Okay, so maybe we should start because and then as people trickling in, that's fine. I'm gonna say hi, Iris. Hi, Sydney. Hi, Katie. Hi, Carmen, and Harriet, in case you're there, but have to turn the cameras off. That's totally fine. Hi, Noemi. Hi. No. Great. So, Romain, how do you feel about maybe talking us through a very light way of trying to navigate all of this? In terms of question asking, Okay.
Yes. So I think we thought that first. And we might speak a little bit at the beginning, just about the kind of the broad concepts of artists archives, just to kind of reignite your use it and familiarity. And then we might kind of ask you all if you want to hear a little bit, again, about each of the strands, but we also presuming quite a lot of you will have will have read the call out. So we'll see how you proceed. That's something you'd like us to do. And then in terms of then moving on to the more kind of q&a section, we'll probably begin with the queue, the questions that people have submitted. And we have five, and a bit of some are slightly chunkier than others. And we imagine this will generate further questions from from the group. And we'd like to request that everybody is really happy for you to speak your question if you'd like to, or type it into the chat. But could you type your name into the chat and say, like dash speak, if you want to speak your question, or dash title question, if you want to just put it into the thread. And that way that we use that as a kind of agenda for the meeting going forward? That sounds good to you all.
Yeah. And if you forget what that all was, just raise your hands and turn your mic on. That's fine.
While you're touring, I can do a pop version of it to put into the chat.
Oh, my word. Okay. Are you sure you want to be doing that many things for? me write it see how it goes? Yeah, I guess. So. I'm assuming that everyone read the call out to some degree. And so we thought maybe it'd be useful, or maybe just nice to kind of hear a little bit about why why. Why did why did this? Why did this come over? Sorry, as well. Apologies from Kat, she really wanted to be here. And she actually wrote a bunch of responses to the things we were thinking that might come up. So she will get her voice in. But she's not very well, she had COVID before Christmas. And I think all the effects are still kind of lasting. So she's just having to really watch her energy. But she sends a big hello to everyone and her apologies. But I'm going to filter through some of her thoughts as well. So hopefully, you'll get a sense of cat bridge today, too. So I think when we first came up with this idea about before we actually got the job, and it was one of our program strands that went into our application for the role. And it just actually what's really heartening is a lot of the ideas we've had for various programs transfer stage. And it's felt quite great to kind of go, we believed in this then and we still believe in it now. But of course, they were really skeletal frames. But I think a big thing about artists archive for me was kind of looking at this whole, like loads of work that I had, that was like in boxes or in notebooks and things that I cared about at some point or still care about, but no one else seems to care about. And and it made me think about the amount of times I wanted to have a just a little nudge, an impetus to bring that work out again, to review it to look over it to maybe get the people that were around me at that time, whether they were actual collaborators or just peers to maybe reflect with me. It made me think a lot about who is funded, what gets funded, who gets archived. I thought about, you know, why haven't these works been archives? Is that only down to me to make that happen? So yeah, it really came from having this kind of body of work that you can call a body of work and then you kind of you validate it by calling a body of work, but for most of us, perhaps and definitely for me sometimes it really is Is it clutter? Is it taken up? You know, so I guess there's something around value, you know, which then speaks to a bigger sense of the kind of works that are archived or the kind of work that is passed down through history. And who decides that? So yeah, that's, that's where that our that idea came from. And then I don't know how we came about thinking about these different strands. But I think there was something around the response to COVID. And other, so thinking about accessibility, and possibility to still advocate for liveness. So in the liar strand, how to advocate liveness, even if it's remote, but promoting that possibility. And then the material strand very much came from a bigger idea as an ongoing idea of round, understanding more the locality of the building in Elephant and Castle. And relating more, how do we relate more and understand more or be more visible or be more public to literally our neighbors? So there's something about how might there be these outward facing displays or presentations, exhibits of things? And then the digital archive again, I guess it it originally was a system piece in my head around the live archive, but something that didn't have to be live, but could be actually stored in the same way. Yeah. So maybe that also goes over a little bit the strands in what you see in the call out there. And so maybe, we'll, shall we go to the questions that were actually asked rabanne. And this might trigger more questions that people
sure unless I am, you spoke a little bit there about each of the strands and less people want. We mentioned maybe going reiterating some that information is that will be useful to you, we'll just leave you a yes in the chat. And to hear it, I can just break down that information a bit again. Sure. So this first call out for artists archives, is made up of three strands, live, material, and digital. There are kind of three what we call three opportunities, or up to three opportunities for lies. And we anticipate these being between, like applicants apply asking for between 802,000 pounds. And this can be quite it's quite broad what we imagined this might be probably in the building, but potentially in another location. It could be a kind of a presentation of some sort, perhaps like a q&a with some like notebooks or footage of talk or a series of speakers can have demonstrations or excerpts accompanied by other kinds of material, but all things that might be live and in person with a with a with a public audience. Or your home
as well.
And then material archive, which we anticipate accepting proposals, with budgets between 1002 1000 pounds 4000 3000 pounds sorry for material Yep. And this perhaps won't be seen, you can see this a little bit more like a sort of installation or exhibition format, with an emphasis on all the kind of ephemera around performance practice taking kind of Center Stage, which could be sort of sound or text lighting, costume set, or even like video, and this really imagined being installed within our building or around our building. And I think my I know that this sort of this, this strand has taken slightly different forms over the last six months or so. Talking with anyone can think at first there was really this emphasis on quite kind of public publicness potentially of the work itself we have a public artwork in the front of the studios. That's currently not in use. headlines and then digital archives, again, anticipating accepting about two applications and funding them between 1003 3000 pounds. And so this is probably the were the least sense of what this might be. And digital digital being quite a kind of new area for us to select. In some respects, this could be something as simple as sharing digitally and recording of a past performance to something that's more like, microsite or an it's like a series of No, like documentation or essays, or kind of re articulation of previous work, depending on what on what kind of suits the practice itself. We anticipate most of this work is being hosted on the Siobhan Davies site itself. And that would be also interested to hear about things that kind of have their own digital home, or perhaps numerous digital homes, and that consolidated somewhere on the Sean Daly site. If you're kind of interested in what's already happened on our website, we have the WordPress residency from 2020. And was quite kind of like maybe like low, low five, perhaps in some ways, it's quite a small commission. But it was just kind of taking a little bit of a foray into how our website might be used as a location for artistic practice particular kind of return, like from a research perspective. And cool, has made some sense. Yeah. They're quite kind of encompassing. And shall I move on to questions? We've had a couple in the chat already. I'm gonna note those down. But we might start with the ones that were submitted. We asked people if they could submit questions when they sign up. So might start start there. And then I'll keep a check of people who put them into the, put some more into the chat.
Shall I read them out and answer them?
Great, thank you.
Yes. So one of the questions we received, not sure who from that doesn't matter? How much detail should go into the proposed timeline? Should it simply state my preferred time slots for the work? Or is it more of a detailed breakdown of a week by week explanation, I think, maybe see the timeline as just another practical way of giving us some information about the work, ie what goes into the process in a way that we might need to know, to think about how it sits next to other things that are programmed at the time to understand how much work is going in, and whether you're paying yourself properly for that amount of time, or just to understand your process. But so maybe see it as really practical. It really helps us to look at your projection of like, of proposed date. But with full disclosure that this might need to change for everyone involved. And obviously, it has to be in discussion with the organization because again, what else is going on at the time? And so in terms of the actual dates? Yeah, they all need to be confirmed in collaboration with the organization and the artist, if that makes sense. So we're not holding you to those dates. And similarly, we're asking you to not hold us to those dates as there's probably going to be a lot to have over. Those are things to jigsaw. Yeah. Then
Yep. And you and I were talking a little bit about this question just before starting. And I think it's useful for us also to get an impression of your, like working needs, and what might what kind of other things in the next year or so based on the based on the timeline that might in impact how the work needs to take place, and how long it might take.
And it's just a nice insight into your process as well and how the thing that you're proposing, you're thinking will come into fruition for wonderful that word. So this question comes from John. I think, oh, yeah, there is waving. I'm interested in the material or constraints. reimagining our online interactive work and they have escaped as an installation. Are you anticipating that we have pre ideas where the installation should be held? Already had discussions with the venue? And can this be outside of London. So Sarasa material archive strand is really about taking place in our building. So that's really about that. So if it was the lie, if it sat actually is suited sitting in the live archives strand, it can be broadcast from wherever you need it to be. And then you can be at any stage of your talks with the proposed venue. But I guess we need to see that there might be a backup or some thinking around if that venue can't do it, if that makes sense. I don't know whether you that answers your question.
Yeah, I was just, I suppose I was picking up on the writing about community. And because they used to have an Elephant Castle, it was just about how why to community if it was just within in the building, or if it was thinking about the other other buildings that are around that area? So
yeah, it would be really interesting if it was situated hyper locally or locally to us, but I think somewhere outside of London, that would probably have to sit in the live archives strands. But yeah, that that would be interesting, you know, to if it was a material archive strands, that you had a venue in mind, that was really local. Okay, you know, we're really interested in those dialogues. But yeah, we didn't put that in the proposal because we wanted to. Yeah, okay. Yeah, I suppose.
I suppose I'm looking at finding ways that I can make the public walk and explore, explore locations. So
again, yeah, I guess something that came up before about something else we wanted to was maybe QR codes that began at the studio that led around locally, you know, or something, or an audio tool that, that you pick up from the front desk or something, and then you bring back, you know, so it could be something? Yeah, we're really open to see how you articulate that. And as long as we can kind of part imagine it, you know,
thank you.
And then is it open to artists born or based in Ireland? The answer to that is, this is the UK based artists. So it would apply to artists based in Northern Ireland, but unfortunately, not in the public. With anybody has anything to add to that?
It was Lucy Mendler. Katia, who asked that. Okay.
I have a question about the Ireland thing, if, if I'm applying, but my collaborators, Irish, but I'm the main applicant? What does that where does that fit?
He's southern Irish cork?
It's probably a different kind of specific question.
I see. There might be one that might hold, we might hold on to an email later. That's one specific tool, just because I think I do have briefly chatted about this before and being unsure about where things where we stand with some kind of kind of EU visa or visa
vie Ireland because I was just there. So yeah, alas later because it's Ireland is different than other countries.
So I think it is interesting, though, because I think a lot this is a speculation, but we didn't want to kind of be the main answer as to this. Because I think that would really best go to Alex who our general manager who's had loads of experience work with the EU, and all the shifts that are happening now. But I imagine if you're the budget holder, and if that commission is going to you, then that's up to you, who you pay and how you pay. You know, but for us, we can't probably make a payment to someone that is outside of the now the UK based kind of thing. Yeah. So that's what I imagined. Yeah. And then, is circus movement and technique considered within dance choreographic practice? That's from Lucy Medlicott. Yes. My project. So there's another question my project is multimodal, and has had live installation and digital iterations. Would it be possible stroke advisable to combine the three within one application? Not sure it preferred or is it preferred. They are discrete and I apply separately for each platform. All to have a limited combination eg installation, plus some live interaction with audience or a live q&a performance that's from Lucy Fein who I think is here.
So I think
the first thing that made me think of that question was, it can, the work can be made to moldable. But I guess maybe thinking about which strand it actually fits into. Because one involves a live presentation, which could be from any remote site, which could be totally multimodal, or it could be all of these things, but will be presented live and broadcast live in that moment? And how you navigate that? Yeah.
I have quite a specific thing in mind digitally.
It's like, oh, yeah, um, it's an installation of multiple projectors, and projectors, and monitor. Um, it's actually an unfinished project. But it's got finished elements, I made it so that elements within it, and I partly, I feel like one of the things that Polly ever there's a lot of desire to keep the project alive. But also, I feel this would be an opportunity to sort of throw it open to public discussion. How do we, how do we keep this project alive and make that a kind of in Yeah, but I participate Cherie, semi performed discussion event with examples of are quite substantial work so far. Well, it sounds like you could fit into any of the strands. When you when it actually sounds like so I could imagine you presenting parts of it, or setting up like actually doing a setup, but broadcasting that, but then showing us some of your screen share or footages. That way and opening up the discussion in the the live strand, for example, how if it were, though, to be partly installed into the building, then you'd have to think we'd have to think how that would happen, and where it could exist to you and it probably wouldn't exist in this full in the same format that it did as a complete installation, because we don't have that kind of space for it. So it would be I guess, a dismantled, fragmented version, you know, and then they'd probably be tough to look at equipment and what your budget is paying for what we can mount with what we've got things like that. So that probably is more complex, but doesn't mean it can't work. Or you can't imagine that. But then interestingly, I can also see it fitting into digital archives, because it might be an interactive digital have a digital presence. So it could be a, you know, I'm pretty basic with my tech language. But if it was an interactive website, you know, or it was some kind of ebook or something, you know, I could also see and there were places or forums or notice boards for people to post or leave voicemails could kind of see it work working in any strand. So I guess it's up to you. Cool. I wouldn't bother. I wouldn't bother making three applications. That definitely just sounds like one. Okay, yeah, I was going to make three versions of possibilities. That might be an exercise for you. And then go actually seems to fit more. But maybe after this, maybe you get a sense of actually what's more useful, more appealing. Yeah. For you in the work at the moment, maybe. Yeah.
Thank you. Welcome.
Now, I think there was one more No, that was the last one from there. So
I've been pasting them separately to keep them easier tracks and we got our first is a type two question, which was, can you indicate in a proposal, if you'd be interested in either material or digital so can options to guess? Or would you need to submit two different proposals might need perhaps a little bit expansion from Katie's context, but I guess like, I'm reading
and I'm wondering, Katie, if that partly answers it, what Lucy was just talking about all of this Something you'd like to get done?
Yeah, yeah, I think that's kind of dovetailed. So I'll just make a decision
about which makes sense for my control.
Sure. And but, you know, you can also write to us and, you know, because probably Lucy, just add an idea there in a few minutes. And that was really helpful. So know that that's an option, you know? And then,
and then, and know me, maybe I'm happy for us to read the question. And I would like to apply with an existing recording of performance that was completely self funded at the time, I am not sure how to think of the budget. And ideally, I would like an artist fee, because it was very costly at the time. Is that what you expect? Or should I produce more material around the actual piece? Do I have to break down the cost I incurred at the time?
So I'm assuming, when you say that, no, Amy, that you're thinking of the digital archive? Or am I? Yes, yes. Okay, so, um, my question is less about, I guess. Yeah, you should have an artist see you made the work, you know. But as well, what? What does it take to put a video, I don't know how long it is, how big it is, into a format that is holdable. Because for a full length performance, I don't know how much space that takes. I don't know whether that is how we hold full length works on the website. Maybe that's possible. So that discussion or that research to go into that or thinking about that, as part of your show? You know, we'd have to but yeah, you're really really? Me? Me, me? Me, for some reason, your sound is really distorted. I don't know what. But would you like to turn your video off and speak and see if that makes a difference? Because sometimes that's just the type. Okay, let's see.
So the the technical costs associated with the upload on the website?
What do you think their role and because of the
i Sorry, I didn't catch a little bit of the beginning of your applying any sorry, because I was looking at this. But I think there should definitely be in the budget of a kind of a commission for the artist work and the kind of us us having kind of, you know, a bit like putting a bit like, if we were to take a ready made work and put it on in the building, there should be a kind of small commission fee of sorts, and then also, the time it takes for the artist to make the work available online, and how long it might take to kind of get it into that state that it is publicly accessible and visible in the way they want it to be. And that might take a little bit of testing and work to make happen. It's not just a straightforward kind of upload of ready made video on to YouTube. What else might might happen around around that?
And then I actually see your question, do I have to break down the costs incurred at the time, we're not paying for work done previously? Because that's not what the money is for the money is what it takes to make it happen now. If that helps?
She's in the chat. Yeah. Good. That helps a lot. And and then what Romain said, I think that was a much better way of saying what I was trying to say, because Rhode Island says much more about size of things and different ways to hold size sizes of videos that are probably much more available, then, you know, because you can do that on YouTube Exactly. can hold an hour or more or film you know, so that probably isn't a problem. But I guess we'd like to see a bit more research into or thinking at least, into what it would take to put it up
in terms of costs to actually just hold kind of a fairly straightforward documentation of work. We have things Like a Vimeo account, that's a paid account for quite long pieces of work and quite large files. So the witnesses unless you want to kind of create a whole other kind of frame, and thoughts are hosting that work, we already have, we already have a lot of options that we've already paid for and have set the resources for. So that doesn't really need to be budgeted so much unless you have a really bespoke approach you want to take. Okay, I think it's also okay. If not, particularly with digital and compare it like it's quite new to some people.
Well, while has frozen
with budgets is everything.
Have I just been talking? And none of it's been coming through?
Yeah, yeah. But somehow, well, only the last minute or so I'd say around and within?
I think I'm saying particularly with digital, it's okay. If there are some gaps. I'm sure we can talk about what's what what's necessary Once the application has been read in, there's a general interest in what the work is.
Yeah. We're happy to move on to the next question.
The next question was Luisa Zarya, who's going to speak to that question.
Yes, hello, and thanks. Hi, thanks very much for holding the q&a, which is very useful. My question is more specific to sort of your definition of archive, I'm very interested in working with archives, that is footage or images. And that's been sort of my interest for the last years, few years. So I wondered if you would consider that approach. So like a presentation of a process of making a film from archive, basically, which includes choreographing the composition. And so the dance side of it would be more of, of how you approach the images?
Sure, are you thinking sounds totally eligible? Where you think which strand? Were you thinking? for that?
i I'm sure between digital
or live?
Yeah, because it is
a process that I'd like to to present. They're, like different stages. So either digital or live? And I haven't quite decided,
yeah, know that. Yeah. I think the instant thing I thought was life. Okay. But But actually, with similar with Lucy, as well, and someone else that was asking question. There. Yeah, maybe as you think about it more, and think about what you want to get out of it, and how you want it to exist. I guess one is much more temporary. Yeah, but but exercises? That liveness? Yeah. of work. And within that, which is kind of gold dust in a way, isn't it like for a lot of science works and a lot of yeah, these processes that would otherwise be lost? Or whether you want to non? I mean, there could be liveness in the digital archive, you know, there could be interactive elements. It's how you imagined it to. Yeah, but it is not such it doesn't replicate the the kind of theater setting no thing as much as life is more experimental. So I guess it's thinking about how, what you want out of it. What's most useful for you at this age? Yeah.
Yeah, I think that's a good point, too.
So hard, though, isn't it? You see an application and you think, you know, you've got Yeah, something you want to do everything? And it's like,
yeah, initially, I didn't think it could, you know, sort of Be Fit each either cat any category. But it's helpful actually, to hear other people's
just bouncing it off of a few other people, you know, people that know the work but also someone that's never seen it before, you know. Okay,
thank you. You're very welcome.
And next we had Lucy Spain had requested to speak a question. Sorry, I'm being a hog. I've already had one. Like to the end of the queue almost quickly.
But then a lot of people think Get status shaking heads. Okay, you got you got 10 seconds. Right? It just how much in the building? If it wasn't installation? Could we use? Like, could we use stairwells and corridors and reception area so forth? I think we'd love for the buildings who really come alive in that way. We are not the health and safety. You know, we're not the biggest on health and growing allies. So it would have to run by all the ways. We are healthy and safe. We will fortunately have to miss Yes, we would definitely have missed some things about there'll be logistics to think about Sure. But those spaces that you named, we are imagining how do we, you know, enliven these areas, there's also a shed outside there's also the front facing but you know, there's there's things that So, the front door, for example, that's glass, and we need to keep that the sightlines really free there just for security for the front of house, for example, but potentially, the window spaces, and the rest of the building might be up for grabs, depending on what you do. One side faces onto the primary schools. So we need to look at content and explicitness of content there. So it's appropriate for the school facing side. But that would be and I don't know how we'd mount that at the moment. I think it's colored panes maybe or actually, that actually there's there's clear panes aren't there, because you could always see the kids jumping around. And then we just need to be aware of obstruction. Things like that. And yeah, but apart from those things, and whether it's obstructing, you know, access and things like that, really, but quite up for hearing what's possible or being imagined. And if it's outside, just understanding what's weather, weather, proof of your work, you know, things like that, I guess. But yeah, we're really off, but it would have to go through our building manager and General Manager.
Okay. What's wrong, man? She's left. Okay, that's fine. I will go to I think the next question was just Katie May a curator apply with a group material archives that traces the group of artists work across a given theme. Was it critical for you that the inscale show is the artist herself? Interesting question. I the first thing that's so Romain, I'm just on Katie Katie's question, which is typed into the chat. So I don't know what your thoughts are on that my instant response to that on the fly is mainly around the permission from that group to present their material archive and which I'm sure would be given. Otherwise, you probably wouldn't be interested in that I'm sure there's a relationship with that. Then there's a question of the distribution of fees and that work, but I don't know I, I don't, I might need to take that to cath. Because it's quite an interesting question. I guess it might make me think no, instantly, but Ryan, what do you think
I was, I wonder about how, how that kind of group of things is installed in the building and sort of responding to the space that we have? And is there a kind of react proposal for that? And I might, I think I was thinking this when you were talking earlier. The last question any, like, thinking if people are in a position to come and have a look at the building, if they're making a material proposal to have a have a bit of a thing or take some photos or to have a kind of sense in mind
of a fire. Welcome.
And the other
thing that we need to get get on actually Romain, I think we we should really try and produce in the next week is a video a video tour of the building. Yeah. Because currently there's there's pictures up by saying we that's what we were thinking that really needs to be done for a lot of reasons but also to help this application.
Just at least a walk around. Yeah. Specifically with this in mind without any kind of ration necessary.
Depth might be very wobbly and so bad quality, but it should give some idea.
Yeah, we can make that available on the artist archive page. And perhaps I can email that out to everybody who's present as well, seeing as we've promised to do you live there in person?
Not sure if that answers your question, though. Okay. T, if you're here.
Yeah, that's helpful. I can email with more specifics, because it's a little,
just individual. But I would be coming to the project as a curator in collaboration with a number of artists rather than someone whose work individually I'm trying to showcase.
I don't see that that's a problem if like we said, all the credits and the consent and the fees are distributed, and then you can apply as a collective in a way with different roles in that, you know, okay, great. Yeah, absolutely. So, the next Andrean. So question about the one piece of work fitting into two strands. What are the written requirements? I think it's the same for either, right.
I think you I think you may have answered this. Annie. I'm assuming that you would, if it was, for example, a material archive or a digital archive, you'd do your 450 words for why it fits in the material, and then why you think it would fit into the the digital would that be? That'd be?
I think, yeah, you don't need to put in a separate application, I think, yeah, you can. So if you're unsure of which strand it fits into, then you could state that. But I reckon probably with a bit of peer bouncing off, I would say try and push the work into one strands. And if after a bit of bouncing off, you still feel really unsure. Give us a call. Maybe, because I just think I just feel like I've totally been there so many times where I'm just thinking, Yeah, but it could be this, but it could be that but actually, is it just more of one thing? And they aren't they do kind of overlap a bit anyway. So yeah, see if after bouncing off a few people trusted, or untrusted to get the range of how you feel about it. And then if not, like give us a call, you know, give someone a call, give one of us a call, give me a call, or write an email with a bit of description of the proposal or, or speak that to us. And we can go sounds more than this.
Yeah, the application form does give you the opportunity to apply to more than one strand. And hopefully, it should be quite straightforward. I think, perhaps that's there more for like, two quite distinct proposals, rather than kind of two versions of something that's more or less the same thing. With perhaps the kind of singular application would be more and more into it, then that perhaps the thing is, yeah, so I was thinking about two very different things that they wanted to provide us two very different applications. That's a different matter.
Yeah, that's really helpful that because it also I think it was in the, in the kind of writing of the form that yes, in my head, there are two different
possibilities
of and then when I look at just one of those possibilities, I see that it can fit into these two, two strands. So then, then I had a question of, it's all sounds a bit greedy, because my archives quite quite. Oh, you know, isn't it it's an exciting opportunity to, to, to ask that in a way so. So that make that actually makes a lot more sense for me. I just didn't know. Yeah, no. So that makes sense. Thank you.
Yeah, so just to reiterate that if you have something that you think you're not sure which strand it fits into air he appears, if it still doesn't get you anywhere, maybe bring it to us. On the other hand, apply for two strands if you have two distinct works, or three distinct words that you say I've got something perfect for life and what's different but perfect for the lyrical say different than perfect for digital. Does that make sense? Yeah.
Bearing in mind, probably probably will only be the light all likelihood is it probably will go from one of those three things. So
all worth mentioning. Yep.
The question was cleans up our life strand.
Is it about I typed it
wrong? So um, no, no, I get it. Or it can
you do like, because I'm, I'm, I just thought of this now I,
I find a question. Yeah, well, because
there's so many things that come to or we plan it and like, and then it's over. And then But then I asked him like, what if we did like, preparation or like two things or like sending people like little things that then you come to LA? I don't know, I just thought of it in a different way, just on this call, like, does the live thing have to be one two hour session or a day workshop? Or can it be like a series of smaller things that accumulate? Or? I don't know, it's just a new idea that came up just right now?
I think it's a really great question. And I think this is something that we should take back to some of the other team and to talk about not. So might, because it's not just my decision. It shouldn't be. But but when I hear that, Colleen, I think that's a really great question. Because why not? If you budget for it, and if it fits within? What is realistically possible, and it fits within what we can also in our capacity as the organization's deliver. And yeah, what what if it is this drip feeding of a process that culminates in something or to be continued? Yeah. But I just want to pass that by other team members, because then my only question my I don't know, something that's coming up is fairness, or I don't know, to other applicants, but then I don't that's not necessarily issue. I think, if the budget stretches, you know, to do that, then I don't see why not. But what I'll do, I'll put it to the team. If you don't hear from me, it's probably okay.
And that was just Katie going and saying really nice words that she's still here. Thank you.
Oh, okay. Great. And
the next question, was Sydney. In the application, you asked the documentation, should this be in one format? Or can we upload a few things? Below the few things? Absolutely. I think up to five was actually uploading, you can upload up to five things. And then you can also link to something like a video
or a website as well. So yeah, I guess it is, if you're, the only thing is if you're sending a song that's really long, and you want us to see a particular bits, just let us know where that is, as well. You know, so it's between 3.5 minutes and 4.2 or whatever, or whatever. So but yeah, upload a few things as much as what the application allows. It's nice to see things from different either in different contexts, or different angles, or different portions of the same thing. Just to give us an idea, you know, really, does that answer your question? Sydney? Yeah, typed? Fab. Amazing.
Next, was Alice to speak. I have also written it.
Yeah, I think it's partly been answered, actually.
It was it was the fact that I think mine fits mostly in the material strand, because it's you Yeah, it's already been like a really sort of presented it in its very early form as a kind of an installation in an exhibition context. I've only just really started working on it. So I think that that's where it would fit. However, I did, like a live reading as part of it. And so could the material strand involve a live reading?
Yeah, potentially, I think. I think there is a desire with a material strand that is visible. Yeah, in a semi permanent way to incidental passers by. But there's no reason why if it's if you've budgeted for it, that there might and it works within our capacity to help hold that, that you might include reading in that timeline. The No way.
This makes me think of the fake question I wrote that cat answered in our email thread, which was like, Is it possible to have a launch for a given exhibition, which is what this may be kind of would fall into a sort of a reading moment. And which was the answer from her her point of view was like a possibly slash Yes. And we want to bring awareness to the archive. Authority. And it was just Yeah, it was what? What can we work within our means and make us and what's possible within the budget? So, again, it kind of we would want, I think, put it in there if it's something you'd like to do, and and we see we can see what, what, what we can make work.
Yeah, but it certainly wouldn't disadvantage your application to go, oh, there's a live element in there. And it's meant to be material. Yes, yeah, we're much more porous. They're very porous. You know, I guess we split it into three strands, because I think it would have been way too much to try and explain if it only existed in one. But of course, there's tons of crossover, of course, we work in these multimodal cross disciplinary ways always. And especially in process, you know, especially if it you know, but I do want to emphasize that this really is about existing works, as well, works that have already happened works that would otherwise be lost, or we don't know that right? You know, maybe the next generation would uncover it in a time capsule. But you know, I think there is something about China brain make visible what might be in danger of being rendered invisible, you know? So yeah, thanks. Thank you, Alice.
Suzanne, types of question about the material archive, and what the equipment is available for an installation of Moving Image and Sound. It this would be a good one that I maybe could follow up with a kind of a practical list, we are in the process of doing a bit of an audit of some of our tech stuff. And we have, we have projectors that can be installed around the light that are installed in various spaces, and permanently and ones that can be installed and installed in different places. We definitely, we definitely in the past have had, we have like TV screens as well. We have a TV permanently until installed TV screen in the reception area, if you know the building. And also, I think one one that's been on wheels certainly have had this is that they maybe follow up with a q&a with a bit more of a kind of written list so that people can refer to it and to that on to the website.
But it's important. Sorry. Okay, great. Suzanne. Oh, sorry. Yeah, no, go.
I was wondering if you don't have particular things in mind, that you wanted to ask about,
just in terms
of what would be available, because looking at the budget, and I think it's yes, it would be open for the public for years. So then, I was just wondering, what is expected to, from the artist or from the people to apply to bring in, just in consideration of the, of the timeframe to hire equipment would be like, extremely expensive. So I would I'm also I'm an artist, filmmaker, who also documents a lot of love for films and dance, and I've been I have a long term relationship with a dance company. Particularly they, they want me to apply because I've been quite devoted to the documentation of their work. And so it would be sound and moving image and maybe costumes as well.
Yeah, as Romain says, we definitely have projectors I think we have projections in the studios by that would be a less likely place for it to be projectors. But there are other projects that I don't know that we recently did do would you call it an audit? There's another word as well isn't that a common one is
that we have i Two things you have inventory
inventory. Yeah, so we have backed up recently so we have a look at that and send you
that I would also be interested in come and I fin before but so why I would be interested in and just to look at the space
of well hopefully getting a video tour is bad one done this week, you know, and trying to upgrade it. But But yeah, we if it was more specialist equipment, then we might not have it because we don't we're not really an operating a programming venue in that way. I think you know that anyway. Yes, it's that kind of thing. And maybe have a think about what you were require or imagine You know? Because also if, you know, apart from the screens, if it's to be projected, when could it be projected? Where would the projector sit? Which we can help figure this out? And then you might get people parked in front? And but that might be part of it. And, you know, things like that.
Yeah, I think they would be more of an interesting insect queens, just for the reason I wouldn't right now know what the light situation is? And what are the tech specs of the equipment is in order to write a novel? A mixture of rather than going, that's exactly what I was more I was available and out.
There might help you to imagine when you see what we've got, actually, you know, welcome. Thank you, sir. Okay, where are we? Yeah.
This is great. I am. I typed question. I can curate a deceased I curate a deceased artists archive? Is the commission wanting to explore notions of archiving practice that, in that context, are with living artists only?
I would say no, not not living artists only. I think that's really interesting, again, to do with permission, and I don't know who this artist is, and what happens to their work and your relationship with this artist. But if you explain that, and, you know, the main thing is around remuneration or what happens, you know, to the artists because
they're deceased. But I don't think it's the living artists only. But that might be neat. I might need to check that with the team. But that's my reaction. Remind any thoughts on that?
No, I'm not nothing. I think on top of what you said about the kind of a prison, they're saying there, they already kind of curate that work. So there's already some sort of permission there or Yeah, ethics. That yeah, I think it needs
I think was that sense of when I read the outlines that perhaps it was an idea of looking at how artists curated their lifetime? Well, this sense of archiving within your own practice, rather than sort of more formal idea of archiving work from the past? Like, yeah,
so in answer, yeah. But in answer to that, Graham, I think it depends on who this office is and what their work is and who they are. And, and whether that falls into these categories of eligibility that we were naming in the, in the information on the website, you know, are they marginalized? Were they underfunded? Were they existing outside the mainstream? What kind of work was it? So maybe that's more the area of questioning, to fly to?
So in the, during the commission, so in my writing, I should sort of almost codify why I would position the artist within that. Yeah. Yeah.
Yeah. Yeah. Yeah. Partly, yeah. And also position yourself, obviously, because you will be the person we'll be working with. Yeah. Yeah, just give that context, I guess. Great. Thank you. Okay.
Suzanne, spoken question about digital archive.
Yeah. In turn, when you say Interactive for the digital archive, what what is that? Or what would you understand the interactivity?
I don't know what the Rabban you want to say something about that? Not they have to don't put you on the spot. But
I guess we're just making a distinction between like, uploading video material, or kind of written written material to be like, that maybe has interactive, what kind of isn't interactive in some ways, but like something that might be a little bit more negotiated by the audience. We had, for example, in the web as a residency we had which was an archive oriented that was various artists work there was like things that were more like like in a slideshow things you have to like manipulate yourself in order for the work to come about. So I guess we just sort of put that there to kind of serve you thinking beyond, like video sound? Yeah, putting that online and making making the kind of the straightforward documentation available and
interactivity with the material with the audience with the user with a person who comes to your site. Because like, I've done quite a bit of research in terms of archives and online archives, and how to include an audience like after the live event is over, and then we are left with the documentation. But like this kind of like working with a programmer or something, and just in terms of budget, could that digital archive or this application be also a thinking place or a starting point to, to start thinking of something, which, most likely in terms of interactivity would not be in that budget bracket, I guess. So I want to make a conceptual work or a starting point, or whether this could also be included. Plus, of course, like some materials, which is
something needs to exist, you know, the level to which that exists can be, I think we name this, but it can be unfinished, it can be, you know, and it really, we try to put across, but I don't know how successful we're doing that, that the digital strand in particular is quite experimental, you know, and it's up for experimentation of what that is, and, you know, any, any websites interactive, really, right, you know, but the difference might be between pressing play on YouTube or Vimeo, as opposed to navigate around the site. But there might be something really particular about how the sequence of things that come how there's that
dynamic that in need, that demands that people contribute to the thing, in some ways, and it grows and changes over time, I think, yeah, wanted to be open to these sorts of proposals as well, within the within what's possible with our, our website, or anything we might like the skills of people you might employ.
And I think there is something to be discussed, you know, as we receive the proposals, and probably get surprised at what comes probably with each strand anyway, which is the joy of it, right? But is where, what happens to it, you know, does it especially with the digital archive, how does it evolve or change or grow? Is there budget that's left for that to happen? Three months down the line after it's been launched, or whatever, or, you know, maybe there's something around that phasing of the budget, you know, after the launch date, or whatever, or, or maybe all the money goes into that moment. But we speak together about where this might want to be hosted beyond what might want to be developed beyond. Maybe not, we can't support it again, financially, but maybe we can help with just an outside eye in terms of living with that, you know, hosting it, you know? So, yeah, interesting.
Thank you.
Carolyn, quick question, Carolyn. Right.
Yes, quick question. Can you hear me? I, so I have a rather overwhelming paper based archive, from about 30 years. And so I was interested in the way it is the story of my life. So it's kind of got this whole autobiographical elements, but listening to the way you're discussing archives, I'm having the sense that you're more interested in a piece of work or an archive work rather than you're nodding, you're shaking and
shaking? No, no, no, I think it can be any, I think, particularly we articulated this in live strand. But I think when I can see that I was thinking of, you know, like notebooks, notebooks, notebooks, notebooks. Here's something from this. Here's something from this, you know, like not one piece, you know, but the but I guess what's interesting to think about is that for this archive, that is a piece in a way that is a it's a thing that you're choosing to archive so that becomes I guess the new the RE re homing the revisit, what is the
what? Stage You
know, I definitely that really resonates for me, you know, years of stuff, you know how I would walk, you know,
know and being not being I mean, like shopping lists next to really detailed notes and then
all sorts of stuff we'll make sure to treat that. Because it's part of the work.
But yeah, but I guess for you, then there might be something around again it for very different reasons. But, you know, just dragging some peers on board to, to talk through some of this because it is overwhelming. Maybe it maybe it clearly is too much to fit into any one of these but what what portion is useful to you now? To air? What? What? Yeah, what combination of bits? Yeah, it's fine you to present it in some way. I guess.
They're thinking in terms of a conversation or a kind of interviewing and something. Anyway.
But that's really interesting, Carolyn, because it might you know, how I also imagined the live strand was, what if I invited a couple of people to literally kind of interview or converse with me, and that was the events, you know,
yeah. You really? Yeah. But along there. Yeah. But it, but with a bit of curating.
Yes, yes. Well, I think mainly, so that it benefits your practice. Yeah. So how to move things on? To the level of submitting it. Yeah, I guess, you know, then it makes for a clearer read for us, perhaps. But I guess how can this be useful to your to move something on in your practice? And what part of your practice? Are you interested in? Kind of just holding out again? And and and if you're holding up multiple bits, is there something about the collectivity also isn't multiple bits that say something or speak something? And, you know, and part of your budget may go to these conversations that aren't broadcast that lead to another conversation that is broadcast? You know, so there might be stages of this to help you? Yeah, to help you shape it or curate it? is the right word for you, then? How can this be enjoyable and useful and, and pump some life into something that maybe is like, oh, you know? Yeah. wrinkly? Yeah. Yeah, like exciting and useful for you? I think, in all cases, I think in the application.
Thank you. Thank you. Clean
question about access from clean support for the person applying, and also people accessing the work, live online, etc. What's in place, if anything? I mean, I think it depends a little bit on on the cost. And I know that beyond beyond the budgets offered, we do have access and access budget, actual movie studio. It's not infinite my budget is. But of course, they're particularly I think, for working like somebody maybe working with the artists to complete the project. And that can be talked about, I think things like making the work itself accessible. That might be something worth thinking about in the budget you're writing. If it's really like a necessity for the work or for you and for you. That that's it, send them something that we can then discuss. One as we then go into more kind of production period once if the application is accepted. That sounds about right. Any Yeah.
Yeah, and I guess there's something about Yes. You know, the fact that you've come up with this question, I'm imagining that I guess one of the things is how can access not be an add on at the end, right. So it's like if, you know, how can access be something that's considered from the beginning. And it is part of the process from the beginning. And then, in addition to that, we will come in with what we're thinking about or what other artists have helped us think about and add that to the mix. So in that way, were really there to collaborate on access. And in addition, there is some other money if there is a specialist cost as well, in a different sense if access support means someone reading through the application or something like that. There are that that's possible to this stage of applying. Yeah.
Like last week was the Charlotte. Sorry, my brain just it's too late. It was the last two things I went to there was something that was sorry, I'm my brain just not seeing things in order. That's okay. Yes. What was the thing about touch that last week? Yeah. So I was able to come because there was a little bit of budget for me to like, things like that. And I'm like, Oh, I didn't know if that was specific to her project, or if that's something that you do for all events. So it was just kind of realizing, I mean, I know what I need. But then I'm thinking about what, how could I make this if it is a live thing that how, how can that be possible? You might already be doing that anyway, at the studio. I don't know. That's why I'm just wondering, because I will be thinking about that. Yeah, thanks.
Yeah. I guess just come up following on from that thought from fleeing just about access and how we've been doing ticketing recently, we like kind of what's a good way of phrasing this, like, stratified or kind of like staged staged ticketing or something? We've been doing a lot through events recently. So I think that's definitely something just like bursary places free places to pay it forward places to cover those costs. I think it's something we're working with a lot moment.
I'd have we'd have to check about what is access, like, beyond making the event attendees will. Once you're in the building, I don't know what how far access costs go to someone if they need to travel or something like that. So that is worth us finding out a bit more about how that applies to a broader number of people like audience, you know, so. So yeah, I don't know about
Charlotte's bursaries very much out of her budget, a choice, a budget? Or one question added into two questions added into the chat. Alice, can I ask a question about the audio based application? Would you would you be Would you be open to an audio application that performs the proposal to some extent, that does all time proposing excerpts of readings etc. So we've invited applicants to do an audio application. You can choose when you start the application, whether you want to do it in text or audio. I guess the question here is like those can be stretched has to have stretchy is that audio application?
Um,
I think what I'm understanding is if you were to perform part of that, inside of your app, audio based application, is that right, Alice? So I think that's, that's up to you, if you think it's useful to use up that time limit or whatever, with something like that, if that's particularly useful for us to get a sense of that. That's your decision, but it's definitely not a no, no. from us. I guess it's just deciding what helps explain or helps us imagine it more. And, yeah, this is
as long as it doesn't limit. Meeting the kind of more practical elements of the application, like slightly more kind of argument elements for want of a better word.
Yeah. So or a more total image for work. So yeah, that's just up to you, I think, to emphasize but yeah, it's definitely not a no, no, if you think this really supports my application.
Okay. All right. Thanks. Um, and then a question from Elle Hayward. And how about access for disabled applicants? I wonder,
sorry. No, I'm Rohan.
I just wondered if perhaps they could expand a little bit based on what we've worked with Kalina. That was very, that was quite audience focused. We do have just, we have access budget as part of the one Davies budget. So there are kind of additional things that can be negotiated like a support worker, specifically to the project has, we've kind of That kind of thing before. So is that, can you hear me? Yeah, yeah. Cool. Yeah. So is that you're saying that there is access budget available for as well as that funding in place? So if you were to provide, is it worth providing a list of kind of what would be needed when you do
that? Because yeah, that would be really great for us really helpful. And then we can tell you what off that we can meet or not.
Yeah, cuz a lot
of I mean, the work I do embeds access within the work, and I'm playing with how being blind since I lost my sight, dance has been a nightmare for me to access. So that's one of the things that I'm playing with at the moment, and really exploring, and I'm working with deaf and hard of hearing consultants and all kinds of different people to really embed that within work. So that is accessible for the people involved in the project. Because I mainly work with people who have disabilities, for audiences who can engage, because I think there's a massive range of people who currently can't access dance at the moment.
We'd be really up. If you wanted to have a more like focus chat about this, if that's useful. We'd be really up for speaking in more detail about this.
And yeah, so please do take us up on that. If that's useful,
really. And I had a brief chat with rose a bit be lovely to graduate.
Okay, good. Absolutely. I think there's a lot to learn, as well, not that you have to teach us anything, but you know, like, we're really understanding what would support your application in this part of the process? And what would support the presentation of the work if it was to be selected? So yeah, we'd be really happy to have a more focus chat. If that's useful.
That would be wonderful.
I will, I'm working with a collaborator. So I have a chat with them. And no, start emailing.
Yeah. Thank you.
I think I asked something. Is that okay? So, first of all, sorry, apologies for coming in late.
I worries life kind of got in the way live.
And I'm coming in from the street and circus network in Ireland is x. And I just wonder, like, Are you open to Irish or Northern Irish applications? And maybe you answered this already. But
we did all this already. And yes, I think we are restricted to working with UK based artists only. So Northern Ireland. Yes. Is possible. But the Republic of Ireland's lead artist. Yeah. Because Colleen then asked the question about what if you're working with artists that are not UK based, but I imagine that we probably need to check this is that if you're the budget holder of that, commission money, then you distribute it how you want, we wouldn't necessarily be paying the artists in off the each team individually, you would be the person that was doing that. So the lead artists and the budget holder would need to be UK based. Yeah.
Okay. Okay. Because we're an all Ireland network. So it's not me who would be applying, it'd be the members of Isaac's that I would be suggesting it to. So I will just suggested to those in the north.
Yeah, but I. But again, it could be potentially someone from the north applying, and being the lead artists and the money. It's about payment, really. But there might be something I'm missing here about other working parameters. But does that make sense? My understanding is that as long as the lead artists and the person that that that money is being paid to Yeah. is eligible, that he is actually involves a wider network, but I wonder Ryan, if it's useful to put Lucy in touch with Alex with this question. Sure.
I my understanding you're you're looking to invite number of members to all apply individually, rather than the big lie. My job
as the network frustration circus is to share opportunities with our members. Yeah. And so I usually kind of go red flag here. This one suits you in the corner, you know, yeah. And then I usually kind of do a little bit of that suppose to point them in the right signposting. I don't want to signpost anybody to something if there's a roadblock
that say, share it with Northern Irish artists pacifically But I think then there's possibility that the Collaborate right to someone else.
Yeah, yeah, no, I get you I get you. That was I fully understand and the logic I, I just sometimes I see these things on it's not clear that it is just for UK or just for, you know, whoever.
And your question that we answered earlier as well Lucy was about circus movement and technique if that's included in the call out. And it is yes. Cooking. Thank you basement practice. Yeah. That's brilliant.
Thank you. Thanks for that. And sorry, again for swinging in the 11th hour.
Don't worry, I'm slightly felt you could swing because we've, we've reached the end of our questions and almost the end of the time that we
allotted lazing we could have had a four minute break and we didn't. So yeah, please do get in touch and and, you know, disclaimer, if we'll try and get back to you on time, but if it's clear, and if it's simply put, the faster we can get back. If the your questions in an email or your further questions are more complex or layered, then we might go not quite sure what is meant here. So might take a bit longer, but we will endeavor to just get back to people. And again, if you you know, for those that I said do call or speak to someone, and please do. You don't really want us online any longer because right, it's scrambling. So, brain is pixelating. So thank you everyone. Yeah, thanks so much.
