All performance events, and particularly those of General Assembly of Interested Parties (GAIP), that I have participated in from 2014 until 2019, constitute the work upon which I have based reports, extrapolations and interpretations in text, resulting in this dissertation.
The original works, in varying physical modes and carried out in wide-ranging contexts, were undertaken for their own sake, as creative imperatives.
That work has come and gone across time.
Documentation from this activity is a new work and experience in itself (in the making or witnessing) even though its existence stems from the original event, it is freed of obligation to simply record what happened.
Writing, directly referencing or stimulated by these performative events, exists as an improvisation upon and around memory of the original work.
Much, but not all, of the vast quantity and array of original work was documented, to some extent. The format of documentation exists as video, still image, audio file and physical object.
As the reader will discover, the digital file containing the dissertation text also contains digital images, external video links, and is a ‘designed space’ that takes notice of the aesthetic experience of reading text in combination with textual meaning. This approach is in keeping for an examination of an holistic creative practice.
There are three audio files, using source material from each year of data gathering (2014-16), and one video that together with all linked media and text, constitute the creative project. External links for the three audio files and video file can be found on pages 153 and 154 of this document.