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This case study focuses on the impact of Professor Adrian Heathfield's research. Heathfield curated numerous multi-form research exchanges with his Performance Matters Co-Directors over a four-year period, expanding non-academic beneficiaries of performance research, influencing prevailing professional discourses as well as creative and curatorial practices across the arts sector. Workshops, collaborative dialogues, symposia, talks, films, screenings and performances were conceived, realised and hosted by major cultural sector partners, involving an international array of leading academics, artists, activists and curators. Direct impacts for the non-academic partner-organisation — Live Art Development Agency (LADA) — were the expansion of its educational, archival and media activities, and user community. Specific professional development effects were delivered for a culturally diverse group of participating established and early-career artists.
Studio for Electronic Theatre (SET) is a group of researchers examining the relationship between technological advance and creative practice. They examine how technology can change the nature of performance environments in specific spaces and address social and political issues in distinct places. Specific performances have:
Additionally, the work being carried out engages directly with non HEI partners and has resulted in members of the group being invited to communicate with a range of interested partners beyond the academy: Greenwich Theatre, Albany Deptford, Kids Company.
Furtherfield has inspired and supported new forms of collaborative practice and expression at the intersection of arts and technology cultures to co-create critical, contemporary public platforms and contexts for arts in networked society.
Furtherfield's innovative programmes have advanced practices and theories of collaboration, remix, and openness; inspiring and informing thinking in the UK Arts sector and international digital arts culture. This work has worldwide cultural and social impact. It reaches and engages new audiences through public gallery programmes, online collections, websites, and other award-winning virtual platforms, acknowledged by artists, curators and critics for their contribution to emerging digital art contexts.
The research described focuses on performance in an expansive sense — including both live and documented forms — to address and engage with audiences both within and outside the usual parameters of the art museum or gallery. Impact is achieved through multiple modes: public, audience and community, participation, video, broadcast and performance. This work addresses the impact on cultural understandings and attitudes to performance art in the light of its increasingly de-marginalised role within fine art. The study should be considered in the context of moves by major institutions to acknowledge the increased significance of performance art practice whilst also reaching beyond the fixed notions implied by permanent structures such as the Tate's oil tanks.
Performance Research is an independent journal/book series championing artistic-led research at the interface between the academy and the profession. Published by Routledge for ARC a division of the Centre for Performance Research (CPR)[1]. Founded as a cultural and publishing partnership (1995) with Dartington it has developed an identity and frame of intellectual/artistic reference distinct from CPR, forging many developments with partners outwith the academy. CPR's relocation to Falmouth enables both to extend this relationship. PR provides print and on-line platforms for practitioners, arts organisations and researchers. Interdisciplinary in vision, international in scope; it emphasises contemporary performance arts within changing cultures.
This project, Robots and Avatars (http://www.robotsandavatars.net) informs how young people will work, learn and play with new representational forms of themselves and others in virtual and physical dimensions in coming decades making an impact on participants, educators, employers and other artists. Funded by NESTA, the programme influences the way educators and employers engage with young people in workplaces that are likely to include increasing telepresence, collaborative work, flattened hierarchies and international mobility. Exhibitions around Europe showcase work by artists, scientists, designers and architects who explore the relationship between the body, technology and virtual spaces, while forums examine impact and ethics. The research is transmitted to students and young professionals through workshops and mentoring, while social networking provides platforms for international groups. The project is also concerned with special topics like women and technology, and alternative identities for cultural groups. Key beneficiaries include young students and professionals, scholars and members of the general public.
The case study articulates the impact of Curatorial Resource for Upstart Media Bliss (CRUMB) research and professional resources upon the practice and policy of regional and international arts organisations, including benefits to curators, audiences, and economic impact upon artists. This study focuses on the impact on one international organisation, Eyebeam in New York, and one regional organisation, AV Festival and its host, the related Tyneside Cinema, Newcastle upon Tyne.
This case study demonstrates the impact of the Cass' research that has promoted and supported the now pivotal role of Installation art and Artists' Writing on the wider field of artistic and curatorial practice over the last decade and more specifically since 2008.
The body of research based on de Oliveira/Oxley's activities as curators and writers has been instrumental in the development of emerging forms of practice and critical discourse. Installation art highlighted significant changes in the understanding of the idea of the `medium', the institution and the relationship between artists, curators and audiences. This research is documented on their website www.writinginstallation.org.
Professor Lois Weaver joined QMUL Drama in 1997. Her research-led practice as artist, curator and activist has had substantial impact within two areas. First, within the cultural world of live art she has influenced the practice of both emerging and established artists, and the programming and curation of performance. She has facilitated, mentored and directed a range of artists; opened up new spaces for performance's production and presentation; and actively supported other curators in the expansion of live art programming, especially in London. Second, Weaver's research into forms of public dialogue — her `Public Address Systems' — has had impact in the wider social field, leading to events and projects around the world in which citizens of diverse perspectives and backgrounds, often excluded from public discourse on grounds of age, class, gender and sexuality, have been able to contribute meaningfully to discussions of urgent social issues, including human rights, sexuality, aging and new technologies.
Since 2005, Dr Quick has created a series of practice-as-research projects and educational workshops to increase understanding of how new media-based performance is created and understood. Key beneficiaries have been young people, teachers, theatre practitioners, mixed media artists, and cultural organisations. Five new works have impacted through the introduction of innovative practice performance to new audiences, nationally and internationally (including central and Eastern Europe, the Middle East, Brazil and Taiwan); pioneering new uses of digital technology as creative practice, and sharing such innovation with both established and new theatres and groups.