisco, USA. Title Murdered, Strange Days & Some Flowers, The Storey Gallery, Lancaster. Selling the Psycho-Geographical Breakdown for Afterhours Subversive Spaces, The Whitworth Art Gallery, Manchester. A bANdA dA Late at the TATE, TATE Britain, London

PPR

http://ppr.miriadonline.info

Practice Process Reflection