I think we should probably start soon. Just we can always recap a bit, couldn't we? I'm just aware of time, because only an hour, and it's almost 10 past. So we'll just start with a bit that people won't miss too much, which is who we are. So Hi, I'm Annie and I am co artistic director of Shavon. David studios, alongside my co artistic director, Kat bridge. And as well, I am an independent dance artist. And I work part time at one Davis studios.
So, I've run, I'm the content and communications manager, Sean Davey studios. Yeah, which means I do a lot of kind of the social media a lot, website work, a lot of copywriting, that kind of thing, as well as working alongside everyone else wants different things.
And I'm Rosa, I'm the program coordinator, actually movie studios. And a lot of my role is to do with making things happening, making things happen,
shall happening and happening, keep on happening.
And yeah, working closely with the artists that we work with. And, in particular, the
artists are co artists, as you'll probably hear me as we go through questions. And it's probably worth saying that we're all we're quite a part time team. And the three of us also are dancers, and or makers, alongside our work at Shonda in studios. So, thought that's worth adding in. So what we did last time, which seemed quite useful, and already a year has passed that a lot has happened since we did the last q&a, but what seems useful was to kind of just given an intro as to how this idea was conceived by us. So artists archive is so cat and I'm, myself, I'm my co artistic director, I've been in post for about a year and seven months, or something like that year, or just over a year and a half year and eight months or something. And one of the projects that we came into the role with was a program called artist, artist archive. And that very much came from my experience as an independent artist and feeling like I had not feeling like knowing that I had all this work that I'd made. And all this work that I'd done, whether it was research, whether it was an actual choreographed finished completed work, or a practice that was ongoing, I had all of this stuff, or these notes, or this, these videotapes, or these photographs, or these, you know, sketches, writings, all these conversations that Ben had, that no one would ever see. And I remember feeling very particularly around the invisibility of that kind of work, which was personal to who I am, and feeling that, Oh, who am I to get an archive, who am I to have my work themed archivable and therefore, been given in a place in the so called History of contemporary dance, to
have a legacy beyond
my own promotional work, I, I, you know, those little moments that you get to show the work. So I thought of all these things, that I would love to have time to invest in kind of just looking at again, and reviving, like reviving in that sense of literally bringing back from the dead. And that would otherwise be on that threshold of do I throw this away? You know, so I kind of was really interested in what if there was something that allowed me to give value to this work, or an aspect of this work? Otherwise, it would just be forgotten, turned into recycled paper or whatever, you know. So that was a big desire of mine. And, and it's worth saying that this is an experiment. You know, this continues to be experiment. How many six seven months down the line since we materialize the first of the archiv selections. And I think that's the point. So there's gonna be a lot of things, lots of things that we might be able to answer and hopefully answer very well, there's also going to be a lot of things that are like, yeah, we're not quite sure yet still. And I think the point is, is that we're trying to facilitate a space or create some kind of space where we can all kind of go, Well, who gets to have an archive. And what does like our archive has to look like? You know, and that's where we also came up with the three strands, so that an archive could exist as a life form, didn't need to have to be in this kind of filed kind of, kind of books form or the wheels came up with the material archive, which was in a kind of more exhibited form. And then the digital archive, which exists on an online format. Yeah. So that's where the idea came from. And then I'm just gonna hand over to Rosa to just kind of let us know, let you all know where we're at with them.
Yeah, so our last open call, archive, we ended up selecting two material, archives, three, live and to digital. And we're now sort of just over halfway through, I'd say. So we've, we've launched one of our digital archives. With exit map, which is online by our website now to have a look at. We've had two live events in the building, which have been very different. One some more workshop disseminate eatery, style, and another some more traditional performance based. And we've had one, we've launched one installed one material archive in the building, which is still currently in the building, and will be coming down at the beginning of February. So it's sort of been stalled for about six months, roughly. So we've still got one little to launch, which is sort of in process. And we've got one live events, which will be happening at the end of March and one more material archive to be installed at the beginning of March and will be launched at the beginning of March. And that will be in situ until end of August, beginning of September. So that's sort of where we're at, in the kind of current cycle of archive archives from the
previous call out. So
we want we wanted to ask at this point, if it would be useful to reiterate anything from the application process in a very sort of practical sense. Or we could move on to some of the direct questions that you guys have already submitted. But we didn't want to see you didn't want to necessarily assume people's where people were out with the application process if it was worth talking through that. So perhaps, that would be useful to us in the chat, or
just say yes.
Similarly, if you have a question, just feel free to launch that to me saying yes, it would be maybe useful to so
I'm just gonna get up the page myself for reference. Um, so the open call, as Annie has already stated a bit and the browser is in these three strands, live material and digital. And for each of the strands on the webpage on the court, open call website. Sorry, local web page. We detail that there are slightly different budgets for each one so and slightly different numbers of archives that we think we might find. So just just to clarify, worth clarifying that, that's up to up to three. So live archive, and we expect people to have make a budget of around 800 to 2000 pounds, and material archive up to two. And that will be between 1003 1000 and digital archive up to two again between 1003 1000. And when we say up to we guess sort of holding out on if we had one proposal that we really liked that needed more we might go down that road but or if we'd like still it'll be different configuration based on what comes forward. But that's this is our sort of framework currently, what we're what we're expecting. And that is really kind of what we have what we suggested we would do last year, last year and what we are doing this year. On this round, we also detail some timelines for each of these outcomes, which are our suggestions of when we would like the activity to take place. So that's worth bearing in mind as part of the application process. So to apply to artists archive, there's a link on the website that says make an application. And the deadline is Thursday, the 26th of January at midday.
And
we would suggest before it's like do take a look at the application form, which is an online application form on our on our web page. It's not like a Google form, it's embedded into the website. When you're filling it in, you can move around the application a little bit. But we would really, really recommend that you download the application questions as a Word document, which we have available to write out your application because it won't, it doesn't say that indefinitely, and you can't really close it and come back, that's not possible.
We
ask the application to the application form has a number of stages. And at the beginning, after you give your initial details, you can say which strands you want to apply for. So in this application form, you could you can if you want to make an application for each individual strands that will be left three different proposals up to three different proposals. If that's something you want to do, but absolutely your choice, the majority of people will make one application and choose their project and hone in on that strand. We just wanted to make it possible for people to do this process one time round. And when you select when you select which strands you want to apply for, for formal change to make that to make that possible for you. You also can select to apply with a text form or with an audio recording. So either either form
is acceptable.
And then when we get to the application form, we will ask you about your practice, then we will ask you about your proposal. And we asked for about 2000 words on your practice, and 450 words on your field proposal for each individual proposal if you're making more than one. And we think of that as about three minutes in audio for the field practice and about five minutes and audio for an encore proposal. We also asked for a proposed timeline and a proposed budget. And there's some guidance on what kinds of things you might expect from these more practical, more practical side of the proposal. Today download on our website, which is sort of just underneath where you probably saw this online q&a Sign up. The budget guidance is sort of structured and first page is really about what we can offer. So you have a sense of kind of what what kind of costs we might be covering with the work we already do and the skills we already have here, and the equipment we have available. And then the second page is what we would anticipate you including in your budget, depending on the project you're doing, of course, I don't think it's really worth me talking through all of that right now. And some of that might come out in the questions
that you ask
the proposed timeline. It's quite important for us to kind of imagine like to should work in tandem with your budget. So if you're suggesting in your budget that you might have five days of work leading up to some sort of outputs. We might then see that planned out in your timeline. And when might that take place? Does that need to be in our studios? Or what other resources might you need to make that work happen at that particular moment? The timeline should could correlate to our our guidance around when we want certain archives to happen. But if it doesn't work for you absolutely propose other alternatives or mentioned at that point. When works couldn't happen. I think that's really useful for us, though, when we're looking at all the different proposals that have come in to think about the feasibility of of managing different people's needs. And that's really useful moments. To be aware of things. How are we doing? I feel like I've sort of quite detailed information I feel I can hold up I can slow down and we can stop for questions.
I just wanted to add to that because I am imagining Sorry. Killeen. You want to say something coming? Yeah. Okay. Is Yeah, apart from the practical rundown, which hopefully helps clarify some things, I guess a lot of the questions are going to be around the content, you know, like, what, what we're looking for, you know, what do you what do we want to hear about? So I'm just I'm just reiterating a couple of things is that this is really targeted at people with a dance practice, who are considered themselves as dance artists, because we're interested in how dance in particular in the transient nature of dance can be remembered and values. Yeah. And I'm just putting in here to the chat for everyone aligned from the copy, which I think is really key. In terms of what we'd like to hear you talk about in your proposal, which is we want to hear about the work of research, you think, your existing work or research that you think needs to be archived and what you want to give visibility to? In doing so? Yeah. And that might be to a wider community of people, or it might be more personally to yourself, which forms no doubt connect to a wider community of people, no doubt anyway. But how you write that, you know, can be more personal, it can, you know, reference a wider context. Yeah. And then I just thought it might be interesting or useful. To just make some useful points about what we
what we feel
as kind of being reinforced by the work that Han that we chose last year, and that is, the things that are we're kind of gradually discovering along the way as well, because it is, as I said, an experiment from by size for the artists and for us, this hasn't been done before. So I guess there's something about the fact that this is really about the archiving and the acts of archiving as well as the work itself. Yeah. So it's about its pre existing work, but it's about really the act of archiving. This project is about the archive, and why you want to archive this work and why you think it deserves to be archived or wants to be given value or reflection time through archiving. And this is a constant question. And it is a really interesting, weird threshold. So it's less about developing the work itself. So you might have an unfinished work or you might have a completed work, and there might be a desire to kind of remount it and to revise it, but we're talking more about reviving it. So we're kind of not, we're not talking so much about making changes and developing that work more about through the acts of archiving, that that might then give space to develop your relationship with that work, if that makes sense. So this might include sharing disseminating something that has already been done are sharing fragments, or excerpts from a variety of processes or works and the common I think this was something that we've received quite a lot of in the Applications last year that weren't selected which was people often came to us with work that was about archiving that was unfinished or they wanted to use the money to then finish that work or something you saw me but the content could be about anything. But the money is about how you then archive that pre existing work with whatever theme it is working with. If that makes sense. Yeah. So there hopefully some useful points which are appropriately intersectional and multi layered. Okay. I guess the seminar has put the question into the chat. Is it okay for me to read this question out similarly.
I would like to clarify if you solely work with traditional dance that works with artists that work with movement, I circus voguing pole dance, a mix of club style dance and Circus circus with dance. And I don't know what you mean by traditional dance but in the application in the open call, we talk walkabout this is very much open to different dance styles and dance genres. The answer your question? Yes, thanks. Yeah. So it doesn't only go with contemporary dance or modern contemporary, as you know, that has a technique named against it is taught in conservative in London, you know, like, historically, you know, it can be of any dance genre and don't stop. Yeah, please. Hi, can
you hear me? Yeah. Hi. So, um, yes, I suppose I was just wanting to be clear in terms of, because I work with within both dance and also circus and mixing them. And I just want to be clear if my circus practice though I do use some dance. It's, I don't come from a kind of trained background I've learned through kind of the voting scene, and self taught. So I just wanted to just clarify, as long as it's the movement, even if I do include some of my circus skills, is that kind of go within your category of what you would be looking for movement wise? Sorry, I'm not phrasing that the best. But I'm just trying to be clear about skills. And because I just have this fusion I, I've had. Yeah, I've, as I've applied for things in the past, it's been a little bit tricky, kind of clarifying that just to match what they are the type of skills and artists that they work with. So I tend to say I'm movement artists, because I work with so many different things. So I guess I'm trying to discern if it's movement, and including dance that you're looking for, or yeah, I hope that's helpful a little bit.
I think, whatever the in terms of the movement experience you have and what you're bringing to this, I think that's definitely eligible. Okay. Yeah. And I'm just writing this that was in the open call, I've just paste it into the chat. So even though I guess we received a lot of applications last year, from visual artists or artist from other disciplines who are interested in performance, or aliveness, or performance, performative element to their work, but I think we wanted to, we didn't want to make someone like yourself feel excluded, but we really wanted to emphasize dance and movement again in this process. So that because I feel that it is such, you know, this is what we're about, really, we're about movement, you know? Yeah. And advocating that so yeah.
Thank you so much.
Thank you so many. Nice to hear you. How many people applied? Can I? That was actually you uttered it in the chat 117 execution? Yeah. Okay. We had 117 applications last year. We also have a lot more people in the q&a last year, so we don't know whether that that the interest has dwindled, or whether is much clearer. much clearer. There's less questions that ask louder Is it okay to read your question or there's all this to everyone? Is it okay to present photos in a video format? Delete videoing stills? I think it is. But I don't exactly know what you mean. But I can't see that as a problem.
Yes, because well, I've done I've done some photos, but then I have put it all together as a video. So if that will be okay. Or if you need photos, like not steal photos, separate still photos.
You anticipating this as a supporting material for the application or as a as a
as a supporting material for the application? That's absolutely be okay.
That's absolutely fine.
Sorry, I thought you meant for the actual work itself, you know that you are presenting photos in a video format, which was also be fine. Okay.
Yeah, just the so that side is the application process, the supporting side, we do ask, you'll be able to see these and we also have a place where you can just submit a link to like a website. We also just have a general upload, like a box that uploading all sorts of video that all sorts of file types. There's a guide Sandwich types that are possible on the application form itself and on the downloadable, like version of the application form. So it's images, documents, audio video, we probably will only watch about, we wouldn't, we wouldn't watch more than five minutes or less, it's more than five minutes of vacation. So
I've asked, because while I have the five minutes of video with the search quality, you know, and, and then I have some photos, but well, isn't it a video format? So I don't know if it would be it would be actually free video. So maybe I have to go back to the photos. And so like, split it in photos as it was originally instead of doing free videos, but
maybe now that you've got it, I think it's okay, we'll we'll look at we'll look over. We look, whatever lots we have lots of different sorts of applications last. Alright, safe to say any real sort of?
Yeah, I think the main thing is like, it's easy for us to open and to look at. And yeah, we won't watch an hour long video. But if you send an hour long video, we might scroll through. But then you might want to be specific about actually, it's at this point. So you because you might not have the editing equipment set edited. But you might say, could you please look at that bit between this and that, and this and that, you know, otherwise, we'll just scroll through
the notes to like to see the documentation. Yeah. This context to us? Yeah.
So just do what you can I mean, I don't have a website. So I would be uploading all sorts of bits and bobs and so yep.
I also wanted to ask if you would consider because I don't really mind about the money. Like, you know, I have a little bit of money that I could invest. I'm just looking for places where to show what I, you know, I've been doing and while she mentioned that this is about archiving? And, you know, so I don't know if it is this risk research, or this material that they have created will ever go anywhere, or will develop in any formal ways. So I don't know if you know of any other places where it would actually be possible to maybe Oxford to show something or, I mean, doesn't have to be performed by me, I'm just like to get it out by to share, because, you know, I've done this work. So I think it's quite clever. To me, it would mean a lot, but I don't, I don't, it's not about money. That's what I was saying. So if you know of any other, you know, ways of presenting this work somehow, without even get paid. Just let me know. Okay, let's take
some more questions in the chat box that's being answered. Seminar, you're saying that you have a project that is digital and considering applying for it as an installation piece? Would this be possible? And if so, what might need to hear explain if I go this route? In my application? I guess. Yeah, sure claim we'll get to the next. It really depends what it is. I mean, you can how you archive this work is up to you. I guess we're trying to differentiate between making a new work. And that might include transposing a work from one discipline to another to one medium to another. So I might have a live dance work that I made 10 years ago, and I want to use this money to make a dance film out of it. But I think it's less about that. It's more about like, what is it about that work? That I want to kind of revive? Share, I don't want it to be lost. I no want to share a part of it. Whether that's the process or the final work or what it meant to me or why I made it or where how it's feels contextualized now through the act of archiving it so it really depends how you are wanting to We present it as an installation work, if that makes sense. And in terms of what to explain, there are the questions in the application form, which I don't know whether you've had a look at yet. But as well, I would go back to the thing that I pasted into the chat earlier on, which was, we want to hear about the work or the research. So this digital work, we want to hear about that work and the research. And why you think it needs to be archived and why you want to archive it, and what you want to give visibility to and doing so on a personal and all by the context.
I mean, then, then there's all the other things that we've asked for in the application around giving us a sense of the timeline, like how long it would, what stages you'd like to do what. And that's about kind of on a practical level, whether we think this is been thought through and planned out. And whether it's something that we feel we can actually help make happen on a practical level, across time. And the other thing is your budget. So we need to see that. You thought through this in a way that is realizable in the money that you have. Yeah, so another thing was flagging. In that is we've asked for our applications, and projects to not be funded at the point of application. But the amount of time you would have in hearing about the application, you could then go on to apply for further funding. To top up the amount that you have, if that makes sense.
Which is useful to know if that's necessary. And so you can think about that as we program other things around. Yeah. Similar. Does that answer your question? Yeah.
Yes, perfectly. Thank you so much. Okay.
You're welcome. And also the, the answers don't stop here, the q&a system, opportunity for people that as another way in to consider applying. But also, you know, you can email us you can contact us. Some people came to visit the studio's especially if they were thinking about the material archive. Many people know the studio's anyway, when they were thinking about the live archive. But that's also another possibility to bump into some of us or schedule a meeting, you know, to answer questions. Clean gone away from AFK. Any other questions? In the meantime, from anyone? Ah,
well, I have no, I don't have much experience about, you know, when I began application before, but I don't know much about budgeting and timeline and all over there. Like, for example, if I would, because every while is all as all being recorded on on the telephone. So I don't know, for example, if the quality will be good enough to be projected on a video screen, because probably is a larger format. And, and there are lots of things that are new for me. So I think I have a little bit to guess, at the moment. Because I mean, you have to begin from somewhere. And if you want to try to do something, I mean, I've been trying to do this for ages for many, many years. And so obviously but yes, so I where there are a lot of things that I don't know I think I kind of have to guess because I have done it in a very methodical way that you know, I my bedroom with my telephone, but I don't know if then you have to project it on a screen. You know, the first lead because probably, well, I have asked the summer technicians. So I have a rough idea of what the cost, but that I don't know, then, in practicality, because I've never done it before so I have no clue. So I just have to guess a bit. I guess that doesn't make sense what I'm trying to communicate
I think it was all worth us sort of going clarifying what in terms of cost what what is covered by us. Stop, is that a useful thing to go over?
And that we do need quite in the budget? Guidance? And we put that into the chat? Actually. I've got the PDF, I'm not sure if it's the right thing. And I would actually say have a look at that first, Laura and see the law louder. Louder. Maybe while just have a quick look at that and see if it makes sense, because there's things that we can help provide. And I mean, if you don't I, I guess my instinct is that if the project feels way out of your understanding, then in a way, I wouldn't go there, I would go with what feels like is the thing that you've already done. And then you might want some advice on how you might not know if the quality is good enough, but we're very interested in scratchy, low fi aesthetics as well, you know, so we're not looking for shiny, perfect re edits or post productions of things. But if you I mean, it's hard to know, because I don't know what your project is. But, you know, if you need certain skills that you don't have, that's probably going to cost some money. And I wonder if you have some other peers or friends that you could have a conversation with about this, that or that people that you might ask because,
yeah, so just somewhat well, there is a person there's up there meet well, but but I don't want to because he has she has her own company. So I'm sure she's, well, I can, I can ask, but I'm sure she's very busy issue. Now she's our work and
recommend is that you, if you want to make an application, can you try to draft some things that we could look at? before the deadline? I think that's the only way we could really have. Yeah, I was gonna say read the estimates. You guess it, you know, but don't leave it till the submission date. So that we could have a glance over it before. So you could revise it, you know, the application before submitting? Does that make sense?
So because we're saying to everybody, actually, that we do as a sort of access provision, and that can be really a broad sense, up to sort of an hour with somebody, like an hour or someone's time, whether that's looking at an application or speaking to somebody one to one, somebody who won't be involved in the application process, we're very happy to kind of offer that, that staff time if it's something you need, and particularly if you have a lot of
questions around doing application form, or you haven't done one before that I think that's something but don't be afraid to send us a total like guesswork thing, and then we can kind of offer some thoughts on that. That probably be clear then trying to decipher some oil or kind of answer some of those things in this instance, now.
Colleen had a question about live archive.
Okay.
Okay. I think I might, there was just an incident outside my window, and
something's happening. Hang on a second. Sorry. Really, somebody collapsed us? We know. And I had to call the ambulance. So a bit my question or not my head, but I'll come back. So sorry, that was just very bizarre. So my question is, oh, hi, I'm looking. So okay. My room is full of archives. So I'm like, Okay, where can I fit it? So one thing that I'm thinking of that could be probably the most interesting in terms of the other ideas you're asking about is work is with a collaborator that I worked with in Ireland. So I don't know if I did the lead component, would I be able to bring them over for the three days to prepare, and they don't have a dance background, but I do. And he wasn't a dance performance that we produced, but it was using, we met in a dance context. I'm a dance artist. And everything we did in the project was about movement and silent witnessing, and we ended up we ended up showing something as part of the Cork city of culture, which was some photographs and as a short video, but it would be really interesting to we created all of this documentation along the way and then we selected things for the show. And it would be really interesting to look at that and it also talks I was into ecology and all these other things that are like very kind of interesting right now. But they live in Ireland. And I don't know if that's possible to bring them over for the thing. And then I also thought, can you do something that's part visitation apart workshop? That's
a different question. So I got the question. Now finally. Does that make sense? Did I? Was I clear? Sort of?
I think so. Yeah. Yeah. Do you want to go around or should I go.
So it worked, we did present it present something. But the process that we went through for making it we we generated a lot of archival materials, notebooks, and photographs, and drawings and sound recordings, which never got shown anywhere, and we still have it all. And the process with her, I find it really fascinating, and it seems to fit in. But I think it would fit in the life that I think would be interesting to do live rather than sharing the
samples of water. I
mean, that was ridiculous. Anyway, so I don't know that let you answer it.
Do you want to go rewind? Or shall I go? Go for it? Okay. So first of all, is any format that you want, it can be part presentation, part workshop, anything that you it, that seems appropriate to how you want to present your, you know, alternative archive, you know, which is what the strands are offering is, is offering something other than the usual traditional idea of archive? So definitely, your question about can you bring your collaborator over? Is that a money question? Or is that kind of UK based artists,
just UK? Or I know, but I know that UK and Ireland have a different relationship to like other European countries, but also budget wise to like, she could stay with me and everything?
Why is that? We could do it by zoom? Yeah. Yeah. I think budget is up to you, that's your responsibility to make sure that is feasible in your budget. Simply we won't give you extra money for travel. It needs to be budgeted inside your project. In terms of them, not necessarily being a UK, but artists or not, the fact that you are the money will probably go to you and then you it's at your discretion and where that money then gets. where that goes, we wouldn't require, you would be the artist that invoices us. And then it's up to you where you spend that money. And we don't necessarily need to see the invoices or receipts of where that money goes. But we do want to see the results of some kind of archive. From that money. Yep. Thank you. Thank you.
I think we still have a couple of submitted questions that we haven't. Okay. I think those people are also not present. We can also get in touch with them separately, unless there are and if there are others in the room, it'd be they should be prioritized. But
yeah, that any other questions, I'm just gonna close the door, shoot
it I would love to get the other questions. I probably irrelevant anyway. But I know there's other people who haven't shared but
I'm gonna take place that no one wants to pipe up. So one of them. I think one of them was about timeline. I think we've I think we've talked a fair bit about about the timeline, and what that what that should or might look like. something I saw on reading that question was also it doesn't, doesn't have to be tied to dates. It can also just be I want to spend X number of days on one thing, and then another number of days. Another thing and it's just sort of what will your process look like? Really helpful for us to understand your proposal through the prism of how will you make it happen, and it helps us think also helps us understand how much you
have thought about.
It's losing my words,
how it's how it's going to how it's going to happen practically.
Yeah, I'm looking forward to some plausible is it possible, actually, reasonable feasible? Yeah, the feasibility of it, because something can sound great. And then when we look at your proposal, and it's having only two days to make something really big, we might,
there's really a problem here. And I think it really helps us because we're trying to jigsaw, so many different things together. It really gives us a great idea too, which is why we've given those dates as markers for when we would like some things to be up by. And there is some flexibility but the date we have given is pretty much when we would like it out by just in view of the other things we have in the program. So we You've said up to whatever, whatever or 31st of March. So they pretty much stand, there's not that much flexibility around that, likely. But on the other side of that, there can be some, I guess, because we are considering this within a whole program of activities and events. Also, we share the space with independent dance, who also have a lot of classes, workshops and events. They're quite logic soaring. So you wouldn't be tied to a timeline you give us it does give a good indication to ourselves, when I mean, you could even say when this is definitely when I wouldn't want to work because of other work or other commitments. And then artists have also said, I can either do this bit or that bit up for discussion. And you can leave it as that. But on the other side of things, so that's on a practical level for us piecing it together with the organizational stuff. On a practical level, as Rosenbaum was saying, it gives us an idea of how you're thinking about your process, and it gives us an indication of whether you're kind of kind of the scale of it is maybe unrealistic against the budget? You know, I think it's really worth saying that, yes, of course, you're going to work on this, and you should be paying yourselves and your collaborators to work on this. But we want it to be really low calorie work. You know, this is about existing stuff. You know, this isn't about making something new. This is about archiving the thing that already exists. Yeah. And I think in terms of what I said earlier about, possibly seeking funding, extra funding, if you are successful with one of the artists, archives selections, and this should be good time for you to submit an application to wherever else you need to. But I will try and think of your project as a term we use quite a lot, which is in the organization, which is telescopic. So up until I think that October or November, we didn't know whether we had Arts Council funding. So there was a lot of things that we didn't know whether it would be happening next year or not. So how we think and try and design a lot of things, especially in such precarious times, is, what is the smaller version of it? What is the medium version of it? What is the larger version of it, you know, because we would hate for you to submit a fantastic application and proposal and for you to feel that nothing could happen if you didn't then get that extra money that you wanted to apply for on top of it. So I would, I would encourage you to think in this kind of telescopic way, the sports the smallest, the simplest, most basic version, the medium scale, the largest scale, which is how we tend to think about everything in the organization as well. Because you never know when that money is going to just be swiped away.
And then the another couple
of questions, which I think I think we have sort of been answering throughout but one of one of which was is there any preference on formats or themes of the works? You select? And broadly, I think in relation to themes, no, I think any any made. I mean, I mentioned that earlier. And the format really is around the is around the kind of the live material digital that we suggest. But within that there's a lot of scope for what that for what that looks like.
In that we've we've hosted to live archives as his resume mentions that have taken very different forms. And we in terms of digital, which I don't think we've spoken a great deal about there's sort of a mic we have a microsite as mine as versions at the moment, which has lots of audio work on it. But it equally might not be a website based digital project. It could be something that is much more of audio Magennis that kind of second digital archive that we're working on with Cora and I might solely be kind of audio thing might be a digital book that you download. It could be all sorts of things,
or digital exhibition online exhibition and download or you know, for QR codes, you know.
And then the final question we had sent through was, I understand ASPAC I was not to develop a complete an unfinished work part for applying for apart from applying for a project we believe we should. Sorry, it's hard to read this. I think it was the Question that Annie was talking about the beginning, which is the Yes, yes, we're asking you to kind of we're asking you to bring your, like historic work to us. Surely that might might mean developing it as well. And where's this sort of fine line between what that means? And I think any talks about this beginning around, it's not so much about developing the work with the act, developing a relationship chip to it, or how it might be shared and disseminated. And how might make this sort of some of this more invisible work visible, rather than, like, re mounting it in such a way that it grows and develops and becomes an entirely different beast, when it was really interested in working with what you have to handle?
The work might also develop in the process of archiving like that. Yeah, that's
inevitable. Yes. But that's not the
Yeah, I think the other thing was saying is that, because we're already challenging the, the format of what an archive can exist in that it's already quite experimental, like everything that has come to us, because it's already challenging what an archive can be. So don't feel any pressure either to kind of go, this has to be super experimental, and really, you know, you know, kind of a, an out of the box, you know, like, you know, in terms of has to be so like, thinking out the box, really weird. You know, like, it's already quite weird, you know, so don't worry, if you just want to go, actually, I just want to upload this old recording, you know, that I recorded 10 years ago, or two years ago, whatever those people say, online, you know, it can be as simple as that. It's part
of I mean, it's the part of the puzzle on the part of the process of this project. That we want to decrease output. And actually, there's so much work that artists have already done and haven't been paid for. That there's this sort of opportunity to share this sort of story.
Yeah. Yeah. And this is also about the content. And it's also about who you are, and the communities that you are a part of, that your work might belong to a more or less a herd, or more invisible kind of voice or kind of work, you know, and we're interested in that very much. So, you know, your desire to have this kind of work archive, so it goes back to who deserves to have an archive who gets to can have one? And also what should they look like? But I would keep going back to, I mean, do what you like, but you know, keep going back to small and deep and rich, as opposed to big and flashy? And, you know, yeah. Okay. So at six o'clock, and unless anybody has anything else they want to add into the chat or say to us, and say goodbye, and good luck. Thank you 70. Money. And this transcript will be uploaded on to. Yeah. So this, you can reference back to this or point other people to it that you know, might be interested. Thank you clean. Yeah. And again, that doesn't end here. You know, do feel free to contact us with any questions. Have a look at the existing archives. There's quite a lot of information online. Thank you, Laura. Thank you, Lucy. Yeah, and there should be lots and all the questions and the frequently asked questions and all of those things from last year as well. Yeah. And there should be some documentation of the ones that have already happened. Yeah, that should give you a good idea. Okay. Thanks, everyone.
