About the series

This series, published from the Experiments and Intensities web platform you are visiting, brings together qualities of the curated exhibition, the French cahier, the edited collection, and the scholarly journal to explore time-based art and research in the language of artistic metaphor.

We are interested in how we can research through/with/because of performed art, and articulate the results of this research through metaphor, felt experience, and intellect. We want to engage with artistic experiments at an advanced level of sophistication, in all of artistic sophistication’s manifest forms: ranging from the sophistication of selective simplicity to the sophistication of layered complexities.

We want the series to explore performed art that is born of research across registers of perception, with a particular emphasis on art that considers itself to be performance. These explorations are grouped together in thematic strands to explore the aspects of them that are: difficult, impossible, charming, rewarding, disturbing, exciting, counter-cultural, reifying of culture, contemplative, intercultural, beautiful, ugly, amusing, nasty, chewy, repugnant, activist, inarticulate, blunt, dopey, trashy, oversimplistic, cheap, expensive, lo-fi, hi-fi, highly polished, rough, slick, dirty, clean, antiseptic, moving, depressing, uplifting, and hope-inducing, and above all how art often yokes together opposites – addressing the preceding registers and more in ways, ways that logic just can’t explain, but which interrogate culture and value systems through the creation of sensual, and not just intellectual, personal experience.

We live in a landscape where practice as research, performance as research, research-creation, and many other terms have emerged to try to frame the approaches and methods used by questing, interrogative artists to discover, uncover, reveal and expand artistic practice and the thought processes it embodies. This series is a carefully structured forum within which video essays, video works, audio essays, audio works, photo essays, artful documentation and artist writings can work sometimes separately, and sometimes together to create a sensual experience of voyage through territories of creative and intellectual discovery.

This publication, free-to-user, is a part of the works of Winchester University Press and is supported by the Press’s imprint.

The curator-editor general of the series is Yvon Bonenfant.

Submit Work In Response To A Call

Please read individual calls for instructions on how to submit a work. These vary from volume to volume.

Submit a Proposal for the Series

In the first instance you should contact one of the curator-editor general to discuss your potential proposal. For this unusual series, we will accept proposals for single-authored work and curated-edited collections. The electronic format has particular parameters within which you must furnish content, and it’s best to take advice before embarking on a formal proposal.

Once you have done so, and it is agreed that your proposal is of interest, you can submit a formal proposal document. This should be organised under the headings outlined below. The proposal you submit will be the basis on which we judge the gallery-publication’s suitability for joining the series. We would suggest a proposal of between 3-4 pages in length, supplemented with some art material relevant to the work, and an up-to-date CV for you or each of your team.

Include the following information:

  1. The title of your proposed work
  2. 1000-2000 word outline of the rationale behind the work, addressing:
    • What the work about?
    • What are its main themes and objectives?
    • What are you doing differently from, or in a more innovative way, or better than, existing resources?
    • What evidence is there that there is a need and demand for your work?
    • Does the content you propose already exist, or will you be sending out a call for works?
    • How will your publication fit into our existing web framework?
    • All of our publications are considered books, are granted an ISBN and must be deposited in the British Library. What elements of the publication will you prepare for deposit? How?
  3. In a separate document, provide:
    • Outline of content and form foreseen
    • Sub-theme headings if appropriate.
    • If proposing existing works and writings, their titles, lengths, and existing formats. Please note that for all video works, we prefer length of under 5 minutes with a 10 minute maximum. For sound, we prefer under 10 minutes but are open to alternatives.
    • If media, are the media already in public domain and if so how will you guarantee copyright permissions?
    • Schedule to date of completion with an outline timetable of work and indicate when you will be able to deliver the material.
    • Context/competing titles/expected communities of interest
    • State why this series and how you think this work conjugates the notions of ‘performed art’ or ‘time-based art’ and ‘research’ in an innovative way.
    • The publication is hosted in the UK. Please state your willingness to adapt your content to standardised British spelling and formatting.

How we evaluate your proposal

If approved by the Curator-General and Series Editor, the proposal is then evaluated by two (or more, if there is dissenting opinion) of the curatorial-editorial advisory board, who each produce a report. If they are satisfied that the proposal meets content, quality and interest, the proposal is discussed again and if approved, a draft contract is issued.

A peer-review strategy will be developed with you that is appropriate to the kind of work you are proposing.

Please note that electronic copyright issues are complex and that you will need to work carefully with us to ensure that all copyright issues are correctly managed.

Email the above to yvon.bonenfant@winchester.ac.uk

Curatorial-Editorial Advisory Board

  • Ludivine AlleguePainter, video artist, and author, Madrid, Spain and affiliated researcher at EsPAS (Esthétique de la performance et des arts du spectacle), Institut A.C.T.E., UMR 8218 (CNRS, Université Paris 1 Panthéon-Sorbonne), France

  • Annette ArlanderArtist, Professor of Performance Art and Theory, University of the Arts Helsinki: Theatre Academy, Finland

  • Tamara AshleyChoreographic artist, Artistic Director, Dance Digital, UK

  • Jane BaconChoreographic and dance artist, Reader, University of Northampton, UK

  • Anna BirchTheatre director and artistic director of Fragments & Monuments Film and Performance Company, Lecturer in Research, Royal Conservatoire of Scotland, Glasgow, UK

  • Yvon BonenfantInterdisciplinary artist whose work begins from and emerges from the extended voice. He is Senior Lecturer in Performing Arts, University of Winchester, UK

  • Neil Cadger Performance maker, interdisciplinary artist and performer, Associate Professor (Interdisciplinary Performance), Faculty of Creative and Critical Studies, University of British Columbia Okangan, Canada

  • Iain Campbell Findlay-WalshSound / media artist, curator, Glasgow, UK

  • Laura CullPhilosopher and performance maker, Member of artists collective, SpRoUt, Lecturer in Performing Arts, University of Northumbria, UK

  • Ulf DalnäsBoard member, European League of Institutes of the Arts, University of Gothenburg, Sweden

  • Minty DonaldArtist, Glasgow, UK

  • Jill DowseTheatre/performance maker, co-artistic director of The Bone Ensemble, Lecturer in Drama & Theatre, University of Hull, UK

  • Nick FellsComposer, Head of Music, University of Glasgow, UK

  • Anna FenemoreTheatre/performance maker, artistic director of Pigeon Theatre, Lecturer at the School of Performance and Cultural Industries, University of Leeds, UK

  • LJ Findlay-WalshArts Programme Producer, The Arches, Glasgow, UK

  • Mark FleishmanDirector of Magnet Theatre, Professor of Drama, University of Cape Town, South Africa

  • Sara Giddens Freelance choreographer, co-director of Bodies in Flight, creative consultant and facilitator, Derbyshire, England

  • Leslie Hill Co-director of Curious, performance and live art maker, Associate Professor of Performance Making, Stanford University, USA

  • Kathleen IrwinArtist / scenographer / producer, Professor and Head of Department, Department of Theatre, University of Regina

  • Simon JonesWriter and scholar, founder and co-director of Bodies in Flight, Professor of Performance, University of Bristol, UK

  • Julian Knowles Composer, sound and media artist, Professor of Music and Media, Macquarie University, Sydney, Australia

  • Mary Agnes KrellMedia artist, Head of Media Practice, School of Media, Film and Music, University of Sussex, UK

  • Karen LaukeSenior Lecturer in Sound Design and Music, Edge Hill University

  • Adam LedgerLecturer in Drama and Theatre Arts, University of Birmingham, UK

  • John Levack Drever Sound artist, Senior Lecturer in Composition, Head of the Unit for Sound Practice Research (SPR) Department of Music, Goldsmiths, University of London, UK

  • Alys Longley Writer and choreographer, National Institute of Creative Arts and Industries, University of Auckland, New Zealand

  • Nina Martin Dancer and choreographer, member Lower Left Performance Collective, Assistant Professor, School for Classical and Contemporary Dance, Texas Christian University, USA

  • Caroline Mercier Costume / scenographic / visual artist, Associate Professor of Theatre, California State University Stanislaus, USA

  • Vida MidgelowChoreographic, dance and improvisation artist, Co-Director of The Choreographic Lab, Professor, Dance and Choreographic Practices, Middlesex University, UK

  • Lee Miller Performance maker, co-Artistic Director, Fictional Dogshelf Theatre Company, Associate Professor of Theatre and Performance, University of Plymouth, UK

  • Misha Myers Live & theatre artist, University College Falmouth, UK

  • Helen NewallReader in Performing Arts, Edge Hill University

  • Helen ParisCo-director of Curious, performance and live art maker, Associate Professor of Performance Making, Stanford University, USA

  • Helen Phelan Singer and performance theorist, Programme Director, PhD Arts Practice, Irish World Academy of Music and Dance, University of Limerick, Republic of Ireland

  • Angela PicciniMedia artist, historian and theorist of media and material culture, Senior Lecturer in Screen Media, University of Bristol, UK

  • Arthur Sabatini Writer, theorist, performer (sound/text/theatre), Associate Professor of Performance Studies, Division of Humanities, Arts and Cultural Studies, Arizona State University, USA

  • Micah SilverArtist and independent curator

  • Nicholas Till Historian, theorist and theatre artist, Professor of Opera and Music Theatre, Director of the Centre for Research in Opera and Music, University of Sussex, UK

  • Cathy Turner Artist / writer, member of Wrights & Sites, Senior Lecturer in Drama, University of Exeter, UK

  • Rosanne van Klaveren Media artist, Research group 'Social Spaces', Media, Arts & Design-faculty, Genk, Belgium

  • Joanne Whalley Performance maker, co-Artistic Director, Fictional Dogshelf Theatre Company, Senior Lecturer in Theatre , University College Falmouth, UK

  • Fiona WrightArtist/Performer, England, UK